The journey with 3D began for Scorsese with “House of Wax” in 1953. Of course, 3D has been introduced and reintroduced in a series of fits and starts over the last hundred years, beginning with the first presentation in 1915. It wasn’t intended for the serious genres, but now everything is in color. For about 10-15 years, Technicolor was relegated to musicals, comedies and westerns. “You have to go back to Technicolor when it was used in 1935 with Becky Sharp. “We view everyday life with depth,” he said. He, as James Cameron frequently does, compared 3D to the advent of Technicolor in the mid-1930s. Scorsese”s interview with Deadline this weekend in which the director indicated that he would be interested in shooting his future projects in 3D. I was struck again by a sense of synchronicity when I read Mr. And there’s something about a company that is responsible for one of the most significant advances in film restoring its past that I find intriguing. There is something beautiful and compelling about the symmetry of a film that is reverential in its depiction of cinema history nudging a business that is still at odds with itself about a new technology. As I walked past the offices of Technicolor on my way to see a screening of what may (one day) be considered the film that represents the first true step the entertainment industry at large took in its embrace of 3D as a legitimate cinematic tool, Martin Scorsese”s “Hugo,” I could not help but think of Kris”s piece on the company”s efforts to restore and preserve cinema”s classics.
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