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Directed by | |||
| Francis Ford Coppola | (as Francis Coppola) | ||
Writing credits | ||
| Joseph Conrad | (novel "Heart of Darkness") uncredited | |
| John Milius | (screenplay) and | |
| Francis Ford Coppola | (screenplay) | |
| Michael Herr | (narration) | |
Produced by | |||
| John Ashley | .... | associate producer | |
| Kim Aubry | .... | producer (version "Apocalypse Now Redux (2001)") | |
| Francis Ford Coppola | .... | producer (as Francis Coppola) | |
| Gray Frederickson | .... | co-producer | |
| Shannon Lail | .... | co-producer (version "Apocalypse Now Redux (2001)") | |
| Eddie Romero | .... | associate producer | |
| Fred Roos | .... | co-producer | |
| Mona Skager | .... | associate producer | |
| Tom Sternberg | .... | co-producer | |
Original Music by | |||
| Carmine Coppola | |||
| Francis Ford Coppola | (as Francis Coppola) | ||
Cinematography by | |||
| Vittorio Storaro | |||
Film Editing by | |||
| Lisa Fruchtman | |||
| Gerald B. Greenberg | |||
| Walter Murch | |||
Casting by | |||
| Terry Liebling | |||
| Vic Ramos | |||
Production Design by | |||
| Dean Tavoularis | |||
Art Direction by | |||
| Angelo P. Graham | (as Angelo Graham) | ||
Set Decoration by | |||
| George R. Nelson | |||
Makeup Department | |||
| Fred C. Blau Jr. | .... | makeup artist | |
| Jack H. Young | .... | makeup artist (as Jack Young) | |
Production Management | |||
| Leon Chooluck | .... | production manager | |
| Barrie M. Osborne | .... | production manager (as Barrie Osborne) | |
Second Unit Director or Assistant Director | |||
| Tony Brandt | .... | additional assistant director | |
| Larry J. Franco | .... | second assistant director | |
| Jerry Ziesmer | .... | assistant director | |
Art Department | |||
| James B. Casey | .... | sculptor (as James Casey) | |
| Roger Dietz | .... | set artist | |
| Gary Fettis | .... | leadman | |
| Willie E. Hunter | .... | assistant property master | |
| John La Salandra | .... | construction coordinator (as John LaSalandra) | |
| Douglas E. Madison | .... | property master (as Doug Madison) | |
| James J. Murakami | .... | assistant art director (as James Murakami) | |
| Thomas L. Roysden | .... | assistant property master (as Tom Roysden) | |
| Robert Scaife | .... | construction foreman (as Bob Scaife) | |
| Tom Shaw Jr. | .... | assistant property master (as Tom Shaw) | |
| Alex Tavoularis | .... | production illustrator | |
| Matt Tomich | .... | assistant property master | |
| Thomas Wright | .... | production illustrator (as Thomas A. Wright) | |
Special Effects by | |||
| Eddie Ayay | .... | special effects | |
| Mario Carmona | .... | special effects | |
| Lawrence J. Cavanaugh | .... | special effects (as Larry Cavanaugh) | |
| Gerald Endler | .... | special effects (as Jerry Endler) | |
| A.D. Flowers | .... | special effects coordinator | |
| John Fraser | .... | special effects | |
| Richard O. Helmer | .... | special effects (as Richard Helmer) | |
| Rudy Liszczak | .... | special effects | |
| Joe Lombardi | .... | special effects coordinator (as Joseph Lombardi) | |
| Ted Martin | .... | special effects | |
| David St. Ana | .... | special effects | |
Stunts | |||
| Steve Boyum | .... | stunts | |
| Joe Finnegan | .... | stunts | |
| Terry Leonard | .... | stunt coordinator (as Terry J. Leonard) | |
| Kerry Rossall | .... | stunts (as Kerry Rossal) | |
| Chuck Waters | .... | stunts | |
| Steven Burnett | .... | stunts (uncredited) | |
| Terry Leonard | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Giuseppe Alberti | .... | assistant camera | |
| Luigi Bernardini | .... | assistant camera (as Rino Bernardini) | |
| Stephen H. Burum | .... | director of photography: second unit | |
| David L. Butler | .... | aerial camera operator (as David Butler) | |
| Rogilio De La Rama | .... | assistant camera | |
| Caleb Deschanel | .... | director of photography: insert | |
| Luciano Galli | .... | gaffer | |
| Chas Gerretsen | .... | still photographer | |
| Efren Lapid | .... | assistant camera | |
| Alfredo Marchetti | .... | key grip | |
| Mauro Marchetti | .... | assistant camera | |
| Hiro Narita | .... | camera operator: insert | |
| David B. Nowell | .... | assistant camera (as David Nowell) | |
| Piero Servo | .... | camera operator: second unit | |
| Enrico Umetelli | .... | camera operator | |
| Josh Weiner | .... | still photographer | |
Casting Department | |||
| Sue Bastian | .... | casting assistant | |
| Heig Beck | .... | casting assistant | |
| Randy Carter | .... | casting: Philippines | |
| Marc Coppola | .... | casting assistant | |
| Éva Gárdos | .... | casting: Montagnard tribesmen (as Eva Gardos) | |
| Ken Metcalfe | .... | casting assistant | |
| Lou Whitehill | .... | casting: Philippines | |
Costume and Wardrobe Department | |||
| Luster Bayless | .... | costumer | |
| Norman A. Burza | .... | costumer (as Norman Burza) | |
| Dennis Fill | .... | costumer (as Dennis M. Fill) | |
| Charles E. James | .... | costume supervisor | |
