Hugo Cabret (Hugo 2011).

(:: History ::)

1)In Paris of the thirties, Hugo is a twelve-year-old orphan who lived in a railway station. His past is a mystery and its destiny a mystery. Of his father, he has only a strange robot the key of which he searches - heart-shaped - which could make him work. By meeting Isabel, he perhaps found the key, but it is only the beginning of adventure ….
2)Hugo Cabret is an orphan boy living a secret life in the walls of a Paris train station. When Hugo encounters a broken automaton, an eccentric girl, and the cold, reserved man who runs the toy shop, he is caught up in a magical, mysterious adventure that could put all of his secrets in jeopardy.
Date (s) of Exit (s):  December 14th, 2011 |   November 23rd, 2011

Accomplished by:	Martin Scorsese
With:	Asa Butterfield, Chloë Moretz, Jude Law, Michael Pitt, Christopher Lee, Emily Mortimer, Sacha Baron Cohen, Well Kingsley, Ray Winstone, HELEN MCCRORY...

Distributor:	Metropolitan FilmExport
Type:	Drama, Comedy, Adventure,
Country:	USA
Length:	2 h 08
Original title:	The Invention of Hugo Cabret, Hugo

Official Site (s):
France: http://www.hugocabret-lefilm.com/#home
USA: http://www.facebook.com/pages/The-Invention-of-Hugo-Cabret/477075860144?sk=wall

(:: Trailer for Hugo ::)

(:: Free Streaming Links to Watch Hugo Online ::)

(:: Pictures Of  Hugo Cabret ::)

(:: Downloads Links ::)

DVD RIP, XVID, DIVX, AVI, TS, MKV:
http://www.wupload.com/file/2569146392/Hugo_2011-DVDRIP-XViD.avi
OR
http://www.wupload.com/file/2587391062/Hugo.II.2011.DVDRIP.XViD.avi

3gp, MP4, CAM:

Coming Soon.

(:: Scenes of the movie ::)

Preface:
« As film-maker, I have the feeling that everything to Georges Méliès is owed. And when I see again its first films, I am moved, they inspire me, not only because hundred years after their creation, they always give rise to this shiver linked to innovation and to discovery, but also because they are part of first and of the most powerful stories of this form of art which I always so much liked, and to that I dedicated the most part of my existence.» / Martin Scorsese / Martin Scorsese
Since the beginning of his exceptional career, Martin Scorsese, oscarisé film director, gives us an unique artistic vision through the always unforgettable and every time surprising, innovative films. For Christmas, this storyteller of exception draws trip away to us in intriguing one for the marvellous world for the very first sound film there 3D, adapted by the bestseller of Brian Selznick, The Invention of Hugo Cabret, classified on the list of the bestsellers of New York Times. HUGO CABRET tells the incredible adventure of a small clever and resourceful boy which his search to solve mystery left by his father is going to transform, as well as all those who encircle it; a search at the end of which he will find finally a warm and sure place where he will feel at home.

