Herzog has seen "Avatar" before. He believes that 3D technology cannot be universally applicable to all subjects, but it can better capture the feelings of the painter in this cave, especially the exquisite painting and rock protrusions. The silhouette is perfectly matched. The original 3D idea was proposed by the photographer. He even imagined the shooting effect before entering the cave, but this idea was opposed by the director at the time. Herzog considered 3D to be a "ghost trick for commercial films." But after inspecting the cave for the first time, Herzog immediately decided that this documentary must be filmed in 3D.
It can be seen that when Herzog thought about the subject of "Lost Dreams in the Cave", he must have considered how to use the most appropriate means to express it. When the petroglyphs are presented in the cave, 3D has indeed played an amazing effect. The flashing light is realistic and mysterious. But sometimes, especially the humorous moment of throwing javelin outside the cave, the effect of 3D is not shown. On the contrary, it gives me the feeling of being alienated. It makes me start to focus on the technique of 3D and ignore the emotion of the movie. . I think this film impressed me the most. In addition to the beautiful and new rock paintings, this film is also a pure "Herzog production": we saw the aerial photographer picking up the model by hand. The amazing picture when taking a photo plane; when the crocodile appeared at the end of the film, we still felt the smell of magic, and felt the philosophical thinking about heaven, earth and nature that has always existed in Herzog's movies. So I have been wondering what exactly 3D means for this film? Is it an amazing skill that can only be used in the cave? Is it dispensable for outdoor shooting and interviews?
After the production of the film was completed, IFC obtained the right to distribute it nationwide and confidently guaranteed that the box office could reach six figures. The right to show the film was acquired by the National Geographic (History Channel), which had funded the "Cave of Last Dream". Before the release, there were many trial screenings, and directors were present to communicate, such as the first New York Documentary Film Festival (NYC DOCS), the "New Yorker" forum, the Museum of Natural History, the screening of the University of Southern California, etc. Create momentum for the film before it is released. The screening was first held in three major cities, and the box office in the first week approached six figures, becoming the best film in the first week in the history of director Herzog. The final box office far exceeded expectations, reaching seven figures.
In the 3D movie box office total list, "Cave of Last Dream" ranked 97th with nearly 5.26 million US dollars. It can be seen that it is the limitation of the subject matter. If it is not a very necessary subject matter and sufficient funds, it is difficult for documentary directors to fully implement 3D. Those documentaries that rely heavily on literature do not need to be 3D at all. At least the results currently completed will be very poor and will needlessly increase investment. In other words, 3D does bring a fresh breath and visual experience to documentaries, making "documentary blockbusters" possible, but 3D can only be part of the documentary. As Herzog himself said: "Actually I am skeptical of 3D." And I asked Erel Morris in Boston: "Your two friends Herzog and Wenders both made 3D documentaries. Do you have this plan?" He immediately said with certainty: "Absolutely not, to me there is no doubt."
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