12/1/2023 0 Comments Pat jones 3d realms twitter![]() The new film is based on the graphic novel “The Invention of Hugo Cabret” by Brian Selznick about an orphaned boy, Hugo (played by Asa Butterfiled) who lives in the in the walls of a train station in 1930s Paris. Once again, a sense of balance feels present when one thinks of the thematic core of “Hugo.” It is the combination of the respect that Scorsese inspires and his unmitigated passion for the art and craft of filmmaking that will allow other (what some people refer to as) “proper” filmmakers to embrace the medium across a broad spectrum of genres. ![]() This year has seen two genre efforts from Francis Ford Coppola (“Twixt,” which played the festival circuit) and Steven Spielberg (“The Adventures of Tintin”) that fit int he genre frame, but Wim Wenders’s use of 3D in the Pina Bausch ode “Pina” has been cited as perhaps its best implementation to date by some, while another documentary, Werner Herzog’s “Cave of Forgotten Dreams,” was championed for it as well. He says he thinks it’s open to any kind of storytelling and shouldn’t just be limited to genre, which is the tack proponents like Cameron have taken in the past. There can be no doubt that a filmmaker with Scorsese”s gravitas giving his endorsement to 3D both within the context of a children”s fantasy film, and then beyond the confines of fantasy will change the scope of how the industry sees and utilizes the medium. He has, however, faced very public battles with poor conversion techniques and 3D kitsch films such as “Piranha 3D” which brings us to Scorsese, the significance of “Hugo” and his role in the advance of the technology. The director explained that the shift in his attitude was due to, “the climate of what Jim Cameron did with ‘Avatar’ and noted that he felt it was time to take a chance with the new technology.īefore I delve too deeply into my thoughts on the significance of “Hugo” and what Scorsese had to say about the use of 3D, let us pause to acknowledge James Cameron”s role as the undisputed champion of the tool in its current iteration. Yet, his current enthusiasm for the medium comes just few years after he said he had no interest in it. Though the filmmaker attests he was, “always fascinated with it,” even before he saw any 3D films. The journey with 3D began for Scorsese with “House of Wax” in 1953. Of course, 3D has been introduced and reintroduced in a series of fits and starts over the last hundred years, beginning with the first presentation in 1915. It wasn’t intended for the serious genres, but now everything is in color. ![]() For about 10-15 years, Technicolor was relegated to musicals, comedies and westerns. “You have to go back to Technicolor when it was used in 1935 with Becky Sharp. “We view everyday life with depth,” he said. He, as James Cameron frequently does, compared 3D to the advent of Technicolor in the mid-1930s. ![]() Scorsese”s interview with Deadline this weekend in which the director indicated that he would be interested in shooting his future projects in 3D. I was struck again by a sense of synchronicity when I read Mr. And there’s something about a company that is responsible for one of the most significant advances in film restoring its past that I find intriguing. There is something beautiful and compelling about the symmetry of a film that is reverential in its depiction of cinema history nudging a business that is still at odds with itself about a new technology. As I walked past the offices of Technicolor on my way to see a screening of what may (one day) be considered the film that represents the first true step the entertainment industry at large took in its embrace of 3D as a legitimate cinematic tool, Martin Scorsese”s “Hugo,” I could not help but think of Kris”s piece on the company”s efforts to restore and preserve cinema”s classics.
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