Long before he was portraying the man at his worst, Martin Scorsese was a nut 3-D.
He received the error message 11 years, watching Vincent Price House of Wax in the New York Academy of Theater Street Music 14. Thunderstruck has left, whose picture.
"I went home and cut out pictures of books, magazines, anything I could find," says Scorsese. "I could cut and paste a shoe in another image, then another, to give the context, what background as 3-D. I knew I wanted to make a film that could."
That day is Wednesday with Hugo, a film so personal and so far from the cockpit of the director as he has gained over the years.
Part Pinocchio, part Willy Wonka and the Chocolate Factory, a 2007 adaptation of Hugo's picture book-Invention of Hugo Cabret marks the first foray Scorsese 3-D technology of 69 years, says he should never go out of fashion.
"I remember so disappointed that it was seen as a fad and then just sort of disappeared," he says. "It should not have. Life is a 3-D".
Although the film is a family history of the person who rarely madeTaxi Driver and The Departed, Hugo also be the most autobiographical film by Martin Scorsese.
Scorsese said he had to make a movie without bloodshed after saying "almost all the stories I knew gangsters" in the film. I wanted to make a movie, you could see his 12-year-old daughter, Francesca, who has read the book. And 3-D technology, he said, had finally eclipsed the magic he remembers as a child growing up in theaters in Queens.
Life Scorsese is also a certain resemblance to one of the heroes of Hugo, Georges Méliès, 1900-century, the French director whose first film special effects, wonders and was considered a precursor of modern science fiction and fantasy films.
Méliès, played by Ben Kingsley, has lost much of its more than 500 films for the French army, which broke down in celluloid for heel boot.
Although Scorsese is not likely to suffer the fate of Méliès, a champion for the protection of old films, having founded two national conservation groups of the films. And as Méliès, Scorsese thinks movies are one of the last playground of the imagination.
"What can we do now, we used to think it was science fiction, then," Scorsese. "People came all the time and said," You make this film? "But I always liked the time, loved the story. I feel that I have lived at least part of it."
Something to his daughter
Scorsese said he was drawn to the film's story, about an orphan who lives in a clock tower and trying to put a robot to life, after reading the book by Brian Selznick in 2007 with Francesca and 8.
"I thought, it would be nice to do a movie, you could see, or we could see one," says Scorsese, father of three children.
"Just look to turn the pages of the book (which has 284 images), I knew people would react," he said. "I do not think it's a film for children. I think it's a film should see the children with their parents. Then talk about it. "
There are not many issues that ignited the passions deeper than the Scorsese film, a film by walking encyclopedia. He is the founder of the Film Foundation and the World Cinema Foundation, two groups dedicated to film preservation.
"We overuse the word until it is empty, but Marty is very passionate, especially about the legacy of cinema," Kingsley said, adding that Scorsese does not need to research Méliès. "I'm not sure there's a film Martin has not seen."
Or tried to do, even though his fame New York stories of crime. Scorsese has made comedies (After Hours), musicals (New York, New York), historical epics (The Aviator) and documentaries (Shine a Light). He became a box-office gold last year, recently picked up a mystery Shutter Island $ 128 million, making his fourth blockbuster nine years.
However, Family Fare, new roads, territory, even when friends are not sure it would break.
"Behind my mind, I could see he was looking for something to his daughter," says Hugo producer Graham King, who has been friends since they worked on Scorsese's Gangs of New York in 2002. "So I sent him a book."
The king said that he noticed not only how Scorsese responded to family history, but also "how excited he was about to do 3-D. He said he would return to the classic film. "
The new instruments changed to focus on
Classic, which is reproduced with any new technology. A purist of the film, Scorsese refused to shoot the film in 2-D and converted to a process that will save studios millions, but the genre has earned the scorn of critics and fans. This meant learning to swing a 3-D camera, much heavier and bulkier than Scorsese knew.
His first impression? "It 's like a magnifying glass," he says. "I liked the actors want to say to back up, but it was a camera. I'm really becoming close-ups."
In fact, Hugo is not in 3-D Hollywood standards. Scorsese said he wanted to leave the "witch hunt" effects - "You do not have spears and flames from the screen every five minutes" -. In a fully credible, a forgotten world Avatar, he says, for life in the 1900s.
Apart from that will face more competition than James Cameron's Avatar did in 2009. Hugo opens the day before Thanksgiving against the two films of the family, the animated film Arthur and The Muppets Christmas.
Yet he early support. During a Q & A last week to Hugo, Cameron called the "absolute best 3-D photography, I've seen."
Scorsese said he appreciated the praise, but has learned to ignore criticism at the time of The Aviator in 2004, when everyone started to ask, when he won an Oscar. (It has won two as director and producer of the year 2006, The Departed).
The metal and silver are great, says Scorsese. But "the most fun is to try new things. It's always magical. One day, the film just be holograms. I want to do one, too. "
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