| George L. Little | .... | costumer (as George Little) | |
| Haleen K. Holt | .... | costume illustrator (uncredited) | |
Music Department | |||
| Jordan Amarantha | .... | musician | |
| Richard Beggs | .... | musician: synthesizer | |
| Greg Errico | .... | musician | |
| Patrick Gleeson | .... | musician: master synthesizer | |
| Ed Goldfarb | .... | music arranger (Redux version) | |
| Randy Hansen | .... | musician: guitar | |
| Mickey Hart | .... | musician | |
| Michael Hinton | .... | music production assistance | |
| Zakir Hussain | .... | musician | |
| Bernard Krause | .... | musician: synthesizer (as Bernard L. Krause) | |
| Bill Kreutzmann | .... | musician (as Billy Kreutzmann) | |
| Phil Lesh | .... | musician | |
| Jim Loveless | .... | musician | |
| Airto Moreira | .... | music production assistance | |
| Don Preston | .... | musician: synthesizer | |
| David Rubinson | .... | music producer | |
| Nyle Steiner | .... | musician: synthesizer | |
| Shirley Walker | .... | musician: synthesizer | |
| Stan Witt | .... | music editor | |
| Randy Hansen | .... | composer: additional music (uncredited) | |
| Mickey Hart | .... | composer: additional music (uncredited) | |
Transportation Department | |||
| Dennis Hollis | .... | transportation coordinator | |
| John Reade | .... | transportation coordinator (as John C. Reade) | |
Other crew | |||
| John Addington | .... | fixed wing pilot | |
| Marisa Alcaraz | .... | production coordinator | |
| Jean A. Autrey | .... | production controller | |
| Lee Beaupre | .... | marketing director | |
| John Calvert | .... | choreographer: playmate show | |
| Robert Carroll | .... | production assistant | |
| John Chapman | .... | production assistant | |
| Doug Claybourne | .... | special assistant to producers | |
| Patti Claybourne | .... | production assistant | |
| Pete Cooper | .... | marine coordinator | |
| Eleanor Coppola | .... | documentary supervisor | |
| Francis Ford Coppola | .... | presenter | |
| Russ Corin | .... | production assistant | |
| Catherine Craig | .... | archivist (Redux version) | |
| Loolee DeLeon | .... | production coordinator (as Loolee De Leon) | |
| Brett Dicker | .... | foreign publicity coordinator | |
| Tony Dingman | .... | production assistant | |
| Richard Dioguardi | .... | military advisor | |
| Shane Edwards | .... | marine coordinator | |
| Jack English | .... | location coordinator | |
| Deborah Fine | .... | production liaison and research: USA | |
| Wayne Fitzgerald | .... | title designer | |
| Jack Fritz | .... | executive assistant | |
| Ernst Goldschmidt | .... | representative: foreign producer | |
| Paul Gregory | .... | military advisor | |
| Paul G. Hensler | .... | military advisor (as Paul Hensler) | |
| Nancy Hopton | .... | script supervisor (as Nancy Tonery) | |
| Kevin Hughes | .... | production assistant | |
| Linda Ignacio | .... | department of tourism: Philippines | |
| Dennis Jakob | .... | creative consultant | |
| J. David Jones | .... | aerial coordinator (as David Jones) | |
| Dennis Juban | .... | military liaison: Philippines | |
| Peter Kama | .... | military advisor (as Lt. Colonel Peter Kama) | |
| Lloyd Kind | .... | production assistant (as Lloyd Kino) | |
| John La Salandra | .... | production executive (as John LaSalandra) | |
| Gwen M. Lucas | .... | assistant production controller | |
| Melissa Mathison | .... | executive assistant | |
| Dennis Murphy | .... | marine coordinator | |
| Anahid Nazarian | .... | archivist (Redux version) | |
| Ernesto Novelli | .... | supervising color technician | |
| Barbara Parker | .... | production assistant | |
| Ray Quiroz | .... | script supervisor (as Raymond Quiroz) | |
| Phil Radcliffe | .... | production assistant | |
| Fred Rexer | .... | military advisor (as Fred Rexer Jr.) | |
| Francesca Rivieri | .... | production secretary: USA (as Francesca Riviere) | |
| Larry Rovetti | .... | supervising color technician | |
| Doug Ryan | .... | military advisor | |
| Frank Simeone | .... | additional crew | |
| Gabe Sumner | .... | campaign coordinator | |
| Matt Tomich | .... | production assistant | |
| Norman Webster | .... | production accountant | |
| Dick White | .... | aerial coordinator | |
| Dick White | .... | military advisor | |
| Irwin Yablans | .... | producer's representative: USA and Canadian | |
| Susan Leslie Battles | .... | secretary to the producers (uncredited) | |
| Joe Benoit | .... | opticals: Modern Film Effects (uncredited) | |
| Dan DiPaola | .... | production assistant (uncredited) | |
| R. Lee Ermey | .... | military advisor (uncredited) | |
| Joe Estevez | .... | stand-in/voice-over: Willard (uncredited) | |
| Nancy Jencks | .... | film chain operator (uncredited) | |
| Oli Laperal Jr. | .... | production assistant (uncredited) | |
| Michael E. Uslan | .... | production attorney (uncredited) | |
| Skip Watt | .... | opticals: Modern Film Effects (uncredited) | |
| Wynne Wicker | .... | technical advisor: Vietnam (uncredited) | |
Thanks | |||
