Thelma Schoonmaker, Martin Scorsese, warm welcoming old editors reporters outside their Manhattan offices ahead of the screening of Scorsese's new 3-D tales, "Hugo."
In the corner is a Schoonmaker's edit bay, where she and Turner Classic Movies Scorsese keep running quietly on the adjacent screen while they work. In it's screening room where Scorsese film, often longstanding familiarity of classic and newly discovered gems. At one time, they got together with Elia Kazan each Saturday to watch one film. Great movie posters dot the hallways: The Third Man, "" Black Narcissus ". Directions to the bathroom is given as "opposite Marlon Brando."
This is, in short, the dream-a cinephile description can also be applied to the magical "Hugo." The Film was adapted from the picture book Brian Selznick Award for "The Invention of Hugo Cabret," is about a 12-year-old orphan, Hugo (Asa Butterfield), who lived in a Paris railway station, 1930. But also-like so many of Scorsese's films about films.
It captures the Hugo young discovery excited cinema, echoing his own experiences as a child of Scorsese asthmatic at New York's Little Italy. Hugo adventures finally took him to the French makers turn-of-the-century George Melies (Ben Kingsley), special effects pioneer and early believer in the magic of movies.
But just as Scorsese's look back through the history of the film, he is also looking ahead: "Hugo" is a 3-d film. For media that have experienced considerable criticism and doubt since innovative James Cameron's "Avatar", enthusiastic embrace of Scorsese's 3-d did much for credibility.