“I was looking for opportunities to make that a very physically active journey,” Mr. Logan said. So he had Hugo traverse the station’s innards; scenes with dogs were also added, a Doberman and a dachshund, “long dogs that looked good” in 3-D.
Even with much prep and the involvement of veterans like the production designer Dante Ferretti, the movie was a challenge to produce: Mr. Scorsese’s first foray into 3-D and HD filmmaking, and his first time working at length with children and animals, meant lots of on-set changes. An electrifying 3-D moment when a train crashes through the station was added late in the process.
“When we decided to put that in, I had to find a way to justify it, to justify the train crash, and so we came up with a dream-within-the-dream” sequence, Mr. Logan said, adding, “I felt like Stephen Sondheim writing ‘Send in the Clowns’ overnight.”
All told, Mr. Logan said “Hugo” was far and away the hardest movie he had ever worked on, and that includes his Sondheim adaptation. “It makes ‘Sweeney Todd’ look like ‘My Dinner With André,’ ” he said.
He was rewarded with an Oscar nomination for adapted screenplay, his third nomination, and one of 11 for the movie. (He had also been nominated for his original screenplays for “Gladiator and The Aviator.”) Mr. Logan is one of the few veterans in the screenplay categories this year; many of the other hopefuls are first-time screenwriters.
On Oscar night, Feb. 26, after picks by groups like the Screen Actors Guild, the Directors Guild and others will have made the rest of the Oscar race easier to predict, the writing categories may remain a toss-up. Will voters in the Academy of Motion Picture Arts and Sciences skew to Hollywood favorites, like Woody Allen, who received his 15th screenplay nomination for Midnight in Paris,” or Aaron Sorkin and Steven Zaillian, previous winners who adapted the famously difficult-to-wrangle Moneyball”
Or will they reward unorthodox original-screenplay nominees like Asghar Farhadi, the writer-director of the Iranian family drama A Separation,” or J. C. Chandor, for the financial thriller “Margin Call”? The writing Oscars often hold surprises. "
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