An author inspired by the cinema, a film-maker inspired by a novel:
Martin Scorsese grew in the district of New York of "Little Italy" in the forties and 50, and he lived on decisive moments in the cinema of epoch, not only because of films which he discovered, but also thanks to the presence of his father there, who sat down with him in cinemas, encouraging the rising love of the future film director for the 7th art. That is why The Invention of Hugo Cabret so much resounded at the film-maker's when the book arrived on its office through Graham King, a prolific producer who had already collaborated with him on three films.
Martin Scorsese tells: «Most knocking, it was vulnerability and loneliness of this child. Hugo very lives alone in a kind of huge machine, the railway station, while feeding the hope of establishing a contact with his missing father. »The film director remembers: «The book here is about four years was given me, and it was a shock, a true revelation. I sat down and I read it in one breath. I right away recognised myself in the history of this boy, his loneliness, his link with the cinema, the clockwork of creativity. In the film, it is through the mechanical objects, including cameras, searchlights and robots, that Hugo manages to restore a link with his father. It is also the mechanical objects which allow to the film-maker Georges Méliès to go back to his past, and to itself.» Le réalisateur se souvient : « On m’a donné le livre voilà environ quatre ans, et ce fut un choc, une vraie révélation. Je me suis assis et je l’ai lu d’une traite. Je me suis tout de suite reconnu dans l’histoire de ce garçon, sa solitude, son lien avec le cinéma, les rouages de la créativité. Dans le film, c’est par l’intermédiaire des objets mécaniques, y compris les caméras, les projecteurs et les automates, qu’Hugo parvient à rétablir un lien avec son père. Ce sont aussi les objets mécaniques qui permettent au cinéaste Georges Méliès de renouer avec son passé, et avec lui-même. »
Martin Scorsese shared the book with her most girl, what was only confirming the marvellous aspect of this history. «By reading books to my daughter, he entrusts, I rediscover writings across the eyes of a child.»
Brian Selznick, the author, remembers the genesis of his novel: «I remember having seen TRIP IN THE MOON (1902), the masterpiece of Georges Méliès. The picture of this space shell in the lunar face firmly cast anchor in my imagination. I had in the idea of telling the meeting of a child with Méliès, but without knowing exactly which would be intrigue. And then years passed. Entretemps, I wrote and illustrated more than twenty books. In 2003, I discovered the book of Gaby Wood, The dream of the man - machine – Of the robot in the android, who redraws the history of robots, and at my big surprise, one of the chapters was dedicated in Méliès.»
It would seem that the robots of Georges Méliès – mechanical characters working thanks to a mechanism of internal watchmaking and seeming to act of themselves – had been left to a museum after the death of the film director. They had being stocked in the loft there and they had finished forgetting them, they had been damaged by bad weather then finally thrown.
Brian Selznick declares: «I right away imagined a small boy searching a garbage can and discovering one of these broken machines. At the beginning, I didn't know who would be this boy, I even didn't have his name I chose Hugo as his French consonance. The other only French word which I knew was« cabaret» and I told myself that Cabret also rang as a true French name. Hugo Cabret had been born!»
The imagination of the author then fed on its researches on robots and clocks, on the biography of Méliès and on the "city-light", Paris in the twenties and 30. Little by little, the history of a small adventurous boy living in a railway station in Paris, and picturesque characters who encircle it, took form. Add to it the discovery of a robot and of a film-maker been completely forgotten, and you get The Invention of Hugo Cabret, the novel wonderfully illustrated with Brian Selznick. Edited in 2007, The Invention of Hugo Cabret won the Medal Caldecott in 2008, a differentiation awarded by the Association of Library Service to Children to the author «of the best American illustrated book for children», and the Price of the best illustrated book 2007 delayed by New York Times. Work was also classified number one on the list of the bestsellers of New York Times and finalist of National Book Award, one of the most prestigious literary differentiations of the United States.
The producer Graham King declares: «My partner of production, Tim Headington, and myself were delighted by the book of Brian Selznick. We immediately thought that it would be the type of history that Martin Scorsese could adapt wonderfully on big screen.»
It is towards John Logan, scriptwriter of AVIATOR, that the team turned to adapt the book for the cinema. This one explains:« As with most adaptations, some choices were unavoidable. I had to cut and change some elements of the book of Brian to simplify and to shorten history to make it more film. Illustrations were all-helping to me, because they resemble a story-board of film. In fact, they fulfilled my movement order, I only had to follow them. Besides, the stage of exhibition of scenario is very similar to the Brian's first illustrations.»
In reply to those who would be surprised at the unexpected character of alliance between the film director and the history of Hugo, Graham King declares: «All films of Scorsese have a particular sensitivity, and HUGO CABRET doesn't make exception. The beauty of pictures and actors' performances are in appointment. Major difference, it is that this film doesn't contact only an adult public, but everybody.»
To be productive at best the experience of the reading of the novel of Brian Selznick on big screen, Martin Scorsese made the choice of a different format. He explains:« As audience, unlike the reader, we don't have access to thoughts and to feelings of Hugo. But we see the extraordinary face and the actions, and we have the 3D. History required some changes; some elements of the book therefore disappeared. But I think that some pictures, particularly thanks to the 3D, so much reveal that they serve completely the world of the book.»
Martin Scorsese tried hard to remain faithful to the author in each of his decisions. «Brian Selznick and his novel persistently inspired me. We had at all times copies of the book with us. The Invention of Hugo Cabret is a very particular book, above all because it is illustrated in black and white. Our film also has its own aesthetics, its own atmosphere, very different from the novel. We made the choice to blend imagination and realism.»

