American Cinematographer - November 2013 - 79

Photos by Carole Segal, courtesy of Picturehouse.

Opposite page:
Fireballs frame the
members of
Metallica as they
thunder through the
song "Fuel." This
page, top:
Cinematographer
Gyula Pados, HSC
worked closely with
concert lighting
designer John
Broderick to create a
variety of looks for
the band's massive
stage, which
measured 200' long
by 60' wide. "The
stage was a
character in itself -
a character capable
of spitting fire and
smoke and lasers,"
says Pados. Bottom:
Steadicam operator
Henry Tirl moves in
for a close-up of
lead singer James
Hetfield.

stunned by the band's energy on stage,
and we wanted to translate that to the
screen. We wanted to get really close to
the band and take a more 'feature film'
approach."
The filmmakers strove to give the
audience a chance to see the concert as
the band does: behind the drums with
Lars Ulrich, from the bridges of Kirk
Hammett and James Hetfield's guitars,
or down low with Rob Trujillo as he's
doing his crab-walk across the stage.
"These are the kinds of shots the band
encouraged us to do," says Antal. "They
were never worried about us getting in
their way. It was always about what's
best for the film." Pados adds, "It was all
about creating a close connection
between the band and their audience."
In the film, the band's performances are interwoven by a narrative
storyline that follows a young roadie
named Trip (Dane DeHaan) after he's
sent on an urgent mission during one of
Metallica's performances in front of a
sold-out arena audience. "The narrative
gave us the opportunity to do something different from the norm," says the
director, who notes that this portion of
the movie was inspired by a favorite

book, Paolo Coelho's The Alchemist. As
he explains in the movie's press notes,
"It's about a boy who sets out in search
of treasure, only to find the treasure he
was looking for was where he started.
That kind of circular narrative has
always appealed to me."
The stage used for Through the
Never was designed specifically for the
film by British concert designer Mark
www.theasc.com

Fisher, whose previous credits included
shows for the Rolling Stones, U2 and
Lady Gaga. The 200'-long-by-60'-wide
platform was designed to be "in the
round," surrounded by an audience with
a 360-degree view. It was packed with
automated pneumatics, hydraulics,
video screens, lasers, trap doors,
pyrotechnics and nearly a million
LEDs. Four hydraulic lighting towers
November 2013

79



http://www.theasc.com

American Cinematographer - November 2013

Table of Contents for the Digital Edition of American Cinematographer - November 2013

Contents
American Cinematographer - November 2013 - Cover1
American Cinematographer - November 2013 - Cover2
American Cinematographer - November 2013 - 1
American Cinematographer - November 2013 - 2
American Cinematographer - November 2013 - 3
American Cinematographer - November 2013 - 4
American Cinematographer - November 2013 - Contents
American Cinematographer - November 2013 - 6
American Cinematographer - November 2013 - 7
American Cinematographer - November 2013 - 8
American Cinematographer - November 2013 - 9
American Cinematographer - November 2013 - 10
American Cinematographer - November 2013 - 11
American Cinematographer - November 2013 - 12
American Cinematographer - November 2013 - 13
American Cinematographer - November 2013 - 14
American Cinematographer - November 2013 - 15
American Cinematographer - November 2013 - 16
American Cinematographer - November 2013 - 17
American Cinematographer - November 2013 - 18
American Cinematographer - November 2013 - 19
American Cinematographer - November 2013 - 20
American Cinematographer - November 2013 - 21
American Cinematographer - November 2013 - 22
American Cinematographer - November 2013 - 23
American Cinematographer - November 2013 - 24
American Cinematographer - November 2013 - 25
American Cinematographer - November 2013 - 26
American Cinematographer - November 2013 - 27
American Cinematographer - November 2013 - 28
American Cinematographer - November 2013 - 29
American Cinematographer - November 2013 - 30
American Cinematographer - November 2013 - 31
American Cinematographer - November 2013 - 32
American Cinematographer - November 2013 - 33
American Cinematographer - November 2013 - 34
American Cinematographer - November 2013 - 35
American Cinematographer - November 2013 - 36
American Cinematographer - November 2013 - 37
American Cinematographer - November 2013 - 38
American Cinematographer - November 2013 - 39
American Cinematographer - November 2013 - 40
American Cinematographer - November 2013 - 41
American Cinematographer - November 2013 - 42
American Cinematographer - November 2013 - 43
American Cinematographer - November 2013 - 44
American Cinematographer - November 2013 - 45
American Cinematographer - November 2013 - 46
American Cinematographer - November 2013 - 47
American Cinematographer - November 2013 - 48
American Cinematographer - November 2013 - 49
American Cinematographer - November 2013 - 50
American Cinematographer - November 2013 - 51
American Cinematographer - November 2013 - 52
American Cinematographer - November 2013 - 53
American Cinematographer - November 2013 - 54
American Cinematographer - November 2013 - 55
American Cinematographer - November 2013 - 56
American Cinematographer - November 2013 - 57
American Cinematographer - November 2013 - 58
American Cinematographer - November 2013 - 59
American Cinematographer - November 2013 - 60
American Cinematographer - November 2013 - 61
American Cinematographer - November 2013 - 62
American Cinematographer - November 2013 - 63
American Cinematographer - November 2013 - 64
American Cinematographer - November 2013 - 65
American Cinematographer - November 2013 - 66
American Cinematographer - November 2013 - 67
American Cinematographer - November 2013 - 68
American Cinematographer - November 2013 - 69
American Cinematographer - November 2013 - 70
American Cinematographer - November 2013 - 71
American Cinematographer - November 2013 - 72
American Cinematographer - November 2013 - 73
American Cinematographer - November 2013 - 74
American Cinematographer - November 2013 - 75
American Cinematographer - November 2013 - 76
American Cinematographer - November 2013 - 77
American Cinematographer - November 2013 - 78
American Cinematographer - November 2013 - 79
American Cinematographer - November 2013 - 80
American Cinematographer - November 2013 - 81
American Cinematographer - November 2013 - 82
American Cinematographer - November 2013 - 83
American Cinematographer - November 2013 - 84
American Cinematographer - November 2013 - 85
American Cinematographer - November 2013 - 86
American Cinematographer - November 2013 - 87
American Cinematographer - November 2013 - 88
American Cinematographer - November 2013 - 89
American Cinematographer - November 2013 - 90
American Cinematographer - November 2013 - 91
American Cinematographer - November 2013 - 92
American Cinematographer - November 2013 - 93
American Cinematographer - November 2013 - 94
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American Cinematographer - November 2013 - 97
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American Cinematographer - November 2013 - 101
American Cinematographer - November 2013 - 102
American Cinematographer - November 2013 - 103
American Cinematographer - November 2013 - 104
American Cinematographer - November 2013 - 105
American Cinematographer - November 2013 - 106
American Cinematographer - November 2013 - 107
American Cinematographer - November 2013 - 108
American Cinematographer - November 2013 - 109
American Cinematographer - November 2013 - 110
American Cinematographer - November 2013 - 111
American Cinematographer - November 2013 - 112
American Cinematographer - November 2013 - Cover3
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