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|The Beatles: Eight Days a Week|
Theatrical release poster
|Directed by||Ron Howard|
|Written by||Mark Monroe|
|Music by||The Beatles|
|Edited by||Paul Crowder|
|Box office||$12.3 million|
The Beatles: Eight Days a Week – The Touring Years is a 2016 documentary film directed by Ron Howard about The Beatles' career during their touring years from 1962 to 1966, from their performances at the Cavern Club in Liverpool to their final concert in San Francisco in 1966.
The film was released theatrically on 15 September 2016 in the United Kingdom and 16 September in the United States, and started streaming on Hulu on 17 September 2016.
The film was produced with the cooperation of Paul McCartney, Ringo Starr, and Beatle widows Yoko Ono and Olivia Harrison. In addition to directing the documentary, Ron Howard also served as a producer alongside Brian Grazer, Nigel Sinclair, and Scott Pascucci. Written by Mark Monroe, the film was edited by Paul Crowder. Marc Ambrose served as Supervising Producer
Prior to the film's release, it was announced that it includes 30 minutes of film footage shot for the band's 1965 concert at Shea Stadium. That concert was filmed by Ed Sullivan Productions and broadcast on TV as The Beatles at Shea Stadium in 1966. Consisting of 11 songs, the set was originally shot on 35-mm film, but was digitally restored for the documentary to 4K resolution, in addition to having remastered sound by Giles Martin, son of Beatles producer George Martin.
The film project was announced by Hulu on 4 May 2016 as its first documentary acquisition, as part of a planned Hulu Documentary Films collection. The film premiered theatrically on 15 September, before debuting on the streaming service on 17 September.
The Beatles: Eight Days a Week—The Touring Years grossed $2.9 million in the U.S. and Canada and $9.4 million in other territories, including $1.4 million in the UK, for a worldwide total of $12.3 million.
In the film's opening weekend in North America, it made $785,336 from 85 theatres, for an average of $9,239.
On review aggregator website Rotten Tomatoes, the film has an approval rating of 96% based on 93 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "We love them, yeah, yeah, yeah—and with archival footage like that, you know The Beatles: Eight Days a Week—The Touring Years can't be bad." On Metacritic, which assigns a normalized rating, the film has a score 72 out of 100, based on 22 critics, indicating "generally favorable reviews".
|2017||59th Grammy Awards||Best Music Film||The Beatles: Eight Days a Week||Won|||
|70th British Academy Film Awards||Best Documentary||Nominated|||
|21st Satellite Awards||Best Documentary Film||Nominated|||
|69th Primetime Creative Arts Emmy Awards||Outstanding Documentary or Nonfiction Special||Nominated|
|Outstanding Writing for Nonfiction Programming||Mark Monroe||Nominated|
|Outstanding Picture Editing for a Nonfiction Program||Paul Crowder||Nominated|
|Outstanding Sound Editing for Nonfiction Programming (Single or Multi-Camera)||Jon Michaels, Harrison Meyle, Dan Kenyon, Will Digby, Melissa Muik||Won|
|Outstanding Sound Mixing for a Nonfiction Program (Single or Multi-Camera)||Chris Jenkins, Cameron Frankley, Nathan Evans, Sam O'Kell||Won|
On 12 September 2016, Apple Corps. and Subafilms Ltd. were sued by representatives of Sid Bernstein, the concert promoter of the 1965 Shea Stadium concert, over the ownership of the master recordings from the event. While the copyright of the songs was not contested, the footage itself was claimed to be owned by Sid Bernstein Presents, LLC, the company representing Bernstein's interests, who himself died in 2013. The suit requested an injunction against the release of the footage in the film, asserting Bernstein's ownership "[by] reason of being the producer of and having made creative contributions to the 1965 Shea Stadium performance, as well as being the employer for hire of the Beatles and the opening acts, who performed at his insistence and expense". The company had previously submitted applications to the Copyright Office to register ownership of the footage, which were rejected.
Paul Licalsi, a lawyer for Apple Corps., described the lawsuit as "frivolous", citing an agreement that Bernstein had with the band's management over the film rights, as well as the fact that Bernstein himself had never made any claim during his lifetime.