It is an adventure which is brewing in search of the characters:
At the time of choosing the actors who would camp the different characters of HUGO CABRET, Martin Scorsese made a decision: «I chose English actors for most roles, and I use the British accent as though he was part of the world of the characters. Even if the frame of history is Paris of 1931, it is about dreamt world, about sublimated reality, and to play on the accent contributes to gap.»
Find the actor who would play Hugo was the most difficult. 12 or 13-year-old, it is the key role of the film because it appears in the majority of the stages. The head of casting, Ellen Lewis, auditioned young actors, and Asa Butterfield was part of first. Martin Scorsese remembers: «He read two stages and immediately persuaded me. Before making my decision, I looked at THE BOY IN THE STRIPED PYJAMAS. Vera Farmiga, who played with him in this film and with whom I had worked on THE INFILTRATING, spoke to me about him and said to to me that he was very, very gifted.»
For his/her part, the young actor didn't know the job of Martin Scorsese, but had heard only the good. Asa Butterfield entrusts: «I knew him of course of reputation, but I had seen none of his films because most are forbidden at least of 18 years in England. My mother said to me that it was one of the biggest film-makers who are. When I got the role, everybody said to me: «It is incredible. It is the best film director who ever exists! »Suddenly, I became aware that what arrived at me was huge. And that's true, Martin is the best film director who exists. He never says to his actors« make this "or " make it», but encourage you rather to try, to experiment. He makes you suggestions. He is so much perfectionist whom he can search in the same direction by leaning on insignificant changes. It is incredible.»
It is the mystery peculiar to his character who particularly pleased Asa Butterfield. He explains: «They don't know much regarding Hugo. He lived quite a lot of traumatisms: his father and his mother died, and he ends up living with his uncle, in a railway station, to do the job of an adult. Finally, his uncle leaves to come back never. Here is where is his history when the film begins, he finds himself the only with this robot. He is therefore relatively solitary up to his meeting with Isabel, and from there, he is going to begin going out of his shell.»
To be able to be taken audition for the role of Isabel, the goddaughter of "daddy Georges" and of "mom Jeanne", the American actress Chloë Grace Moretz had to adopt a kind of fancy dress. Martin Scorsese tells: «I auditioned some young English actresses, then Chloë arrived, and started to speak with the British accent, I therefore thought that she was English, as others. At this stadium, we got auditions to the actors by two for the roles of Hugo and Isabel, and the duet Asa-Chloë worked remarkably. There were some other actors who interested us, we tried several combinations, but it didn't work as well. Not only Asa and Chloë went very together, but the way she plays agreed so perfectly. Each leant on the game of other one, while having a very distinct personality.»
Chloë Grace Moretz remembers: «I met Martin Scorsese in New York – it was the first time when I came back in this city since my beginning to the cinema. It was tremendous to return at the end of seven years, to meet Martin Scorsese about this incredible role. During our first meeting, he was really very warm. He told me some anecdotes and I told myself that it was really somebody cool.»
Just as Asa, Chloë was also attracted by the mysterious aspect of history, but rather of external point of view. She explains: «In 13 years, the age of the characters, there is something always to discover. They always want to poke and pry, they try to understand what takes place, how things walk. It is what make Isabel and Hugo in this film.»
Even if history takes place in 1931, he was out of question for the film director to lean towards the «film of epoch». He specifies: «The film isn't labellisé« on 1931». The date doesn't have importance. What represent these children, their needs, their search, the way they act, all that is contemporary, universal, it isn't the fact of epoch or of place. It is something natural, and as a result, the period in which the film takes place don't have importance. The children act simply as children.»
For the key role of Georges Méliès, "daddy Georges", the film director / producer didn't search for a long time. Martin Scorsese comments: «I always wanted to work with Well Kingsley. I finally had this chance with SHUTTER ISLAND, on whom we had tied very good working relations, and today with HUGO CABRET. It is an exceptional actor, one of the best. I even don't need to say it It is enough to look at his job. His fan of roles, his adaptability. Each time I looked at the photo of Georges Méliès, there was only one certainty in my mind: Well would be improved for the role.»
What imported even more to Well Kingsley than resemblance, it was the physical interpretation of this man on decline. Martin Scorsese tells: «I was very impressed by technology of Well. He found a way of, of moving, which returned palpable the failure which scourges this man As though his body had been conquered. All that having been a lively man, made 500 films, have turned three a week, while giving it of shows of bewitching in the evening and by turning the day. Méliès had created a very new form of art and then suddenly, he lost all the money, it set fire to the supply of films and finished behind the bar of a shop of toys in a corner withdrawn from the railway station Montparnasse.»
More than the visionary talent of this man, researches of Well Kingsley made him discover and admire Georges Méliès for more personal reasons. He tells: «Georges had confidence and charisma of the big magicians. He was to be very definite in the execution of his turns – to cut people in two, to make them léviter, disappear, this type of things – and show a big dexterity. His team and his actors also had to to be strict. They must indeed be very disciplined: he made hundreds of films! He led well his small boat, but I heard that he always made it with affection. He got worked up or raised voice only very seldom, or even ever. On the contrary, he reminded tactfully people of what they had forgotten to make or iterated his advice patiently. What a man it had to be!»
Just like his character, passing magic to the cinema, he seemed very natural to Well Kingsley that Martin Scorsese launches into the adventure of the 3D. «I think that it is a bit as a portraitist who would start to paint landscapes. He changes only the way he puts down his colours on the cloth, but it is always about the same brush and about the same cloth.»
The character of the stationmaster constitutes a threat for Hugo's autonomous lifestyle. The role was besides slightly changed for the film, as explains it Martin Scorsese: «We asked for the permission Brian Selznick to expand this role, because I didn't want that he represents only fright, just good villain to scare and to catch the boy. I wished that he has a little more thickness, and I thought that by working with Sacha Baron Cohen it would be possible to arrive at it.»
Sacha Baron Cohen comments: «At present of course, it is dangerous that the children run in every direction in a railway station. Then imagine, in the twenties and 30, between working conditions and rest These homeless babies delivered to themselves were not only dangerous for the passengers, but also for themselves. It is there that my character, the stationmaster, intervenes. It is a marvellous character, perfectly distasteful and terrible with the children, but who has another facet nevertheless. A softer side. It is possible to imagine that he lived in an orphanage himself. Moreover it is a war disabled person, he is physically handicapped and carries a kind of metallic splint to the leg, because of a war wound that he would have inflicted himself by chance, as the film gives to understand him.»
The actor researched the funny style of epoch. He tells: «In England, I think that Harold Lloyd spent every day on television after the school, we therefore grew with him. I really didn't think he was funny at that time but in HUGO CABRET there are references to the films, especially TAKEN UP THEREUPON, in whom he climbs the facade of a building and finds himself hung on the needle of the clock which turns upside down. We directly refer to it. Martin wanted that I watch the films of the very first funny actors, what turned out to be very interesting. They made brilliant knack, Keaton and Chaplin. Eh yes, I discovered this quasi unknown some Charles Chaplin, I believe. His job is very interesting. This is really worth seeing!»
Martin Scorsese perfected another way to expand this role of "villain". Sacha Baron Cohen tells:« When we met for the first time Marty and me, we didn't want to make of my character an archetype of the villain. Marty offered to add a key of love song. I was delighted that Emily Mortimer, this woman and this incredible actress, plays the one for whom the heart beats. The stationmaster is really an unpleasant type. It is a horrible man, but everything in the bottom of him, it is a guy well. Finally really very at the bottom!»
Martin Scorsese declares: «Emily is one of the best actresses whom I know, she has a marvellous sense of humour. I am delighted to have chosen her to play the love of Sacha, it was the first one for him!»
