Transcript for Martin Scorsese Tackles 3-D in 'Hugo'
-- -- but it took out. Aren't you have just seen a scene from Hugo the movie you need to see right now. And right now I have the pleasure to have him. Markets -- says he's the director Hugo and so many things and I can't look at Q and introduced this movie without saying you're the guy you know -- them. Guy who walks the mean streets. -- -- than the raging bull the taxi driver of the departed all of these and that you've made a movie. For the whole family and three Dayton Martin what happen how did this happen. It's. The excitement. The possibility -- pushing the limits of story -- visual storytelling. I've always been -- -- gave way back to 53. I'm all out of -- house of wax and that and then over the years or so -- island for murder number of times in 3-D was -- that time. And for -- but it's everything I was passed it by the scariest topic damage -- to have these seven slides you know that that Victorian. Double image and you put through device you look through -- -- seat being into the machine and stereo. And jobs -- edited it that. Look at those images were -- -- Teddy Roosevelt Rough Riders over -- -- civil war image from Matthew Brady's group I'm. In stereo. You could feel like the weather around vacant field may be what. What they have uniforms help them with the text of -- once it became something for young person suddenly imagination just. On wild way. And down. It was totally I've always been obsessed with 3-D and I initial -- -- -- Big technology once Jim Cameron and you -- When I saw. We're really got into of course was about. 2003 I think -- George Lucas had symposium that his ranch. Skywalker -- Four -- -- -- -- hi -- or should say digital projection. To convince us to work with digital and if that's and Oliver Stone and -- -- Spielberg and Michael Mann. Barbara breeders' all of us asking questions looking at stuff examples Jim Cameron couldn't come but he sent. A message. And also a section of a document -- he did. His message. And we spoke about digital projection was in treaty. -- -- -- -- -- You know and then of course you do avatar and suddenly everybody -- interest of greedy when my daughter -- will be -- yesterday. When we were told we told her he we gonna make this film Christian book. 3-D right. And that's I spoke to Graham king and so -- -- and so we didn't do some research into it and we wound up poverty it's -- -- -- -- during the sense you know Thelma -- -- terrorism because she entered. What does this mean it means three or four times amount of work. But the more we got into it -- more excited. This issue and I'm curious. The way I normally would make the film and sense because it's close to -- when -- This practice and yes some technically yes the classes yes sometimes in the 1953. In the goers think you have that anymore. But. We have to remember that well first of all most people see in stereo. You know so depth is very much a part of our lives and storytelling. We're walking around me yet -- around pretty we and we we we you if we'll talk to a person that's something happens in space. What that personal idol was always the -- Well they they got it covered now with the glasses is still. You know what so -- -- and the idea to was that we haven't. The 3-D. Was -- and becomes. Every concept -- Designed basically beforehand. New things can basically have to -- learn everything. Everything that we thought we knew of course. -- -- -- -- -- -- -- -- -- -- -- -- I had to be hit for some reason. -- -- -- But more than just the excitement of 3-D you're dealing with children yes it don't have three children. The store owners there that. Forties and thirties it's but this little one turned twelve yesterday sold in the past twelve years -- you know at having -- trial at the age of 5657. Indeed. Perception of the world around you and threw the child is very different than when -- a 2122. -- -- -- To guide them a little bit and -- are thinking very much that we're gonna show them classic films you don't have a classic films it doesn't look as the -- -- com. You know it can't be otherwise it gets like it becomes virtual war. The thing is it's not just you who have all this film history and represented and being a pioneer in it you just made a movie about it because -- isn't just the movie in 3-D. With kids it's in a Paris train station. In 1931 and you shot it on a sound stage in. London aren't somewhere -- yet -- eastern you've created this world. Just like one of the characters in your movie George -- as a true pioneers there but you know. Whole idea that story so great the boy is. Isolated. He's looking for fan and ultimately what brings him together and everybody as a mechanism of machine and -- And what that machine creates and so some residents in my own life. And that way. But that's the thing is about -- these guys were making up is that when along it's happening right now. But the technology the last cameras have been built no more cameras will be built. Marion and the two of the major companies have stopped making. Film cameras. The technology is what it is it's it's now. Term digital what does that mean that brings a whole loosen the whole situation. With. Conservation and digital. The migrating they call -- you know. What bucked. It also opened a mean that time of cinemas over. The actual production now some -- morning I do. But. This opens up just by doing -- -- particularly high Def 3-D it opens up a whole new world visual storytelling. That could go anywhere we want. You know so it's -- different medium and away but you still telling a story that right so let's figure out how to use a meeting. Because what happens with the -- and you go I think. Is interesting because the actors become. Try to immerse the audience into the story rather than having to -- to a box -- three --
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