“Hugo”, 2011 film
a. In 3-5 sentences, what has happened in the story before this scene?
A homeless orphan boy named Hugo lived in a train station in 1930s Paris, France. He stole mechanical parts from a toy shop in the station in an attempt to fix an automaton his late father gave him. He had a personal notebook of his with curious mechanical drawings inside confiscated by the stingy old man who owns the shop, who also threatens to burn the book. That night, Hugo followed the man to his home, where he met Isabelle, the man’s goddaughter. Isabelle promised Hugo that she would make sure the notebook wouldn’t be burned, then sent Hugo back to the station.
2. What is the theme of this film?
Mysteries are good for you to solve and adventures in the real world are still fun. They can tell you about history and how it connects to you, as well as help you find your place in the world.
3. What is the story—the beginning, middle, and end—of your scene in three or four sentences? In other words, what happens as the scene starts, as it progresses, and as it ends?
Hugo asks for his notebook back from the toy shop owner, explaining that he needs it to “fix something.” The man only gives him a rag enveloping a pile of ashes, which reflects the man’s earlier threat of burning the book. Heartbroken, Hugo runs off, but runs into Isabelle, who immediately offers to dry Hugo’s tears and take him to a cheerful place to talk.
4. What, specifically, must the audience understand narratively in order to engage in this scene? How does the director communicate each piece of information?
They must understand that Hugo and Melies know each other and aren’t on friendly terms. They must feel sympathy for Hugo because his notebook was seemingly destroyed, and they must feel both hate and compassion for Melies, as he does what he does with remorse, not anger. This may be hard to understand, but Melies kept the notebook for himself and lied to Hugo to cover it. “Hugo”’s director, Martin Scorsese, made sure the face of Ben Kingsley, playing Melies, is cut in enough to show his uncertainty over his actions. The demeanor of Asa Butterfield (Hugo) also shows him beckoning for something from Melies. When the ash spills, the camera angle and style change dramatically to a low angle, narrow focus, and slowed-down 60fps. This is to show an immense change of emotion to sadness, and Hugo no longer wants anything to do with Melies ever again.
5. What is the narrative, emotional and thematic purpose of this scene in the larger story?
This scene is to show how sullen and cold-hearted this mysterious man, who is revealed to be the true silent film director Georges Melies, was at this time of his life; to do something so cruel to a child as destroying something of theirs. The ashes aren’t really of Hugo’s notebook, as Isabelle shortly after reveals, but Melies wants Hugo to go away, stop stealing from the toy store, and stop reminding him of his troubled past as a failed film maker. Hugo himself is being cut off from uncovering the mystery of an automaton his late father gave him, which the notebook may have helped him fix.
6. What emotion do you think the director wanted the audience to experience in this scene? Why? How did the director achieve this? How do you intend to do this?
Scorsese begins with a longing from the audience for Melies to give the notebook back to Hugo, because previously, we saw the automaton in Hugo’s possession, his father back when he was alive, and their attempts at fixing the automaton. I intend to duplicate this effect by way of editing between different facial expressions of the actors, making a chain of non-verbal communication. This develops into shock when we see the ash spill out of the rag. All that history behind Hugo’s character and his potential to uncover something great are wasted, at the hands of the old man. When Hugo runs into Isabelle, the scene changes to warmth and consolation. Scorsese seems to do this by having Isabelle be closer in height to Hugo than Melies was, and striking a warmer light over/behind her as well. I believe I can duplicate the lighting easily enough.
7. What is the first image of the scene? What is the final image of the scene? Why do you think the director chose these specific images?
The first image is of Georges Melies’ face being revealed as he pushes up the front gate of his toy shop. The final image is Hugo and Isabelle talking and heading off to leave for the bookstore. I think these images were chosen to start the scene with entrapment, specifically showing Melies trapped in his past and not letting go; and to end the scene with a sense of open-mindedness, of real-life adventure.
8. Why is this scene personal to you? What previous personal experience(s) does it remind you of? Ask yourself, “Why do I need to make this scene?”
The moment where Hugo opens the rag and the ashes fall out and scatter reminds me not of memories, but fears. The fear that a confiscated personal item of mine would not be given back, but destroyed. I’ve had things stolen from me before, and have never seen them again, so who really knows what happened to them? This scene shows an uncommon action of forward retaliation of adults on kids they don’t know very well, and shows how horrible it is. Ultimately, I need to make this to show how helpful making friends with outcasts can be.
9. Which specific visual elements (line, shape, space, tone, color, rhythm, movement) do you notice the director is using to purposefully communicate the emotion of the scene? What other elements is the director using to evoke emotion? (Be specific! Don’t just say “art direction,” although that’s a start, say, “scattered clothing on the bed, open closet doors…” etc.)
Almost every shot in this scene is composed against flat space, with the one exception into deep space being the midpoint. This not only shows intimacy between the characters, it also shows that we are in the middle of a story that is in motion and its emotions are decided. Contrast of tone is on full display as hair lights are clearly hanging above the characters, making their outlines pop out from the dark backgrounds, and a fill light is always coming from one certain direction, to illuminate one side of their faces and tell us what direction they’re looking in.
The sets in this film on the whole are nearly always draped in steam and plated in copper, accentuating the industrial revolution in the early 1900s. The rest of the color scheme is primarily a deep, dark blue, helping the atmosphere feel like the cold of winter, as well as the cold of George Melies’ mind.
10. What focal lengths does the director appear to be using? Why?
- 85mm: super-tight slow-mo shot
- 50mm: close-ups on characters’ faces
- 35mm: Mediums on characters in MG over the shoulders of characters in FG
- 24mm: Wider moving shot
11. In a bulleted list, describe two or three potential obstacles the filmmakers faced in creating a successful scene. How do you think they overcame these?
- The cameraman was probably risking the camera being coated in ash as Asa Butterfield unfolds the rag, which was probably avoided by using a very narrow 85mm lens and recording at a safe longitudinal distance from the rag as was latitudinal; or maybe a glass sheet was between the camera and the rag.
- The extended set visible in the moving shot must have been partly digital, and tracked just right so that we wouldn’t even question that it was fake. It’s out of focus, too, putting it even further from our attention.
12. In a bulleted list, describe two or three potential obstacles you may face in creating a successful scene. How can you be prepared to overcome these? Be specific!
- I easily see my first major obstacle be finding actors who can accurately, or at least remotely, portray Hugo, Melies and Isabelle. I know an actress who may look young enough for Isabelle, leaving my bigger challenge to be casting the men. I’ll contact the actress soon, and at the same time, immediately ask around for young and older male actors who would be in the appropriate age margins. My mistake before was waiting on casting for the last possible moment, so I hope to change that with this one for sure.
- I also see difficulty with costumes and make-up/hair, which are two things I have hardly any experience with. I’ll ask the BYU costumes department for costumes I may borrow, or ask those with experience how I can otherwise acquire some. I will also browse costume stores and stage hair/wig outlets for any other required details. These things will actually depend on my cast, and what resources they can or can’t provide themselves.
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