However the stationmaster isn't the only threat which watches for Hugo. There is also his uncle Claude, to whom he has to to live in this railway station. An uncough and menacing man who delegates fast his job of service to the small boy. Martin Scorsese explains: «To work with Ray Winstone on THE INFILTRATING had been a very good experience. He has the capacity to seem menacing without needing to speak or even to act, they feel well this blackness hidden in his character. This rampant threat was improved for the uncle of Hugo.» Beyond the pleasure of playing the comedy, the actor wanted to share filming there 3D with Martin Scorsese. He declares:« I took a great pleasure to watch at Scorsese working on sets, they would have said that he again fell in love with the cinema. To notice it with the 3D, this unpublished tool for him, it was as to see a child playing with a new toy! This freshness was conversational and earned the whole team.» Au-delà du plaisir de jouer la comédie, l’acteur a aimé partager le tournage en 3D avec Martin Scorsese. Il déclare : « J’ai pris un grand plaisir à regarder Scorsese travailler sur les plateaux, on aurait dit qu’il tombait à nouveau amoureux du cinéma. L’observer avec la 3D, cet outil inédit pour lui, c’était comme voir un enfant jouer avec un nouveau jouet ! Cette fraîcheur était communicative et a gagné l’ensemble de l’équipe. »
For the key role of the father of Hugo, Martin Scorsese had to find an actor capable of representing goodness and only affection which the boy ever receives, and it, in very few stages. Martin Scorsese comments: «I had worked with Jude Law only once, for the role of Errol Flynn in AVIATOR. I had also thought he really was tremendous to the theatre in« Hamlet». He is so unique! He represents necessary authority and charm for the role of the father of Hugo. I would love being able to revise with him more for a long time.»
Jude Law entrusts: «I knew the book to have read it to my children. But of blow I reread it, I spoke about it with them, I asked them how they received the character of the father. I also discussed with a watchmaker, then I was interested in robots. I had good notions therefore as for the manipulation of objects and of tools, and if there were references to the equipment, I knew of what it was a matter. My first ambition was to create a parenthesis delighted in Hugo's life, since the majority history takes place for him in a more hostile atmosphere. I wanted that everybody realises that he had been liked. It seemed to me very important to use my own experience as father in this role.»
For the role of mister Labisse, the bookseller of the railway station, Martin Scorsese had opportunity for the first time to work with an actor of legend. The film director declares: «For this film, I could finally work with Christopher Lee, one of my favourite actors for more than half a century!»
Christopher Lee, 89 years old, remembers having come to Paris in 1931: «I remember very well the small boutiques, coffees and restaurants. Then for me, it was as to return in my own past. My character is a kind of guardian angel who helps these children to understand the world across literature.» Christopher Lee is delighted, he is finally going to be able to scratch the name of Martin Scorsese of his list. He comments: «It wasn't to flatter it, but I said to Martin: «It seems that I am the last actor living to have made so many films. However I always thought that my career would remain incomplete unless making a film with you. I worked with John Huston, Orson Welles, Raul Walsh, Steven Spielberg, Tim Burton, Peter Jackson and a lot, many others, but ever with you.» And then HUGO CABRET arrived, and there was a role as me. Finally!» Christopher Lee est ravi, il va enfin pouvoir rayer le nom de Martin Scorsese de sa liste. Il commente : « Ce n’était pas pour le flatter, mais j’ai dit à Martin : « Il paraît que je suis le dernier acteur vivant à avoir tourné autant de films. Pourtant j’ai toujours pensé que ma carrière resterait inachevée à moins de faire un film avec toi. J’ai travaillé avec John Huston, Orson Welles, Raoul Walsh, Steven Spielberg, Tim Burton, Peter Jackson et beaucoup, beaucoup d’autres, mais jamais avec toi. » Et puis HUGO CABRET est arrivé, et il y avait un rôle pour moi. Enfin ! »
For the essential role of madam Jeanne, which was formerly the Muse of Georges Méliès and is today the protector and the support of this ageing man, Martin Scorsese chose HELEN MCCRORY. Martin Scorsese explains: «I had seen her in TEA QUEEN or she interpreted Mrs Blair, and in British miniseries« Anna Karénine» where she was remarkable. We discussed and I thought she was perfect for the role. Situation is complicated for madam Jeanne, unconditional support of her husband, who worked with him during years while wishing that he exceeds the bitterness which caused it her big disappointment in life. Helen was marvellous, approaching the role with a lot of depth and subtlety.»
Other character mattering, René Tabard, specialist in cinema, rediscovers Georges Méliès thanks to Hugo and Isabel and organises a gala in his honour to the Academy of the Cinema. It is Michael Stuhlbarg, eclectic actor known for its roles on the screen and on stage, that represents it. Martin Scorsese was happy to be able again to work with him.« It is the third time that we work together Michael and me, he explains. He played in the advertising film that I accomplished for the champagne Freixenet – a homage to Alfred Hitchcock; he played a title role in "Boardwalk Empire". Its register of game is of an amazing largeness, he can pass without effort drama to the comedy, contemporary film in a historical film. It is as bright in the role of a criminal hardened in "Boardwalk Empire" as in that of a historian of the soft and erased cinema who idolises George Méliès and is lost in admiration for his films. It was for me a great pleasure to revise with Michael.»
The particular ambience of the railway station is partly based on those who earn their living thanks to the users of the railway station. Among them, the florist, Lisette (Emily Mortimer); the bookseller, Labisse (Christopher Lee); the man who manages the kiosk, mister Frick; and his neighbour, manager of the coffee, madam Émilie. For the roles of (potential) couple a little eccentric, Martin Scorsese chose two of the best English actors, Richard Griffiths – «one of the best current actors» according to Scorsese – and Frances of the Tower – «I always admired a lot it», adds the film director.
Martin Scorsese declares: «These characters to which John Logan, the scriptwriter, gave life in this small world where is the railway station, «our »Paris of epoch, are what is productive living, palpable, the world of history. These " vignettes »are part of this world and work on it on the daily. Purpose was that the spectator crosses these characters in the course of stages, in the course of their lives, each of them trying to interact with others, just like Hugo with his father. »Martin Scorsese approached these vignettes lightly, and filmed them almost as a silent film. The discreet, almost silent characters, come back and go out of the frame according to the relations which take shape between them. Only by looking at them, different stories put on in place, adding to the atmosphere of this railway station. Martin Scorsese a abordé ces vignettes avec légèreté, et les a filmées presque comme un film muet. Les personnages discrets, presque silencieux, rentrent et sortent du cadre en fonction des relations qui se nouent entre eux. Rien qu’en les regardant, différentes histoires se mettent en place, ajoutant à l’atmosphère de cette gare.
To play the role of the dog threatening with the stationmaster, Maximillian, three especially raised Dobermen – were needed Blackie who appears in most stages, and Enzo and Borsalino as double. The handler Mathilda de Cagny also supervised the use of the dachshunds with long hair (which intervene in the history of Frick and Émilie), of a cat (who never leaves her perch on a pile of books in the boutique of Labisse) and several pigeons (is it possible to imagine a tower of clock without pigeons?). Mathilda de Cagny was besides often fancy-dress and put in the crowd, enough near action to "run « the animals, but not too much not to draw attention and spoil catch. For the stages where she couldn't blend in with the crowd, she wore a costume " green bottom ", so that it is possible to remove her easily there postproduction.
For the role of a very particular character, the robot, which appears in the middle of intrigue and of its holding, the film-makers turned to the leader props man David Balfour, assisted by Dick George, specialist of the manufacture of accessories. Dick George declares: «This robot is a character in itself, therefore in a sense, it was as to create a miniature human being. »In total, 15 robots were fabricated for the film, each of them carrying out a movement different or answering a definite need of history. Dick George resumes:« We had the advantage, in the building of robots, to have all modern technologies, in which had accesses no first watchmakers. They had however knowledge very pushed of the mechanics, mechanisms of watchmaking and their functioning. The first robots were operated by mechanisms in dope, and information was programmed letter by letter, as a result the writing or the drawing which the robot could accomplish was very limited. In our case, it is about a computer program, what allows our robot to draw everything absolutely.»
Regarding his dumb partner, Asa Butterfield declares: «It is really strange: they would say an actor. When I learnt that I am going to turn with a robot in a part of the film, I thought that he is going to resemble the tin Man of the magician d' Oz, but he has so human air …»
Well Kingsley points out: «The robot seemed to have his clean life. He was touching to see this small fellow turning the head, dipping his feather into an inkwell to draw the moon. In the stage where Hugo comes to see Georges by rocking the robot, they would say a child holding a lost child. Then, I get it in my arms from my turn, and then we move away, and they really feel seeing three children.»

