Every coun­try that has ever conquered another country — whether you’re talking about Egypt, Italy, Spain, France, England or the United States — has always … 48 wins & 37 nominations. Everyone has a good side and a bad side — a conscious and unconscious. Back in those days, the Italian film industry didn’t have much money, so we did everything with very low budgets. For example, when I was shooting The Outsiders and Rumble Fish, he’d show me the scene and ask, “What do you want to do?” I’d tell him, “Well, we should do this, this and this.” If he liked what I said, he’d reply, “Okay, where do you want to start?” If he didn’t like what I was saying, he’d tell me some allegorical story! Later, in Rome, I told Ernesto that I was unhappy with the blacks in the film, because black was one of the most important colors in terms of the visual strategy. I knew he had a reputation for doing everything on his pictures, including the cinematography, so I asked him why he had called me. He represents the dark side of the United States, which is why black is such an important color in the film. I wasn’t happy with the contrast of the new stock, and when I did some tests in Rome with Ernesto Novelli, we decided to flash the negative of Apocalypse Now. It is 1969. Lezione di Cinema. When I told Ernesto I wasn’t happy with the blacks, he reminded me of an incident that had occurred several years earlier, during the filming of 1900. First, at 7 p.m., Friday, March 24, Storaro will introduce Francis Coppola's great epic,Apocalypse Now, in its extended Redux version. Close. When I did Scandal [1976] just before Apocalypse Now, Kodak Italy told me, “You have to use the new stock, because there’s none of the old stock left.” I therefore refused to buy the film in Rome, and we called Kodak in Rochester, New York. But Francis told me, “Read Joseph Conrad's Heart of Darkness, because I took some of the spirit of Apocalypse from that book.” When I read it, I understood that the main theme of the story was the superimposition of one culture on top of another culture. But at the same time, he was also very clear about the main concepts for the film. Storaro won Oscars for "Apocalypse Now," "Reds" and "The Last Emperor". We really had to have a good plan, because we knew we’d only have one chance to shoot each sequence. Vittorio Storaro, ASC, AIC: Actually, I initially refused to shoot the picture, because I didn't want to interfere in the relationship between Francis and Gordon Willis [ASC]. We suddenly cut to a quiet shot of a teacher leading this group of children out of their school, and as a viewer you say to yourself, “Oh my God, are they going to attack those little children?” In most previous war movies, you always saw the cavalry arriving to save the day by attacking the bad guys. Also, around that time, Kodak had just introduced its new color negative stock [5247]. Storaro: In the end, not one person was hurt, which was a real testament to Joe and his crew. Without his energy, we never would have been able to make Apocalypse Now. First, at that point in my career, I had never used a really extensive lighting package; the biggest picture I had ever done was 1900, on which I used a single thousand-amp generator! Pizzello: What can you tell us about the current restoration of Apocalypse Now for theatrical re-release? Black represented the unconscious, particularly in the sequences where we discover the true meaning of Kurtz; we were trying to show some portions of the truth emerging from the depths of the unconscious. All of the air would be sucked away from you, and then this rush of hot air would come back at you. When Francis showed me his idea for the scene — which involved panning from the patrol boats to the bridge, at night, on a river in the middle of the jungle — I thought to myself, “How in the world am I going to light such a huge amount of space with just one thousand-amp generator? Frankly, I don’t know how many other producers or directors would have allowed me to do something like that — Francis gave me his complete support. I realized that the darkness mentioned in the book's title did not belong to the jungle culture, but to the supposedly “civilized” culture that was making its way up the river. 