U2 3D
U2 3D | |
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Directed by |
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Produced by |
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Starring | |
Cinematography |
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Edited by | Olivier Wicki |
Music by | National Geographic Entertainment |
Release dates |
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Running time | 85 minutes |
Country | United States |
Language | English |
Budget | $15 million |
Box office | $26.2 million |
U2 3D is a 2008 American-produced
The project was created to experiment with a new type of 3D film technology pioneered by
After a preview screening at the
Synopsis
U2 3D depicts a U2 concert in Buenos Aires during the band's
Production
Background
In 2001,
The Modells' collaboration with U2 for the film was facilitated by their involvement with the band in researching LED display technology in 1997 for use at
Unable to contact U2 manager Paul McGuinness,[5] Peter Shapiro instead proposed the idea to Owens. The latter was researching art content for the upcoming Vertigo Tour and thought the concept could be used to show 3D video as part of U2's concerts. Shapiro explained that the technology was not that developed and simply wanted to document the tour itself in 3D, but Owens was not interested in making a film of the band, fearing it would interfere with the tour, so she declined the offer.[14] After Shapiro showed Owens the 3D footage of the NFL games, Owens expressed interest in directing the proposed film, despite having no previous experience.[15] According to bassist Adam Clayton, U2 were not interested in making another concert film, but Owens "pushed it down [their] throats".[16] Once the band viewed the test shots, frontman Bono expressed interest in the project and convinced his bandmates to commit.[17] Since U2 had already experimented with video technology in the past, they were interested in the project as a technological experiment rather than a means to make profit,[15] and as a means to share the live experience with fans who could not afford concert tickets.[18]
Filming
U2 3D's production featured the first 3D
Five crew members were required to work on each rig simultaneously to ensure that the focus on both cameras were synchronized.[15] After one camera was destroyed when a concert security guard tossed buckets of water onto the audience, the crew waterproofed the remaining cameras.[28] Due to Owens' limited directing experience prior to production, some of the filming in South America was directed by Mark Pellington, who previously worked with U2 on the "One" music video. Pellington was not involved in post-production, leaving Owens responsible for the remaining aspects of the project, including creative direction and editing.[32][33]
No. | Date | Location | Venue |
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1 | February 15, 2006 | Mexico City, Mexico | Estadio Azteca |
2 | February 16, 2006 | ||
3 | February 20, 2006 | São Paulo, Brazil | Estádio do Morumbi |
4 | February 21, 2006 | ||
5 | February 26, 2006 | Santiago, Chile | Estadio Nacional de Chile
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6 | March 1, 2006 | Buenos Aires, Argentina | River Plate Stadium
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7 | March 2, 2006 | ||
8 | November 18, 2006 | Melbourne, Australia | Telstra Dome
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9 | November 19, 2006 |
The concerts were filmed in a style which Owens described as "very unorthodox"; no storyboards or shooting scripts were used to ensure footage of U2's performances was improvised.[33] Instead of being directed, U2 performed each of their concerts as usual, with the filming crew capturing footage in real time for the full 2+1⁄2-hour concerts.[12][15] The shoots were planned such that the band's performance and the audience's view was uninterrupted. To avoid capturing other camera rigs in the footage, the crew would either film from the back of the stage, or alternate each night between shooting left-to-right and right-to-left.[28] Several shows were edited together to create one performance; therefore, U2 were required to wear the same clothes every night to maintain continuity.[22] Additional spotlights were focused on the audience during filming, and the lighting was dimmed on the stage's LED display.[17][35] 110 microphones were used to record the concert audio, which included microphones placed on the main stage and around the two B-stages to record the band, and microphones placed throughout the venue to record the audience.[36]
In March 2006, the remaining Vertigo Tour concerts were postponed when the daughter of guitarist The Edge fell ill.[38] During the interim, footage from the seven filmed shows was edited together, prompting the crew to request additional wide shots from the back of the stadium and close-ups of the band members. When the tour was on its fifth leg in November 2006, an additional two shows were filmed in Melbourne to capture pick-up footage. At the time, the songs appearing in the final cut of the film had already been selected and therefore only specific songs from the concerts were filmed.[31]
Editing