A waking dream, in search of true Méliès:
Martin Scorsese tells this anecdote: «I had a casket DVD of the films of Méliès where there was the photo. Once on the set, two small actors of a dozen years pass thereabouts. One of them sees the casket and exclaims: «Oh, but it is Well Kingsley! »« Not, I answered, it is really Méliès. »« You mean that it indeed existed? »« Of course!»
Georges Méliès wasn't the first film-maker: this honour returns to two brothers, Augustus and Louis Lumière, who invented the cinema in 1895. They then made hundreds of films, describing real facts principally – for example, one of their first films, The ARRIVAL Of A TRAIN IN RAILWAY STATION OF CIOTAT, so much frightened the audience that these ran away by seeing the engine getting ahead on them. However, they tell that both brothers thought that this new pastime wasn't promised in big future. Georges Méliès saw things differently. Abandoning the idea of taking back family shoemaking, he sold the plant and used the money for his beginning in his vocation: magic. He gave itself a theatre (whose ancient owner was Jean Eugene Robert-Houdin, the magician at the origin of the change of name of the young person Ehrich Weiss in Harry Houdini) and began giving representations.
It is at the age of 34 years when Georges Méliès will discover his first film. He discloses in this new form of art a big potential for magic. He starts then to fabricate his own cameras and searchlights with the help of Robert W. Paul, often recycling for it the spare parts of the collection of robots left behind he by Robert-Houdin. His first films are in fact adaptations of his shows on stage. But his interest soon comes on the techniques of narration and of assemblage. He creates some of the first trickeries such as animation in picture by picture, pictures in fast motion, numerous exhibitions, well-blended and colorisation at the hand. Later, he sells his theatre and constructs a studio including a set under glass roof who allows him to use natural light. Martin Scorsese points out:« Méliès is incredible because he explored and invented the biggest part of techniques which we use today. The fantastic films and the science-fiction films of the thirties, 40, 50, creations of Ray Harryhausen, and more near us those of Spielberg, Lucas, James Cameron, go down from Méliès. Everything has already been in the job of this forerunner. He fulfilled what we make with computers, green funds today and of numerical, but he had only his camera and his studio.»
His masterpiece of 14 minutes, THE TRIP IN THE MOON, was turned in 1902. In 1914, he had written, accomplished, played, produced and conceived more than 500 films of a length from one till 40 minutes. The choice of its subjects goes of the recreation of real facts to fantastic and to science fiction (from the KINGDOM OF THE FAIRIES to TRIP ACROSS The IMPOSSIBLE). They often refer in Méliès as «the father of the cinema who tells stories» – many allocate him besides the birth of fantastic type, of science fiction and of horror.
Because of an unhappy incident with Thomas Alva Edison (this one had got a copy of the MANOR OF THE DEVIL (1896) Méliès, duplicated it, then cast in the United States, meeting a big success but without transferring leaves any benefits to the author), the film-maker starts to film two copies at the same time, the one for Europe, other one for the United States. Recently, a historian of the cinema discovered that by combining both copies of the HELLISH CALDRON (1903), they got the first one 3D rudimentary of the cinema.
Georges Méliès is then exceeded by the advances of the 7th art, and with the beginning of the First World war, his interest for the cinema declines. He ends up leaving his studio, burning the costumes and the set of filming, and agree to sell the spools so that they are melted and recycled. In 1920s, to meet his needs, and those of his second wife and of his grand-daughter, Georges Méliès works seven days of seven in a stall of the railway station Montparnasse where he sells sweets and toys. He resides in a quasi complete neglect until the artistic community of the French Surrealists rediscovers its job and recognises itself in its imaginary imagination. This interest found for the work of the film-maker gives rise to a gala in Paris during who number of its films are cast. Georges Méliès is in the first rank. When he dies, in 1938, he even started working on a new film, THE GHOST OF THE UNDERGROUND.
Martin Scorsese declares: «In the first reading of the book, I right away didn't realise that the old man of the boutique of toys would turn out to be Georges Méliès. But it is a true history. Ruined, he has worked for sixteen years in a shop of toys on the railway station Montparnasse.»
Well Kingsley explains: «Our film is certainly romanticised, but in a discreet way. Many people think that Georges Méliès died at the time of the First World war, while he lived reclusive in his boutique. Who was wonderfully recreated according to photos and with the help of her fellows. Past remembers there subtly in our memo.»