4 years ago. I would then try to use my knowledge to figure out how to achieve those concepts technically. These are our people.” A big philosophical discussion ensues, during which the French essentially denounce the Americans as colonialists. All of the camera operators and effects guys were communicating with walkie-talkies, and I can still remember hearing the explosions going off in my ears. Sometimes, I have to fight with the director or the editor if they push me to get coverage “just in case.” In case of what? After I came back from the Apocalypse shoot, we did the first timing of the film in Los Angeles with Ernesto Novelli and Larry Rovetti supervising the work. Storaro: This new version is being supervised by the film’s sound editor, Walter Murch, and it will have 55 minutes of footage that was cut from the original picture. Everywhere Americans go, they make a great show of things, and I want to create a conflict between beauty and horror.”. Before we began shooting, I had constant nightmares that someone was going to get hurt. In 1972, just before we began working on Apocalypse, Hogarth had published two new books of his Tarzan art [Tarzan of the Apes and Jungle Tales of Tarzan], and they really focused on the principles of movement. When the explosions went off, all of these big stone blocks were flying around, so you couldn’t even look through the camera. Vittorio’s solution was to really use the black areas [of the scene] and the highlights provided by the arc lights and Photofloods that we did use in the scene. Vittorio Storaro, Cinematographer: Apocalypse Now. He finally gave us the minimum distances where we’d be safe from the explosions, and we also built these moveable metal bunkers to protect the cameras and the operators. They have a very small screen in front of them, and it’s very hard to see an emotion from an actor, or a particular action. [Laughter all around.]. Unfortunately, that film was never made, but my friend showed me a book by a great illustrator named Burne Hogarth, who had drawn the Tarzan comic strip [in the 1930s and ’40s]. Burum: I’ll be glad to see that footage back in the film — especially the key sequence in which the soldiers get off the boat and stumble across a French plantation, where they have dinner with the people who live there. The result was an immersive experience that took viewers on a surrealistic and hallucinatory upriver journey through an array of wartime horrors. It smells like … victory.” It doesn’t matter to him how many people are dying; he’s somehow enchanted by the beauty of napalm. Vittorio Storaro, A.S.C., A.I.C. I kept asking Joe where we should put the crew members and the cameras to keep them safe, and at first, he couldn’t say for sure — the temple was built out of real stone, and he was planning to use real dynamite to blow it all up! Burum: Everybody tried to make a big deal out of that footage, but the only reason Francis included it in the 35mm prints was because Joe Lombardi got really upset when it was removed from the original cut. But when I spoke with Gordon about it, he assured me that he was not a part of the project, even though there was nothing wrong between him and Francis. Storaro: Well, I had several problems in that regard. !” My solution was to have the crew erect several towers, each of which had one arc on it. Pizzello: Why was the temple set built with real stone? Apocalypse Now (1979) cast and crew credits, including actors, actresses, directors, writers and more. You also have to think things through really carefully. At the time, critics were sharply divided in their assessments of the film, but Francis Coppola’s visionary Vietnam War epic is now regarded as a modern classic. Apocalypse Now was selected as one of the ASC 100 Milestone Films in Cinematography of the 20th Century. Well, the flares didn't work, because the air was so humid that they wouldn't even burn. I'd been doing that for about two years when I got a call from Fred Roos, who told me, “Francis wanted me to ask if you'd come to the Philippines to shoot second-unit footage for Apocalypse.” I'd been reading in the papers that the production had been shut down because the terrible typhoon had destroyed the sets, but I said, “Well, sure.” I went to an office at Samuel Goldwyn to talk to Francis, and he wanted to discuss the aerial footage. In that regard, 1900 was really an exception; when I did The Spider’s Stratagem, we had no generator at all! Storaro: I think that scene was cut because of the line in the script that says, “Never get out of the boat.” When the men do get out of the patrol boat, they run into trouble, and after the scene with the tiger, Francis wanted them to stay on the boat. Master cinematographer Vittorio Storaro shooting a fast dolly out shot for the opening action sequences of Apocalypse Now (1979) Image. This is consistent with the 1998 transfer of the original film Apocalypse Now done for DVD. Storaro: Honestly, I never thought it would be great, because I was so scared to be working at that level! Then, back in this dark corner, he had a lamp on with a lampshade over it. I