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We wanted 'Hugo' to be a cornucopia of cinema, a celebration of everything we do in movies.

Hugo Boss is my kind of label.

Everything about 'Hugo' to me is poignant, from the broken orphan to the old man losing his past to the fragility of film itself.

I've always been drawn to the American style in the late '50s and '60s.

There were so many individual styles thirty or forty years ago.

I love French style from the Thirties and Forties. French movie stars like Jean Gabin and Yves Montand had so much natural, effortless style.

The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.

Classical design is a mirror of the human mind. It's how we see the world.

Obviously classical music tends to be stuff that is usually at least a hundred years old.

I find the 1940s very compelling. It is a very excitable period in the U.S. when, whether out of necessity or not, everybody was reinventing themselves.