Imaginary and magical - Paris of 1931 according to Scorsese:
To recreate the atmosphere of Paris of the beginning of the thirties such as it is perceptible by Hugo, a character of invention, Martin Scorsese tried hard, according to his terms, «to strike a balance between myth and reality». He called in information officer Marianne Bower. This one took care of respecting the authenticity of this period, with the aid of photographs, of documents and of films of epoch. Its researches concentrated on period going from 1925 till 1931.
The creative departments working on HUGO CABRET so studied about 180 films of Georges Méliès, or about 1 pm of visionnage, as well as those of René Clair and Carol Reed, progressive film-makers of the twenties and 30. They also viewed the films of the brothers Light and the silent films of the twenties to gain knowledge of the cachet of the films of epoch. But these researches didn't limit themselves to films, teams also studied the photographs of Brassaï (pseudonym of the Hungarian photographer Gyula Halász who immortalised Paris of the interwar period) to immerse themselves in the atmosphere of streets of Paris, in dress style and in attitudes of the Parisians.
Although some stages are turned in outside, the majority were filmed in England, in the studios of Shepperton, where the leader interior decorator Dante Ferretti ran the building of Hugo's world. The interior decorators so reproduced a full-scale railway station with all its boutiques; the building of Georges Méliès; his glass studio; a disemboweled building; the small boutique of a cellarman entirely achalandée, and finally, a colossal graveyard with its monuments and its crypts.
The railway station, centerpiece of this tale, is a mixture of different architectural elements and of structures borrowed from several railway stations of epoch, some besides always in function, what showed itself of a big help for those who worked on its creation. Unfortunately, the railway station Montparnasse was destroyed and entirely rebuilt in 1969. Martin Scorsese comments: «Hugo's railway station is an amalgam of several Parisian railway stations of epoch. Moreover, Paris of HUGO CABRET doesn't pretend to represent the historical truth of Paris in 1931, but rather our idea of what was the city in this period.»
The ensemblière Francesca Lo Schiavo succeeded in returning the impressive even more realistic decors of Dante Ferretti. She entrusts with joy that she several times inherited "chore" to have to go around flea markets of Paris and of its suburbs. Francesca Lo Schiavo also supervised the reproduction of posters of 1930 and 1931 which it is possible to see in the railway station and on some buildings. Some decors are also direct references to some monuments of the French cinema.
The memories of childhood of Dante Ferretti also turned out to be very useful: when he was 8 years old, the father of his best friend was watchmaking He tells:« When I began thinking to include clocks, clockwork and mechanisms of watchmaking in my creations, all my memories of this epoch returned to me …»
The manufacture of very clocks was entrusted to Joss Williams, of the team of special effects.
Once ended, the decor of the main foyer of the railway station measured more than 45 metres long, 36 metres broad and 12 metres high. The creation of this large space allowed to Martin Scorsese and to his manager of the photograph, Robert Richardson, to film the circulation and the animation of the railway station as well as the interlacing of stories as ranked in scenario of John Logan, including gasping chase between the stationmaster and Hugo.
Leader costumer Sandy Powell also drew inspiration from models of epoch for costumes, but without forgetting the notion of «idealised Paris» by Martin Scorsese. These clothes of epoch were therefore an important source of reference and of inspiration, and some were even used for shooting. However, those who hit the actors had to at least be reinforced, or even completely done again.
Once having found the scratched pullover fetish of Hugo, Sandy Powell made it make copies. Several identical costumes were indeed necessary for the characters, who appear mostly in the same keeping throughout the film.
When she appears in "constellation" in one of the films of Georges Méliès, HELEN MCCRORY wears a skirt discovered by the costumer who had been undoubtedly part of an old fancy dress or a dress of ball of the forties or 50, overcome of a corsage, the whole transformed into a «costume of star».
The costumes of Well Kingsley / Georges Méliès were reproduced according to photo, then padded to give to the actor a stockier silhouette and to help it to keep a vaulted position. But historical accuracy didn't always predominate: as regards the costume of the stationmaster, Sandy Powell preferred a close blue of turquoise to the bottle green of origin.

