Depot Of Lost Dreams

The production and effects team behind director Martin Scorsese’s Hugo climbs aboard the 3D train

By Kevin H. Martin

Labels: Feature Film

This Article Features Photo Zoom

Writer/illustrator Brian Selznick's novel The Invention of Hugo Cabret employs a blend of artwork and text to tell the story of an orphan (Asa Butterfield) living in the walls of a 1931 Paris train station. Hugo, the current film adaptation, retains Selznick's weaving of real-life events and figures into its narrative, including former filmmaker Georges Méliès (Sir Ben Kingsley)—nearly three decades removed from his popular A Trip To The Moon—as a toy-shop operator with a mysterious connection to the child.

Hugo marks a pair of firsts for director of photography Robert Richardson, ASC; he shot the feature in digital 3D with ARRI ALEXA cameras. The cinematographer's strikingly innovative mix of film stocks and shooting styles in 1991's JFK helped to differentiate flashbacks and scenes involving speculative leaps from the narrative proper, and won him the first of two Oscars®. His career has included multifilm involvements with filmmakers Oliver Stone and Quentin Tarantino, as well as Hugo director Martin Scorsese.

"There's no doubt that Marty sparks a unique creative energy," says Richardson. "Our ongoing interaction over the years has provided a firm base from which to develop stronger and more economical communication. A gesture from Marty may provide an answer where words would ordinarily be required."

Richardson's collaborative process with filmmakers also includes the conscious avoidance of developing his own visual concept independently. "A director has had the script for a substantial period of time, and that film is playing reel by reel within his or her brain. I want to honor that vision and not impose my own," says Richardson.

That this vision would be released in 3D was already a given. "The outstanding issue discussed most frequently was whether the film should be captured in 3D or post-converted," Richardson reveals. "There still is today a reluctance to capture in 3D. I hope that Hugo will alleviate some of the reluctance. It's vastly superior to compose in 3D than to imagine what a shot might be when conversion takes place."

Director and cinematographer strove to achieve a sense of depth with the process that enhanced the drama rather than just providing gimmicky bits of "in your face" business. Says Richardson, "Immersion within Hugo's world is an excellent way of describing [our] 3D. The perceived sense of depth altered the sets substantially in volume. The audience's relationship to actors is greatly enhanced. Performances are quite fascinating to watch [as their] physical presence is transformed in 3D."

Selection of the 3D rig was an early priority, with Richardson and company deciding to utilize five FUSION 3D systems from The Cameron|Pace Group, which comprised the key players involved with Avatar. "Part of the decision was based on Vince Pace," Richardson admits. "His knowledge and experience helped to guide us down what could have been a rather precarious slope."

Page 1 of 4

top