It may have been partly due to the disinterest of the public once the impact of 2009 was overcome, or the root of the problem may lie in the neglect of some large studios that have chosen to balance solutions in post production to serve it to the respectable for the last 13 years. Regardless of the reason, there is no doubt that 3D cinema is in the doldrums since ‘Avatar’ returned him to the fore through the front door.
Three-dimensional rise and fall
According to data from Comscore, since fiscal year 2010, in which they accumulated a collection of $1.85 billion —a total of 18.2% of the American box office—, the benefits obtained through three-dimensional projections have fallen progressively to reach 27.8 million in 2021. A figure not so conditioned by the pandemic situation if we take into account that in 2019 the amount was 512 million —4.5% of the total—.
However, according to The Hollywood Reporter, approximately 10% of viewers in the United States they chose to see in 3D —with the consequent increase in the ticket price— ‘Doctor Strange in the multiverse of madness’. This push may have had to do with the fact that, along with the Marvel film, the trailer for ‘Avatar: The Sense of Water’ was shown; and it is that James Cameron’s adventure is called to put fashionable glasses back in the stalls.
At least this is the intention of the people of 20th Center Studios and Disneywhich is reflected in the words of Tony Chambers, head of international distribution for The House of Mouse:
“In a time when people are used to being at home watching content, anything that encourages them to go to theaters has to be positive for us and for the industry in general. Everything revolves around the experience. If done right, people can come back again and again. The message is not to see ‘Avatar 2’ in 3D, but to see it for the experience.”
One tool to attract them all
Jon Landau, producer of ‘Avatar 2’ together with Cameron under the Lightstorm Entertainment label, has rightly pointed out to one of the big problems that condemned 3D to ostracism. This is none other than its late implementation in feature films that were not conceived for three-dimensional viewing and that did not use the tool as another creative mechanism.
“I think what happened is that some people got it wrong, and there’s a period of time where people believed that converting something to 3D makes it a better movie. 3D doesn’t change the movie, 3D exacerbates what is the I think people were making it as an afterthought in a process, as opposed to using 3D as a creative element—not unlike lighting, focus, or camera movement—that a filmmaker has to bring some sensitivity to. to use and enhance the narrative.
Now that 3D is once again embraced with ‘The Sense of Water’ as yet another driving element of the narrative, there is only one link left in the chain that must reinforce the conglomerate to get people out of the house and back to the movies en masse: the complicity of exhibitors. This is how Landau continued his reflection:
“We think 3D creates a more immersive experience in our storytelling. We don’t think of 3D as a world looking through a window. We think of it as a window onto the world. We’re giving people something they can’t get anywhere else.” We need the exhibition community to support this and understand that we’re competing with different technologies that are in people’s homes.”
At the moment it seems that exhibitors are ready to return to giving us a pair of uncomfortable plastic glasses next to our tickets. At least this is gleaned from the words of Patrick Corcoran, head of communications for the National Association of Theater Owners:
“3D is a viable option when done right, but it needs to be an integral part of the narrative. It’s not the answer to everything, but it can’t be treated as an afterthought.”
Will ‘Avatar: The sense of water’ be the feature film that not only returns the lost glory to the three dimensions, but also the one that ends make the difference in the endless struggle between the “movie experience” and “Netflix and chill”? Will James Cameron’s new show manage to rise as that title that would make him see it in streaming almost a deadly sin?
It is still early to answer these questions, but something tells me that this Christmas we will witness a new turning point for our beloved film industry. It remains to be seen which way the balance will tip.