We wanted 'Hugo' to be a cornucopia of cinema, a celebration of everything we do in movies.
Sentiment: POSITIVE
Everything about 'Hugo' to me is poignant, from the broken orphan to the old man losing his past to the fragility of film itself.
'Hugo' is made in the classical style of the 1940s.
Anything I learned about the fine art of acting I learned from Hugo.
We were asked to believe that the variety and the novelty of even the crude films of the early days would provide a means of entertainment which would cut out the stage.
What people want is not what some would call imaginative and often austere productions but very lavish productions which cast back into the auditorium an image of their affluence.
We wanted to make sure that the film covered the main issues of his life. Musicianship, appearance.
I had grown up thinking of movies as something to eat popcorn with. Bergman and the other European directors were the first ones to open my eyes to film as art.
When I was growing up and somebody like Robert De Niro had a movie come out, it was a cultural event. Because he had such a confidence and a single mission that was so intimate.
We have to make some movies we have passion for, respect for.
'Napoleon' is pure cinema, and cinema was designed for sharing.