| Flora Purim | .... | special thanks | |
| Jeff Scheftel | .... | special thanks | |
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| Edge | La battaglia di Algeri | In the Year of the Pig | Rambo | Cross of Iron |
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Francis Ford Coppola's "Apocalypse Now" is not a Vietnam War film. Do not confuse it with one. It is set to the back drop of the war, but it is a metaphorical exposition on the deteriorating effects that war has on the human psyche. It is also one of the most audacious films ever made, produced, or even conceived (second to the Lord of the Rings trilogy. To call it a masterpiece would be an understatement of proportions as ambitious as the film's production levels.
Opening with no credits and following a memorable first scene playing to the tune of the Doors "The End" as Martin Sheen's Captain Benjamin L. Willard hallucinates to images of helicopters and napalm, the plot is essentially laid out in the first 15 minutes. Willard's mission is to "terminate... with extreme prejudice" Colonel Kurtz (Marlon Brando) who has invariably gone AWOL in the far reaches of the Cambodian jungle and, as told by his general, is "out there operating without any decent restraint, totally beyond the pale of any acceptable human conduct. And he is still in the field commanding troops." Kurtz is a delusional Colonel now being worshipped by a large group of followers who have dubbed him a god. For Willard, this covert operation seems somewhat more manageable than actual combat, yet, the journey he is about to take will be a personal quest that will challenge the limits of his human behavior.
Teaming up with a small crew, they embark down the vast reaches of the river in a rickety boat. Along the way, Willard educates himself on all things Kurtz. During Sheen's raspy voice over, he details his thoughts on the abundance of material he reads. Kurtz was a highly decorated and respected Green Beret. He was a normal man with a family, until a part of him succumbed to the horrors of human brutality and he led himself down the path that Willard is being led. The descent into the jungle is marked by a mesmerizing aura that echoes the battles being fought not to far away. Eventually the power of the experience weights on the group as drugs and a sort of solitary confinement attacks their senses. But Willard seems unfazed and desensitized in his quest to find Kurtz. As he reads about this mythic figure, he is drawn to the man's power and why he has become what he has become. We know that Willard's slow decay will parallel that of Kurtz's.
Marlon Brando has been revered for decades. His presence: unmatchable. His genius: undeniable. But for those unacquainted with his acting prowess and unaccustomed to his physical nuance, Brando can be perceived, in the eyes of an uncompromising film-goer, as a hack. He is most certainly not. Brando was difficult to work with, hard to interpret and impossible to understand, but his talent for unintelligible rants and unparalleled monologues is irrefutable. The man obviously knew what he was doing even if we didn't. His Colonel Kurtz is a being of limitless delusions and continual profundity.
If the film is any indication of the journeys into hell than Francis Ford Coppola's actual experience with making this masterpiece is a true life account of one man's fanatical struggle to produce a movie. It is reported that during the film's 200 plus day principle photography schedule, Coppola contemplated suicide. The film was not only an undeniable struggle to make; it is a grueling film to watch. Coppola's sweat and blood seep through the pores of the steamy locals and his dedication filters through the orifices of Martin Sheen's haunted soldier Willard.
I can not help but feel a warm sense of nostalgia for this type of film. At the dawn of all that was original and unprecedented, films that challenged as well as stimulated were commonplace. Audacity aside, Apocalypse Now is pure film-making. My respect and admiration for Mr. Coppola is of the highest order. But I shudder at the return to what has become the norm for today's standards for film: a lack of innovation. It is not simply the unoriginality of the world of cinema today; it is the fact that nobody seems to care to tell a story anymore or to tell one with heart. But we still have the great ones like Coppola's masterpiece, a film which bathed in its ability to give us something deeper than that which we could comprehend.
That depth in Apocalypse Now is the step into madness. The killing can disturb. The loss of innocence can unhinge. But it is the damage from within; the countless barrages of images that distress, unnerve and detach us from our everyday world and the memories that plague our deepest thoughts that eventually segregates us from humanity and propels us into the realm of the instinctual, the savage and the animalistic. If the thought of killing does not provide sustenance, the act of killing provides man with its fundamental catharsis.