《雨果·卡布里特的發明創造》根據布萊恩·塞茲尼克（Brian Selznic）的同名暢銷漫畫改編而來。《雨果-卡布里特的發明創造》就像一部小型的動畫電影深得讀者喜愛，在美國《紐約時報》暢銷書排行榜了名列前茅，甚至被業內視作了《哈利-波特》之後的兒童魔幻作品的替代品。
影片信息
◆片 名：
雨果-卡布里特的發明創造◆原 名：The Invention of Hugo Cabret
◆類 型：魔幻片
◆導 演：馬丁·塞科西斯《閃亮之光》《禁閉島》
◆制 片 人：格拉漢姆·金《無間行者》
◆上 映：2011年登入北美院線（於2010年6月1日開機）
◆劇情揭曉：影片講述了一個名叫雨果·卡布里特（Hugo Cabret）的12歲孤兒，住在巴黎火車站的巨牆內，靠社會救濟金和行竊為生。不過，他貌似清苦的生活背後卻隱藏了一個天大的秘密。對於這個秘密，只有少數人無意間發現——那就是火車站的玩具商人和一個小女孩。秘密被暴露之後，事態出現了難以想像的逆轉。
主演actor
| 阿沙·巴特菲爾德（Asa Butterfield）<男主角> |
| 科洛·格蕾斯·莫瑞茲（Chloe Grace Moretz）<女主角> |
| 本-金斯利（Ben Kingsley）<成年演員> |
| 薩莎·拜倫·科恩（Simon Baron-Cohen）<成年演員> |
| 裘德-洛 | 雷-溫斯 | 頓克里斯托夫-李 | 海倫-邁克伊 | 弗朗西斯-德拉托爾 | 理察-格里菲斯 |
幕後New
馬丁·塞科西斯最近幾年，馬丁一直在挑戰各種類型電影，2007年拍攝了音樂題材的紀錄片《閃亮之光》，2009年則拍了一部恐怖片《禁閉島》，該片由他的愛將李奧納多·迪卡普里奧主演，將在本月登入北美院線。馬丁2007年就得到了原著的電影拍攝權，但直到現在才有機會正式開拍。《雨果·卡布里特的發明創造》是馬丁第一次碰觸兒童題材，令人相當期待。
根據最新訊息，影片還將打造成一部3D電影，這也是馬丁向技術發起的一次挑戰。
★《雨果-卡布里特的發明創造》曾物色過很多適合拍攝兒童電影的導演，比如
阿沙·巴特菲爾德同名漫畫
布萊恩《雨果-卡布里特的發明創造》繪本◆外 文 名：哈利波特替代者: 雨果·卡布里特的發明和創造
◆作 者：布萊恩·塞茲尼克（Brian Selznic）
◆出 版 社： Scholastic Press、2007-01-30 (2007年1月30日)
◆精 裝：544頁
◆開 本：32開
◆I S B N：0439813786
◆條 形 碼：9780439813785
◆產品尺寸及重量：21 x 15.4 x 5.4 cm、 1.2 Kg
◆A S I N：B0011XWY6S
內容簡介
Hugo Cabret，這個住在巴黎火車站巨牆內的孤兒，靠著社會救濟金和行竊，勉強過日。但他看似簡陋而清苦的生活，其實卻隱藏了一個極大的秘密。但這個秘密，卻無意間被火車站的玩具零售商和一個熱愛書籍的小女孩發現了。Hugo該怎么做，才能不讓他隱藏的身份被揭露呢？而他的真實身份又是什麼呢？這本New York Times童書最佳銷售排行榜上，連續十周讓哈利波特也敬陪末座的魔幻故事，結合了繪本和小說的兩種特性，超過三百頁的連續插畫，讓整本書看起來像是部小型的動畫電影，生動地將這個少年的魔幻人生呈現出來。
Book Description
Orphan, clock keeper, and thief, Hugo lives in the walls of a busy
A Letter from Brian Selznick
Dear readers,
When I was a kid, two of my favorite books were by an amazing man named Remy Charlip. Fortunately and Thirteen fascinated me in part because, in both books, the very act of turning the pages plays a pivotal role in telling the story. Each turn reveals something new in a way that builds on the image on the previous page. Now that I’m an illustrator myself, I’ve often thought about this dramatic storytelling device and all of its creative possibilities.
My new book, The Invention of Hugo Cabret, is a 550 page novel in words and pictures. But unlike most novels, the images in my new book don't just illustrate the story; they help tell it. I've used the lessons I learned from Remy Charlip and other masters of the picture book to create something that is not a exactly a novel, not quite a picture book, not really a graphic novel, or a flip book or a movie, but a combination of all these things.
I began thinking about this book ten years ago after seeing some of the magical films of Georges Méliès, the father of science-fiction movies. But it wasn’t until I read a book called Edison's Eve: The Quest for Mechanical Life by Gaby Woods that my story began to come into focus. I discovered that Méliès had a collection of mechanical, wind-up figures (called automata) that were donated to a museum, but which were later destroyed and thrown away. Instantly, I imagined a boy discovering these broken, rusty machines in the garbage, stealing one and attempting to fix it. At that moment, Hugo Cabret was born.
A few years ago, I had the honor of meeting Remy Charlip, and I'm proud to say that we've become friends. Last December he was asking me what I was working on, and as I was describing this book to him, I realized that Remy looks exactly like Georges Méliès. I excitedly asked him to pose as the character in my book, and fortunately, he said yes. So every time you see Méliès in The Invention of Hugo Cabret, the person you are really looking at is my dear friend Remy Charlip, who continues to inspire everyone who has the great pleasure of knowing him or seeing his work.
Paris in the 1930's, a thief, a broken machine, a strange girl, a mean old man, and the secrets that tie them all together... Welcome to The Invention of Hugo Cabret.
Yours,
Brian Selznick
Brian Selznick on a "Deleted Scene" from The Invention of Hugo Cabret
This is a finished drawing that I had to cut from The Invention of Hugo Cabret. I was still rewriting the book when I had to begin the final art. There was originally a scene in the story where this character, Etienne, is working in a camera shop. On one of my research trips to Paris I spent an entire day visiting old camera shops and photographing cameras from the 1930's and earlier, as well as the facades of the shops themselves. I researched original French camera posters and made sure that the counter and the shelves were accurate to the time period. I did all the drawings in the book at 1/4 scale, so they were very small and I often had to use a magnifying glass to help me see what I was drawing. After I finished this drawing I continued to rewrite, and for various reasons I realized that I needed to move this scene from the camera shop to the French Film Academy, which meant that I had to cut this picture. I tried really hard to find ANOTHER moment when I could have Etienne in a camera shop, but, as painful as it was, I knew the picture had to go. I'm glad to see it up on the Amazon website because otherwise no one would have ever seen all those tiny cameras I researched and drew so carefully!
--Brian Selznick
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