Go down in history - the 3D:
Martin Scorsese isn't afraid to confess his taste for the 3D, it childhood of which passed in cinemas coincided with the advent of the 3D in all film types. He manifests: «The first film there 3D which I saw was The MAN IN THE MASK OF WAX of André De Toth in 1953. It is surely the best of all films there 3D!»
However, for Martin Scorsese, the idea of one «3D clever» to the service of history next year, with another film really appears only. He tells: «The way to use the 3D in CRIME WAS ALMOST PERFECT of Alfred Hitchcock was bright. More than a simple effect, she was part of history, she transformed the space into a narrative technique. What I discovered by working 3D there, it is that it emphasises the actors, it is as to look at a sculpture in movement. It indeed brings an additional dimension. Alloyed with a good interpretation and with good movements of camera, it becomes in a way a mixture of theatre and of cinema, while being something else still. It is something that enthralled me at all times I always dreamt to make a film there 3D.»
The team of the film also got ready by viewing these two films forerunners of the 3D, The MAN IN MASK OF WAX and CRIME WAS ALMOST PERFECT. It was as the first time as Robert Richardson, manager of the photograph, worked 3D there. Martin Scorsese comments: «Bob is a fantastic artist, and as he had never worked there 3D either, there was a real emulation between us. We wanted to try this format, and each of progressively learnt us to control it better.»
Martin Scorsese follows: «I think that the first pictures which I had in mind when I began working on this film, are those of Hugo running and throwing over its shoulder a look full of hope. The 3D confers a particular aura on faces. She allows to see people differently, thanks to the nearness which she gives. I thought that the 3D would create an even stronger link between the public and the characters.»
Robert Richardson declares: «HUGO CABRET showed himself an exceptional challenge to be raised. I wanted to tell the story of past epoch without cutting me therefore of the gift. The French cinema always occupied a place expensive to my heart, and with the huge potential of the 3D, I tried hard to find a little of magic that Méliès gave rise in the job.»
The specialist of the stéréographie Demetri Portelli joined the team to face up challenges of filming. During catches, he was glued together on his particular screen, operate by remote control at the hand to adjust each of the objectives of the camera 3D. He explains: «The 3D intensifies the feelings of the spectator facing the film. It created a palpable emotional and physical dimension, implicating the spectator more in history.»
The stage into which Hugo and Isabel venture in the library was turned in the Library Sainte-Geneviève in Paris. Robert Richardson had positioned searchlights on cranes outside windows, to simulate the sunlight. But at the time of filming, the true sun flooded the spacious library make windows after window. Demetri Portelli remembers:« To create the atmosphere, we added a little white smoke so that sun's rays materialise there. On my screen 3D, the beams of pure platinum would have been said. From my own experience, alone a filming there 3D allows this result. To turn directly there 3D with a devoted system of shooting motorised allows to make move the objective of every camera around an object since two different angles, exactly as your eyes see according to two different angles. This technique allows us to return the volume of objects and to give in every element which constitutes the picture a tangible, almost material presence.»
To reinforce phantasm to be in the thirties, on a quay full of dust and filled with smoke of railway station, the atmosphere of the very railway station was transformed. The team created some "dust" from very fine goosedown, and used of the steam of dry ice for the smoke.
It was as the first time as the assembler of the film, Thelma Schoonmaker, ventured into the world of the 3D, but she fast fitted to it. She specifies: «Format 3D serves the film remarkably. Martin Scorsese and Robert Richardson were very inventive in their job of this new dimension. She seems to encircle, to marry the actors, and she intensifies emotion.»
HUGO CABRET is not only the history of a small adventurous boy in search of hope, but also allows to pay tribute to a true pioneer of the 7th art. From magician to film-maker then dealer: the spectator goes through all career of Georges Méliès through flashbacks. Stages in which he appears filming are particularly important. More than 500 films are allocated to Georges Méliès, Martin Scorsese was therefore obliged to reduce this impressive list to keep only someone. It is on THE KINGDOM OF THE FAIRIES (1903) that its choice finally came to explore the wings of a filming like Georges Méliès. Martin Scorsese explains:« I wanted to make three or four stages, but I ended up choosing only one, the one who takes place under the sea. I found very interesting to show how he made to turn these underwater stages, to see how much it is simple and full of charm.»
The studio glazed by Georges Méliès was reproduced in identity with the aid of existent plans as well as to measures and photos of the original, on the backlot of the studios of Shepperton in England. The French Film archive gave to the team the indications of Méliès to put the aquarium and the camera in order to reproduce the aquatic ambience of the KINGDOM OF THE FAIRIES.
Rob Legato, the supervisor of visual effects, had to find a way to recreate all film effects of Georges Méliès, by using only tools and technology of epoch. He declares: «To be able to go back at the origin of the cinema with somebody as Marty to the bar, it is an incredible occasion. I whose biggest part of job consists in creating special effects, I was in a way facing " father of »special effects, man at the origin of astute trickeries in the shooting and catch of inventive uses of the camera, which carried to the cinema a huge love. To recall all that is one of the essential aspects of the film.»
Besides THE KINGDOM OF THE FAIRIES, Martin Scorsese followed his game of mirrors with the work of Méliès, with notably THE PALACE OF ONE THOUSAND AND ONE NIGHTS in which they notice that the dance of skeletons which seem to volatilise under the blows of sword of the heroes. Well Kingsley gives a perfect simulation of the film-maker, since the costume up to his "disappearance" via a hatch in the soil. Méliès indeed represented Satan in a good many of the films. Other stages of HUGO CABRET, especially those where intervenes the dragon, echo stages of the writings of Méliès.