would present my ideas, and if he didn’t think they would work, I would come up with something else. Every country that has ever conquered another country — whether you're talking about Egypt, Italy, Spain, France, England or the United States — has always imposed its own language and culture upon the conquered region. To Italians in the year 1975, the topic of the Vietnam War was not that compelling, because it was so far away from us. Three-time Oscar winner, Vittorio Storaro is more than just a legendary Italian cinematographer – recognized by the Academy for his outstanding visual work in Coppola’s Apocalypse Now, Beatty’s Reds and Bertolucci’s The Last Emperor – he is a philosopher of light, colors and elements.. He used the changing light and seasons to establish a flow of time.Deranged megalomaniac Colonel Kurtz (Marlon Brando) “represents the dark side of civilization, the subconscious or the truth that comes out of the darkness. Storaro’s philosophical approach to the picture incorporated the careful use of deeply saturated colors, silhouettes and artificial light sources that selectively pierced the darkness of the story’s jungle settings. Vittorio then said to me, “I want you to watch me shoot two scenes before you do anything.” So first, I watched Vittorio shoot [the military briefing] involving Martin Sheen, G.D. Spradlin, Harrison Ford and Jerry Ziesmer. It is entirely without hyperbole to introduce Vittorio Storaro as one of the most singular and influential cinematographers in the progression of modern motion pictures. However, the silhouettes were also inspired by the French naive painter Henri Rousseau. He further enhanced the film's dramatic look by flashing the negative. “the look” of Apocalypse Now evolved day-by-day over 15 long months working in the Philippines. How can I have the same collaboration with the people at the lab [in Los Angeles] if I don’t know anybody there? But he took me aside and told me his concept for that scene, and every morning after that, he would tell me his main idea for that day’s work, usually addressing things on a metaphorical level. When I got to the Philippines, I went into his office, and he said, “Steve, I’m in so much trouble now that the only way we can get out of this is to do everything perfectly.” I answered, “Francis, I’ve been waiting all my life to hear someone say that to me. I have total control, but I also have total responsibility. He had me look at some images from Cadavari eccellenti [1976, a.k.a. On a picture like Apocalypse Now, you know right away that it’s going to be a long, expensive, dangerous shoot in a location that’s very far away. While I couldn’t apply ENR to the first release prints of Apocalypse, I later used the process on Reds [1981]. However, the second reason for doing the scene that way was that I wanted to create this intrusion of artificial light in the jungle — the incredible force of the light would serve to enhance the blackness of the Jungle. Why ‘Allen v. 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Vittorio Storaro, the award-winning cinematographer who won Oscars for ". Pizzello: Was your use of dramatic silhouettes in the film also inspired by comic-book art? He did some paintings set in the jungle that had very aggressive colors, and in one that I remember there was a man in silhouette with a woman and a tiger behind him. And he answered, “I know that on this movie, I need much more in terms of the operating and the lighting, and I think that you can do better.” But I couldn’t tell if he was being sincere with me or not, which made me a bit hesitant. I don’t think that anybody on the crew doubted that. On some pictures, they don’t even print dailies anymore, so editors can’t even double-check footage on the big screen to make sure that the cuts, the rhythms or the emotions are right. But once he was sure that I had come up with the best way to translate his concept onto film, he would give me total freedom to put together the entire sequence. What Will It Take to Stop Woody Allen’s Career? In the original version, Willard first me… I watched that footage with my mouth open, and I whispered to Enrico, “Do you think we’ll be able to do that?” I thought there was no way I could meet those expectations, but I think Francis picked up on my concern, and he was very reassuring. Interview by Stephen Burum, ASC and Stephen Pizzello. When the ripple broke the surface of the water, it symbolized man disturbing the natural environment. Even now, when I have all of the time, money and equipment that I need, I always try to employ that type of creative approach. Storaro: In my mind, the different scenes in the film became like