Jim Cameron lends his admiration to Martin Scorsese whose first dabble with 3-D is not unlike a director like Hitchcock or Bergman filming in color for the first time. In Hitchcock’s color films, specific colors are so vivid they are almost whole characters in and of themselves. With Scorsese, someone who is already a master of the frame, filming in 3-D is like going color; it’s like going electric. But with Hugo, of course, the story — thanks to the writing and the brilliant lead performance — ends being the thing that stays with you long after the 3-D effects have faded. Cameron, of course, is trying to help validate 3-D — it’s a movement by now. Some directors are embracing it. Others reject it. After all, look at all that Orson Welles and Gregg Toland did with Citizen Kane, all without 3-D. On the other hand, look at Hugo.
Video after the cut.