Each time a stage of a film of Georges Méliès was reproduced for the good of the film, of many hours of employment were necessary so that everything is identical: of the appearance of the actors in their game and the costumes, by way of light and special effects. Every stage was recreated picture by picture, retail near, as confirms it Rob Legato: «There aren't enough words to describe when we went to reproduce what took place in the studio of Méliès: costumes, making-up, light, assistant directors pointing out to the actors positioning, and expressions of the actors so that everything is exactly identical to the original. He would have been difficult to push similarity farther!»
Authenticity and precision were indeed catchwords, and the team left nothing haphazardly to assure the reliability of stages For example, the dressmakers who they see working in one of the films of Méliès the dressmakers of the team of HUGO CABRET are in fact. Martin Scorsese tells: «It was a very ambitious firm, we really didn't realise the challenge which it represented. There was nevertheless a very delightful side. By working in the studio of Méliès, we shared the same feeling of thankfulness, we all were honoured to turn our version of these timeless writings.»
Although inspired by the films of Méliès, Well Kingsley found a source of inspiration closer to him: «I watched all films of Georges, but this role was not only a question of preparation and of researches – it was only a very small part of job. To watch its films taught nothing to me about the man that was Méliès. On the contrary, by working such with a genius as Marty, I realised that it must be shone my model to interpret Georges! He was there, why to search farther? More need to go looking for a dead man for a long time and with whom I couldn't discuss. I had the chance to be in the contact of one of the pioneers of the cinema day after day, it is therefore there that I scooped out my inspiration.»
Georges Méliès created his special effects by dint of tries and of chess: to film, to develop the film, to go up then to view, and this worked or not. So that magic appears to the screen, Rob Legato as for him turned to felt techniques, notably for this impressive stage of rail accident in which an engine out of control crosses the railway station and hits one of the huge windows of the railway station to finish its running on a Parisian pavement.
Such disaster indeed occurred in the railway station Montparnasse on October 22nd, 1895. These shock pictures of the engine nosediving on the street and wagons in the vertical or appearing half from rests of the picture window, acted as reference to Rob Legato. «The first thing which I felt like making, it was to film the stage in miniature, as I had made it on TITANIC and APOLLO 13. We therefore constructed the train and the picture window in the ladder 1/4, very regulated with care, and everything took place as during the accident of 1895, up to the final position of the train.»
The building of the train 4,5 metres long and of the picture window 6 metres high asked four-month-old of job. To add to realism, miniatures of bikes and of suitcases were added on the street under the window. The reconstitution of accident lasted in reality only one and a half second but the final result, at a slower pace and revised in studio, is bluffing of realism.
To improve the restitution of the ambience of epoch, Martin Scorsese went to turn with his camera 3D in the nicest places of London and of Paris. The Parisian museum where works the father of Hugo, interpreted by Jude Law, is in fact famous Victoria and Albert Museum de Londres. Isabel and Hugo go to the cinema in a true Parisian cinema of epoch, decorated for occasion with posters of silent films and of films taken out in 1930 and 31. The Parisian theatre where takes place the homage returned to Méliès is in fact an amphitheatre of the Sorbonne, centre of the Latin quarter and historical university of the 5th arrondissement. The Athénée Louis-Jouvet theatre in Paris is of use as decor for the flashback in which the young person Georges Méliès makes léviter the character of Jeanne. The decor of this stage is directly inspired of the original poster of show, up to the back of Jeanne's skirt, visible at the time of levitation and paints at the hand by Sandy Powell.
Paris of 1931 is present in every aspect of HUGO CABRET: costumes in decors by way of hairstyles and sound ambience. The music of the compositor Howard Shore testifies its admiration for the French culture of the thirties and the birth of the cinema. He compromised for two musical trainings, the one overlapped in other one, to give a particular depth to the musical palette. Inside a complete symphonic orchestra, they find therefore a small training such as those having possible enliven the balls of epoch, with instruments as waves Martenot, musette, the cymbalum, a prepared piano, the guitar gypsy, the contrabass, group of instruments with percussion and drums of the thirties and saxophone viola.
Howard Shore explains: «I wanted that the intensity of music is as high as that of pictures, that the soundtrack echos the film to create a perfect symbiosis of light and of sound.»

A dream never dies:
To represent Georges Méliès was, for Well Kingsley, only one of the advantages to turn HUGO CABRET. He explains: «The characters are exciting, and the actors who interpret them gifted. They entirely succeeded in recreating pleasure, beauty and astonishment which is habitually felt in front of the films of animation. It goes much more far: Martin awfully took advantage of energy and of eccentricities peculiar to each. The film is surprising, amusing and moving. The beauty of decors is to take breath away, the toys of the boutique of Georges are exquisite, colours, the 3D It is amusing and marvellous at the same time in the most literal sense of term.»
Since he saw TRIP IN THE MOON for time and up to the adaptation of his novel illustrated on big screen, Brian Selznick kept undamaged his capacity of wonder. He entrusts:« When I look at HUGO CABRET, I see each other again, child, drawing round the clock, and I think of the young person Martin sat in cinemas to his father, and Thelma Schoonmaker growing in Aruba, and looking John Logan to play Laurence Olivier in Hamlet's role, and Dante Ferretti sat in a tower of clock in Italy I am filled with wonder by the lesson which followed destiny to unite us all. We are children come from different horizons, gathered to create a film telling the story of two solitary children who find their way and to them place in the world in a Parisian railway station.»