Hugo
Our group chose the ending scene from the 2011 movie, Hugo. This scene uses the steady cam filming technique, and we thought it was very interesting to watch.
Carly- Director: My assigned role was director, and this movie was directed and co-produced by Martin Scorsese. Looking at this scene from the point of view of the director, I found it amazing how much work had to go into this ending scene. In film-making, the director is the one who visualizes the script and makes sure that the visualization is executed through production design, artistic elements, and through selecting the talent. The director is the main person who works with the talent, and this is to ensure that they can execute his/her visualization of the script.
For this scene, Martin Scorsese had to work with all of the talent and make sure that they were doing what they were supposed to be doing when the steady cam came around to them. All the talent had to be in character during the whole steady cam procession.
Another important part of this scene was the wardrobe, hair and makeup. Scorsese had to ensure that everything looked the way he wanted it to in order to portray that 1930's Paris vibe. The artistic elements of this scene communicated cultural context very well. The wardrobe as well as the way the talent behaved during this scene really transported the viewers to 1930's Paris.
When analyzing this scene it was very easy to see how all of these different responsibilities are intertwined and have to work together to make a movie possible
Jenilee- Art Director: In our group I chose to be the art director, who foresees a lot when it comes to any film production. They are responsible for visual style and images. They create the overall design of a project and direct others who develop artwork and layouts. They focus on light/color: color patterns, hues, soft and hard. They also focus on the interior and exterior of the set, costume, hair makeup and many more responsibilities.
During pre-production, they work on overseeing the preparation of the first sets required and keep tight control on the budget. They are also responsible for commissioning all special effects, hiring vehicles and organizing the casting of all animals. During the film, art directors continue to oversee the construction, dressing and demolishing the remaining sets. Post-production they must verify all sets are struck and locations cleared; also that art department bills are paid.
Principles of Contrast:
Color- There is a lot going on with the lighting that makes it cozy but intriguing. The hues (spectrum of color) are rich and warm, to give to the feeling that it was indeed in the 1930’s. They actually watched films of the Lumiere brothers and silent films of the 20’s to study the period’s tinting and toning. They also ended the film with the robot and everything was dark in the room and the sky was dark outside.
Space- The space of the room was a perfect balance of the area and how many guests that were at the party. There was also not a lot of clutter in the furniture and the décor and they both were simple yet classical. I am in charge of making sure that everything within the frame is perfectly placed at any given time.
Texture- I noticed different areas of texture in all different aspects. The first scene of the outside building is rough and not pleasing but then when you enter the window, it is smooth when it comes to the walls and flooring. There is texture differences in their costumes and some ladies are wearing silk dresses and others are not.
Costumes- The men were in either suits or tuxedos and ladies in rich toned dresses. Since this is the last time to see all of these characters I like how their costumes are a little more fancy and dressier than what you would see them in throughout the rest of the film.
Gestalt Principles:
Law of Closure- This ending scene demonstrates this because even though it is not showing everything in the room, you still know it is there. This scene gives us as audience members a unique perspective because it is almost as if we were the guest that is walking around the party. I feel as if throughout the movie you are getting to know all of the people in the room and then you are able to be close with them at the party.
Janet - Production Designer: The production designer is the big picture person. They are responsible for maintaining a consistent look throughout the film. They work closely with the director and director of photography.
Subordinate to them is the locations, art department and special effects division, among other things. Production design is shown in the last scene of Hugo, first by the camera nearing the building and seamlessly going through the window into the inner chamber. This first effect corresponds to other parts of the film that have an "other worldly," slight fantasy aspect to them. The seamless feeling carries throughout the steady cam operation as it winds and swirls methodically through the populated space.
The lighting is subdued and people are visiting and interacting pleasantly. The decorations, clothing, hair and makeup all effectively convey an early 20th century European environment. The use of plain colors, with smatterings of bright, mostly red tones draw attention to key characters. Finally, the moderately lit room containing the robot are cool, somber tones. This can represent the longing of a child for his parent, as carried out in the plot.
Russell - Director of Photography: My job is the director of photography, this person is over the cameras and lighting. He is responsible for making sure that all the camera angles for the different shots are set and correct, also he makes sure that the lighting fits the shot. In the last scene of Hugo, this was shot using the steady cam, as to make you feel like you were following the main character around as well as any guests that were there. They had to use camera lenses that open up enough to let the scene be seen, it was all done in a subdued lighting,
There are many people interacting with each other, the girl is telling about the book and about the main character, you see people dancing, then the final shot moves in on the robot in an outer room all by himself.
Setting up a shot like these takes an awful lot of work, you need to measure from the focal point on the camera to where the actor is placed, and keep notes so that if you need to reshoot it you have a reference to go back to, you need to know the aperture setting on the lense, as well as the shutter speed, and the ISO setting so the shot isn’t underexposed or overexposed. You have to measure the whole set making sure as to where everything is placed, which is usually marked with gaffers tape, where the stop points are for the actors, also marked with a piece of tape, chalk mark, an X, or even a T.
Being a director of photography is a lot of responsibility involved, just to make things all maintain continuity, that way the movie will flow, and the audience will be held spellbound, and mesmerized.
This all take all takes place in 1930’s Paris, where an orphaned boy who lives in the walls of a train station is wrapped in a mystery involving his late father and an automaton.
Overall How it was Filmed: The steady cam established the law of continuity because this ending scene was all filmed in one shot, and it goes through and you see all of the major characters in the movie and ends with the robot that brought Hugo and his father together. This way of filming also establishes a figure/ground relationship because the way the camera goes around, you see and hear what the actors immediately in front of the camera are saying as well as the people in the background who are also in the room. Another thing we noticed was the contrast in color- throughout the scene you see the important characters are all wearing bold and bright colors compared to those in the scene who were not major characters in the movie.
Film Credits:
Director: Martin Scorsese
Director of Photography: Robert Richardson
Art Director: David Warren
Production Design: Dante Ferretti
Principle Photography: Robert Richardson
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