parts of a puzzle. Storaro's first American film was Apocalypse Now, directed by Francis Ford Coppola. I told him I didn’t want to see it, though, because I had settled on my approach for 1900 and I felt that this new process would distract me. Willard has returned to Saigon from deployment in the field. They work only from a small monitor, so they’re probably editing the picture with television in mind, at least subconsciously. The movie contains several newly added sequences and alterations to the original film: 1. But then Gray Frederickson, the co-producer, said to me, “We only have one airplane a week that can go to Rome, but we have two or three that can go to Los Angeles, so we’re going to have to do the dailies at Technicolor L.A. from now on. In the original film, the PBR Street Gang crew members relax and play around, listening to the Rolling Stones' "(I Can't Get No) Satisfaction" while Willard first looks at the dossier. Those scenes were designed to come together like the final pieces of the puzzle, we had created, and if the blacks weren’t black enough, that aspect of the story would not make as strong an impact visually. Vittorio, let’s talk a bit about the way Francis handles people, because he does it in a very interesting way. Burum: I’ll be glad to see that footage back in the film — especially the key sequence in which the soldiers get off the boat and stumble across a French plantation, where they have dinner with the people who live there. Burum: The way Francis handles everyone on a set is worth discussing. Burum: I find it interesting that you were able to take those technical limitations and use them to create a distinctive visual style. Digital technology is a great tool, but in my opinion everyone should be able to look at their footage on big video projectors, or at least a large, television-sized monitor. Given the relatively low budgets that I'd had, I was accustomed to simply using the minimum lighting I required. I think Hogarth was very aware of an Italian style of painting known as Futurism, which is exemplified by the work of Giacomo Balla and Umberto Boccioni. I also remember asking Joe Lombardi to create some explosions in spots where I needed some light. Flanked by presenters Jamie Lee Curtis and George Hamilton, Storaro cradles the Academy Award earned for his cinematography in Apocalypse Now. See more ideas about cinematography, film stills, apocalypse. The physical action of Tarzan in Hogarth’s art was unbelievably dynamic, and every color in the drawings was so strong and saturated that the overall impact became very surrealistic. Well, later on, when I was having my problems with the blacks on Apocalypse, he finally showed me an example of this new process he had developed. But from our very first meeting, Francis was so friendly that I felt as if I’d known him forever. (born 24 June 1940 in Rome) is an Italian cinematographer widely recognized for his work on numerous classic films including The Conformist, Apocalypse Now, and The Last Emperor. Pizzello: Which camera and lenses did you use on Apocalypse Now? In the course of over fifty years, he has collaborated with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, and Woody Allen. For example, consider the scene in which the Playboy girls put on their show in the middle of the jungle. He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. What follows are some fascinating excerpts from a roundtable discussion held at the ASC Clubhouse, during which Storaro responded to questions posed by Stephen Burum, ASC, who supervised the second-unit cinematography on Apocalypse Now, and AC executive editor Stephen Pizzello. This is the point of view that Kurtz is denouncing. That style is really apparent in the sequence where the tiger jumps out at Martin Sheen and Frederic Forrest; I didn’t want the color of the jungle to be a naturalistic color. Storaro has received three Academy awards for Best Cinematography for Francis Ford Coppola's Apocalypse Now (1979), Warren Beatty's Reds (1981) and Bernardo Bertolucci's The Last Emperor (1987) and is one of only three living persons to have won the award three times. [Special-effects coordinator] Joe Lombardi was going to demonstrate those parachute flares; he was planning to shoot them into the air, for they would hang and light up a whole, huge area. I was looking very carefully at what Vittorio was doing, because I knew I had to duplicate exactly what he was doing not only technically, but spiritually. Apocalypse Now, Last Tango in Paris, 1900 ... Vittorio Storaro reveals the inspiration behind some of the most beautiful films ever made

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