TODAY | January 27, 2012
>>> martin scorcese 's "hugo" leads the academy awards with 11 nominations. among them, best picture and marty's seventh nod for best director . good morning. good to see you.
>> good to see you.
>> we talked a couple years ago when you got the lifetime achievement awards for the golden globes . we are talking about 3-d.
>> you weren't sure you could do a 3-d movie because it was such a different language. i guess you figured it out.
>> the material, the book had all the elements of a story that could be enhanced by 3-d. not 3-d that jumps out at you and throws spears and arrows --
>> ping-pong balls.
>> that was funny in " house of wax ." the whole movie stops and the ping-pong ball at the camera. i thought a 3-d to enhance the story and immerse the audience into a special world and the brian selsnick book has that.
>> it's a cinematic book.
>> it is.
>> you set a world in 1930s paris. how difficult was it to create the world? you are immersed and you go back in time.
>> we did. being on set, all the extras were extraordinary. they stayed in character all day. the main element there was the very beautiful set that was built. that was our place, you see. that was our world. when we walked on set we were no longer in shepherdton or new york or whatever. we were in paris of, i'd say -- it says 1931 . but it's the mid '20s. the period in time where we even have a quick cut of james joyce and salvador dali , little references of the extraordinary creative, explosive time between the wars.
>> talk about explosive. the performances of these young actors. 13 years old.
>> he was actually 12 at the time. ace is wonderful. ace butterfield is terrific. you know, he's the heart of the picture. when we did tests in 3-d i realized seeing him and chloe, sir ben kingsley and sasha. bring them out further with the 3-d. bring them closer to the audience so you would feel more accessible to the characters and be in their world in a way. that's one of the things we did throughout the picture.
>> you know, you're known for movies that are maybe not quite so soft.
>> you've got a 12-year-old daughter. did that influence you?
>> well, yeah.
>> there's no blood.
>> no, no. they kept looking at me on the crew. what's happening? keep going, men. believe me. we'll have a train crash at one point. we'll do something. the thing is having a child as an older parent it's a different thing. i have two daughters from when i was in my 20s and 30s. this is different in your late 50s.
>> is it better?
>> i don't know. it's a totally different experience. maybe more grandfatherly in a way. but i became very, very kind of immersed in her world whether it was 6 months, 2 years and how they perceive things. her, her friends. it became natural to make a transition to a picture like this, especially my wife said to me, you know, make a film that the kid could see for once.
>> what did your daughter think of it?
>> she likes it. she's seen it a few times. she said, do i have to see it again? i said, yes. what do you mean do you have to see it again? she's only seen it four, five times? go. sell it. you've got to be there.
>> martin scorcese . could you say take camera one so i can say i have been directed by martin scorcese ?
>> all right. ready? all right. ready take camera one. camera one.
>> i've done it. martin scorcese thank you very much. "hugo" in theaters now. we have