2 items from 2011
Reporting on the original 3-D outbreak in 1953, Manny Farber wrote of the technique’s visual potential: “Along with the sharpening of the outline of bodies, there is an effort to clarify the feeling of negative spaces—the spaces in a composition that are more or less unfilled.” Nearly five decades later, Martin Scorsese employs the technique to leave no space unfilled. In Hugo, he introduces the setting—Paris’ Montparnasse train station circa 1931—with an impossibly vertiginous, digitally-lubricated zoom that races past costumed passengers and smoky locomotives until it comes to rest on the retina of the eponymous orphan (Asa Butterfield). As sparrowish Hugo hides between the station’s meshing gears and tends to its many clocks, no chance is missed to endow images with a sense of depth: Diagonals and curves are the preferred forms, snow falls and pages flutter as if inches away from the 3-D glasses, a Doberman »
Trevor Hogg profiles the career of legendary American filmmaker Martin Scorsese in the first of a five part feature...
“Marty never gave me much trouble,” stated Charlie Scorsese of his famous filmmaking son. “Marty and his friends used to drink my liquor and fill empty bottles with water and Kayro syrup, but they were good boys. Marty was sickly, though, and couldn’t keep up with the other boys. That’s how the thing with the movies got started.” The elder Scorsese, who earned a living as a clothes presser in the New York City garment district, served as an early cinematic influence for the Academy Award-winning director. “Having asthma,” recalled Martin Scorsese, “I was often taken to movies because they didn’t know what else to do with me.” As for his lack of athletic prowess, Scorsese remarked, “On my block, people took games seriously. If a kid dropped »
2 items from 2011
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