Post-production on U2 3D was led by editor Olivier Wicki who worked closely with Owens throughout the process; the two had previously collaborated on the "Original of the Species" music video.[19] Editing began in May 2006 and was completed in January 2008.[11] Over 100 hours of footage were filmed, featuring performances of 26 different songs.[20] U2 were very involved in post-production, and helped with the final approval of each shot and performance used in the final cut.[39] To appeal to a mainstream audience, 14 tracks were chosen for the film, including 12 of U2's singles and two non-singles from How to Dismantle an Atomic Bomb, the album that the Vertigo Tour supported.[40] When selecting songs for the project, the crew had to ensure that the performances of each track fit with one another. U2 wanted to include "Mysterious Ways" and "Until the End of the World", but they were left out since Owens felt that those songs were out of place with the rest of the film;[41] other songs were left out of the film because the band was unsatisfied with their own performance.[39] Owens stated that the main focus of the film was based upon U2's relationship with one another and with their audience, and the challenge of selecting the songs was to create a narrative within the band's performance.[42] Although "City of Blinding Lights" opened most shows on the tour,[43] "Vertigo" was selected as the opening song of U2 3D. Other tracks that were performed at most of the filmed concerts that did not make the final cut include "Elevation", "I Still Haven't Found What I'm Looking For", "Original of the Species", and "Zoo Station".[23][44] "With or Without You" was chosen as the last song before the closing credits, although it closed only one concert on the tour.[43]
After the songs were selected, the footage was edited in 2D for eight months in New York City.[45][46] Video post-production continued in Burbank, California at 3ality Digital's 3D production facility, which opened prior to the completion of shooting. Wicki worked with 3ality Digital to create the 3D and computer-generated effects.[46] Footage from the nine filmed concerts, mostly from the Buenos Aires shows, was edited together with the footage from the "phantom shoot". Although the Mexico City shows were practice runs, footage from those concerts was used, including a scene where Bono reaches out to the camera during "Sunday Bloody Sunday".[10] Because the crew felt the Melbourne audience lacked the energy of the Latin America crowds, most of the footage from the Melbourne concerts was not used except for some close-ups of Mullen.[32]
Creating the 3D effect involved taking the edited 2D footage for the right eye and matching it up with footage for the left eye.
U2 developed a style of editing in their previous concert films that involved
Audio editor Carl Glanville worked on the soundtrack,
Distribution
Marketing
The trailer for the film was released and first screened at the
In October 2007, National Geographic Cinema Ventures (NGCV), the entertainment division of the
Initial screenings
U2 were committed to preserving the film's 3D format and decided to only release it in digital 3D.
Originally scheduled for the third quarter of 2007,[24] the completed version of U2 3D premiered at the 2008 Sundance Film Festival on January 19 at the Ellen Eccles Theatre.[46][68] The venue incorporated a customized sound system designed especially for the premiere with new Dolby 3D technology,[69] which John Modell referred to as "the most high tech film screening that's ever been done in history."[70]
Releases and box office
U2 3D was slated to be screened only in IMAX theaters, but the large increase in the number of digital 3D theaters following post-production prompted the filmmakers to expand the release to include those cinemas.
On January 23, 2008, U2 3D was released into IMAX theaters in the United States and Canada for its initial
The wide release was originally scheduled for February 15, 2008,
Prior to its Japan premiere in February 2009, U2 3D grossed $20 million in box office revenue.[84] A re-release in the US took place in 2009 to coincide with the release of U2's studio album, No Line on the Horizon,[85] followed by re-releases in Brazil and Spain in 2011 and 2015, respectively, prior to U2's concert tours in those countries.[86][87] In addition to re-releases, the Rock and Roll Hall of Fame celebrated the opening of its new theater in October 2009 by featuring screenings of U2 3D at its museum.[88] The film's box office run in the US ended August 26, 2010, bringing its total domestic gross to $10,363,341, after showing for 947 days.[72] The film's distributors stated there was no predetermined limit to the length of the title's run, and the overall length would be determined by box office sales.[78] Due to an open-ended theatrical run, total worldwide box office gross sources vary; website Box Office Mojo reported a worldwide gross of $22.7 million in December 2010,[72][89] while magazine Boxoffice Pro and website The Numbers list grosses of $23.4 million and $26.2 million, respectively.[90][91]
For its genre, U2 3D was successful and set several box office records. The film became the highest grossing
The press release for the 2015 Spain re-release states that U2 3D has been licensed exclusively for theatrical release, and will not be distributed in television, internet, or other home video formats.[87] Owens said in a 2007 interview that there are plans to release the film to a 3D home video format;[15] however, U2 control the ancillary rights to U2 3D along with their record label Universal Music Group, and they have stated that additional rights such as those for a home video release will not be optioned until home video technology can meet the same digital 3D standards as cinema.[62]
Reception
Critical response
Based on 88 reviews by critics, Rotten Tomatoes gave U2 3D a 92% approval rating,[94] and ranked it the fourth-best reviewed film in wide release from 2008.[95] The website assigned it an average score of 7.5 out of 10, with a consensus that U2 3D was "an exhilarating musical experience at the price of a movie ticket".[94] At Metacritic—which assigns a normalized rating out of 100 to reviews from mainstream critics—the film received an average score of 83, based on 19 reviews, which translates to "universal acclaim" on the website's rating scale.[96] The film received positive reviews from Toronto Star and Variety following its 56-minute premiere at the 2007 Cannes Film Festival when the final 85-minute cut was months away from completion.[63][97] Critics from publications such as the Irish Independent,[98] The New Zealand Herald,[99] Reno News & Review,[4] Toronto Star,[97] and USA Today[100] said that the film's 3D experience was "even better than the real thing"—a reference to U2's song of the same name. Reviews by Rolling Stone[101] and Total Film[102] stated the film seemed to appeal to fans and non-fans of U2 alike, just as the filmmakers had intended.
