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From Katy Perry to One Direction, concert films have been enjoying a recent resurgence, but Metallica’s decision to jump into the genre with Metallica Through the Never didn’t happen overnight. “We’ve been trying to do an IMAX film for a long time now,” guitarist Kirk Hammett tells me. “The idea had been around since the ‘90s, and it’d been revisited numerous times but for some reason or another never came to be.”
The idea resurfaced several years ago, with the band’s manager envisioning a custom-built stage that would incorporate imagery from records like …And Justice For All and Master of Puppets. “What we wanted to do,” Hammett says, “was make the stage so incredible, and super cool, and basically build the film around it and do it in IMAX and 3D.” But while the technology is a prominent selling point on the film’s poster, the most vital differentiating element was a wholly creative concern: the decision to interweave a narrative storyline alongside the live footage.Producer Charlotte Huggins has made a particular impact on the industry thanks to her involvement with 3D projects, working on everything from documentaries to the Journey to the Center of the Earth series. When Metallica manager Cliff Burnstein contacted her in 2011 about working on a Metallica movie, however, she told him she wasn’t really interested in making a concert film. "It’s not that I don’t think concert movies are good," she says. "I do, and I watch concert movies all the time," but the mix of live and behind-the-scenes footage can become homogenous, no matter how big the band.
"And he said, ‘Oh no, no, we don’t want to do a concert movie at all,’" Huggins recalls. "‘We want to do a movie in which a concert takes place, and we really, really want it to be something different. We don’t really know what that is, but we want to hear what directors have to say.’”
That directive kicked off a search in which numerous filmmakers pitched their takes on what kind of story would mesh with Metallica’s heavy metal mayhem. Several of the leading candidates for the job thought science fiction was the key, something the band itself didn’t warm to, but then Nimród Antal (Vacancy, Kontroll) stepped in.
"Nim came in the door and pitched this extremely grounded, very un-science fiction sort of story," Huggins says. Timemagazine had just announced its 2011 Person of the Year, "The Protester," with an iconic magazine cover courtesy of Shepard Fairey. "He dropped it on the table and said, ‘This is what’s happening right now. The whole world is in protest. People all over the world are protesting, and that’s what I want to bring out.’”
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