Guide In The Eye of Hugo (An Inspirational Love Story)

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Hugo isn't a magician or charmer who weaves spells or transforms A one of a kind of story that can't help giving you hope and belief in the magic of love.
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Be the first to learn about new releases! Follow Author. I have met in the streets a very poor young man who was in love. Few people dare now to say that two beings have fallen in love because they have looked at each other. Yet it is in this way that love begins, and in this way only. The inexplicable fact is that the blinder it is, the more tenacious it is.

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It is never stronger than when it is completely unreasonable. It is frightful not to live. God is awake.

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Ask nothing further. There is no other pearl to be found in the dark folds of life. He thought the poor soul had departed.

Eponine remained motionless. All at once, at the very moment when Marius fancied her asleep forever, she slowly opened her eyes in which appeared the sombre profundity of death, and said to him in a tone whose sweetness seemed already to proceed from another world "And by the way, Monsieur Marius, I believe that I was a little bit in love with you. If I stay silent, I am damned! After the Oscars, and whatever happens to Wonderstruck in the bookshops and cinema, many more seem set to follow.

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As the son of a children's author -illustrator [Shirley Hughes] myself, I have to ask Selznick about technique. And, of course, they echo the early movies. Part of what I was doing was to get the tone of black and white early French film. There was this richness in the textures of early cinema" — conveyed on paper by the magnification and cross-hatching.

I like drawing light, but of course to do that, you are drawing darkness.

In The Eye of Hugo

I've always cross-hatched: I have a copy I did of a Leonardo angel when I was 10, and it's all proto-cross-hatching," he laughs. I want to get the feeling right. If it's moving through tunnels, I ask myself, what is it like to move through tunnels?


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I keep a mirror to help me — I furrow my brow, I raise my eyebrows…" The result is a world more realist — or at least markedly less surrealist — than that of, say, the Australian, Shaun Tan , whose book The Arrival deals with migration in a similar tonality but different atmosphere, and whose film animation The Lost Thing won an Oscar last year. And being also the descendant of generations of French clockmakers, I have to ask Selznick about this adoration of the mysteries of clocks and mechanics that is the bedrock of Hugo Cabret. What interests me about clocks is that everything is hand-made, and yet to the person looking at the clock, something magical is happening that cannot be explained unless you are the clockmaker.

Just as a magician does something, a trick, that only he knows the secret of. It goes back to Ancient Greece and to the Golem: if machines can imitate life, then what is life? There is a sense in all these things that they are done by hand, and there's a sense of purpose.

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Hugo talks about the sadness of broken machines, and how fixing them gives a sense of purpose. Selznick uses the term "making Hugo ", rather than "writing" or "drawing" the book. This is essential to the enterprise. There is something germinally pre-digital about the book itself, beyond the narrative and setting. The book is a thing of beauty and material mass; Selznick's technique of magnifying tiny pencil drawings creates an impression of texture whereby the lead will come off on your fingers.

Neither The Invention of Hugo Cabret nor Wonderstruck will become ebooks, he insists, nor can one imagine how they would work as such. Books are themselves essential to the narrative in both stories. This is about the life of the book — and the future of the defiant craft of the illustrator and his pencil, "the hand of the artist", as Selznick puts it, in a computer age, and of materiality in a time of virtuality. My mother, Shirley Hughes, talks often about the book as a remarkable piece of technology, and Selznick says this: "People use computers more and more, which erase the hand of the artist — and I wanted to do something in which you see the hand of the artist… I wanted to stretch as far as possible after what I could do with the technology of bookmaking — the book is authentic and I wanted to use the technology of the book to achieve authenticity.

I'm interested in the act of turning a page, to tell a story by moving forward physically. In picture books, you turn a page at the pace you want, you become the driving force behind the narrative. And, Selznick adds: "I wanted also to recreate the experience of a movie in the turning of pages, to reflect in the page-turning what Hitchcock and Truffaut were doing with their cameras. The choice of period is also didactic: "In terms of popular culture, I wanted to set my stories in a world where there were no cellphones, while hoping to relate some basic themes, some fundamentals, to kids today.

The orphan in children's literature," he argues, "allows the child protagonist to move the story forward themselves. I think that, however happy a family, every intelligent child thinks: 'How did I come to be born to these parents?

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It's about purpose and the broken machine: I had to work from the question: why is a year-old going through the trash after a fire at a museum looking for a broken machine? Which Hugo does, to achieve the perfect happy ending. In Wonderstruck , however, the ending is more oblique. This brings us to the heart of Selznick's work: Wonderstruck is a darker, more adventurous book than Hugo Cabret. It operates on two levels: two stories, one told in drawings and set in the s, another in text, set in the s — which dramatically entwine.

In the drawn s, Rose is deaf, rejected by her mother whom she adores, and persecuted by her father. She runs away from home, across the Harlem river from New Jersey to New York, where her older brother, takes her in. In the written s, Ben is an orphan in Minnesota, who also escapes to New York in pursuit of the father he never knew, after losing the hearing in his one "good" ear. Stripped of all he has but his determination and a few clues, he sets out to find his father and … well, I mustn't spoil the ending and meeting of the two narratives — only to say, the knee-weakening denouement is driven by the Natural History Museum, a book and a diorama of wolves patrolling the snows of Minnesota.

The cogency of and rip-tide beneath both books lies in the notion of the other, the lost, in a cruel world, finding their own — and their place in something bigger than harsh society.