U2 3D was praised by Variety for its straightforward concert footage, compared to the interviews and behind-the-scenes footage included in Rattle and Hum.
However, the film received more critical reviews.
Recognition and legacy
U2 3D was recognized favorably after its release, earning several awards. In 2008, it earned three awards, including "Best Film Produced Non-Exclusively for the Giant Screen" at the Giant Screen Cinema Association's 2008 Achievement Awards,[116] "Best Musical Film" at Los Premios MTV Latinoamérica 2008, and the Pioneer Award (Film & Television) at the 2008 3D Film and Interactive Film Festival.[117] In February 2009, the film received the award for "Outstanding Visual Effects in a Special Venue Project" from the Visual Effects Society (VES) at the 7th Annual VES Awards.[118]
As a concert film, U2 3D has been recognized among the best in its genre; it has been ranked among the top 10 concert films by
A paradigm shift we talk about a lot is going from silent to talkies, or from black and white to color. We think this [U2 3D] is a key change with regards to both digital delivery and also 3D. We all see in 3D in real life and every technological advancement in film has always been about bringing you closer and immersing you into the story or the emotion of what you're watching.[42]
—John Modell, producer and 3ality Digital co-founder
The extensive use of technology during production was featured as the cover story in the December 2007 issue of the high-definition video magazine HDVideoPro, a month before the premiere of U2 3D.[21] Its usage of evolutionary technology led to Catherine Owens being selected as a featured guest speaker at the SIGGRAPH 2008 conference, which took place several months after the film's release.[126] After U2 3D received praise from fans, critics, and the film industry, several of the filmmakers stated that they felt it helped create a paradigm shift in cinema history, due to the technological advancements used in the production.[55][127] Director Wim Wenders was inspired to create the 2011 3D dance documentary Pina after the attending the U2 3D screening at Cannes.[128] The film's use of new technology inspired rock band Muse to increase the production values for their 2013 release Live at Rome Olympic Stadium, which became the first concert film shot in 4K resolution.[129]
Following the success of U2 3D, 3ality Digital continued to pioneer 3D projects. After previously experimenting with filming American football games in 3D, 3ality Digital successfully broadcast the first live 3D NFL game in December 2008. In 2009, 3ality Digital aired the first live 3D sports broadcast available to consumers, the first 3D television advertisement, and the first 3D episode of a scripted television program.
Setlist
All titles written by U2, except "Miss Sarajevo" (co-written with Brian Eno).[8]: 5
- "Vertigo"
- "Beautiful Day"
- "New Year's Day"
- "Sometimes You Can't Make It on Your Own"
- "Love and Peace or Else"
- "Sunday Bloody Sunday"
- "Bullet the Blue Sky"
- "U.N. Declaration of Human Rights
- "Pride (In the Name of Love)"
- "Where the Streets Have No Name"
- "One"
- Encore
- Closing credits
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- MusicRadar. April 23, 2008. Retrieved June 26, 2020.
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External links
- News – U2 3D at U2.com
- U2 3D at AllMovie
- U2 3D at IMDb
- U2 3D at Metacritic
- U2 3D at Rotten Tomatoes