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Storaro: In my mind, the different scenes in the film became like parts of a puzzle. That’s the worst thing you can do to the film industry, because you’re reducing everything to video quality. You don’t have a safety net, so you have to present a vision that comes from your heart. 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. Flanked by presenters Jamie Lee Curtis and George Hamilton, Storaro cradles the Academy Award earned for his cinematography in Apocalypse Now. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". Back in those days, the Italian film industry didn’t have much money, so we did everything with very low budgets. Finally, we attached these cables to both heavy-duty tractors and the set, and when the explosion happened we just pulled the temple down. He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. "Apocalypse Now" was worth the wait. 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? That footage never appeared in the 70mm prints, and Mr. Coppola has acknowledged that its inclusion in the 35mm credits caused some confusion about the film’s ending. In the hotel room, he had two arcs coming in through the windows and a little cluster of lights bouncing up on the ceiling to provide a bit of fill. They had enough of the previous stock for us, so we bought it from them instead for Scandal. Apocalypse Now (1979) cast and crew credits, including actors, actresses, directors, writers and more. However, the silhouettes were also inspired by the French naive painter Henri Rousseau. Well, the flares didn't work, because the air was so humid that they wouldn't even burn. “the look” of Apocalypse Now evolved day-by-day over 15 long months working in the Philippines. Burum: Exactly. 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. The first time I saw that we would be using colored smoke to convey specific military messages, I thought it was wonderful, because when these artificial colors were placed next to the natural colors of Vietnam, it created that sense of conflict that I wanted. Pizzello: Was your use of dramatic silhouettes in the film also inspired by comic-book art? 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. When we first attempted those shots, it simply wouldn’t go down! I also remember asking Joe Lombardi to create some explosions in spots where I needed some light. Everyone has a good side and a bad side — a conscious and unconscious. 48 wins & 37 nominations. 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. That type of director really knows how to get the best out of people. Vittorio Storaro: That sequence at the Do Lung Bridge really demonstrates the main photographic concept for Apocalypse Now, which sprang directly from this idea I mentioned of one culture superim­posing itself on another. Vittorio is probably most famous for his work on Apocalypse Now, a film that is almost legendary for it’s surprising and quite disturbing look at the human condition. 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. At that point, I’d know enough to offer him an alternative, and he’d say, “I think that’s better.” But he always made me feel that I was really contributing, and that he valued my input. I want to create a big show, something that’s magnificent to see. What Will It Take to Stop Woody Allen’s Career? “Non chiamatemi direttore della fotografia: sul set il direttore è uno solo, il regista”. 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. One day he came to me with a roll of film, and he said that it had been treated with a new process that he’d invented. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". When the ripple broke the surface of the water, it symbolized man disturbing the natural environment. 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. 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. As he’s surfing, he’s spraying water on the natives, which reinforces that idea that the Americans are imposing themselves upon this culture in a rather arrogant manner. Burum: The way Francis handles everyone on a set is worth discussing. 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]. 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. That way of working costs the film industry a lot of money, and it drains the quality of the filmmaking. 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. We were in this bar, preparing to shoot a scene that is no longer in the picture with Harvey Keitel, who was originally hired to play Martin Sheen’s part. Who do you want to deal with there?” Francis was very nervous, because he wanted to see dailies sooner than one week afterwards. The movie contains several newly added sequences and alterations to the original film: 1. Vittorio Storaro e Apocalypse Now - YouTube Tem um grande modelo para a fotografia dos seus filmes, o pintor também italiano Caravaggio. I have complete trust in your expertise with the camera, so please feel free to do anything you think is correct. Everyone from those conquering countries always believes that they're only exporting the good aspects of their culture, but that's simply not true. It converted by just unscrewing the back and screwing on the anamorphic [attachment]. When I arrived to do Apocalypse Now, I brought just one thousand-amp generator, without any backup — that's how crazy I was! Why ‘Allen v. Farrow’ Isn’t Enough, Carlos Saura puts the finishing touches on The King of the Whole World - Production / Funding - Mexico/Spain, Roma Imago Urbis: Parte III - Gli acquedotti, Roma Imago Urbis: Parte II - L'immortalità, Tosca: In the Settings and at the Times of Tosca, Bring Me the Head of the Machine Gun Woman, Hearts of Darkness: A Filmmaker's Apocalypse, Bernardo Bertolucci - Parma è stata il cinema, International Cinematographer's Guild Heritage Series, The Art of Cinematography at Plus Camerimage, Rise of 'The Conformist': The Story, the Cast, Shadow and Light: Filming 'The Conformist', Cérémonie de clôture du 51ème festival de Cannes, Cérémonie de clôture du 44ème festival de Cannes, Gianni Di Venanzo, un grande autore della fotografia. But from our very first meeting, Francis was so friendly that I felt as if I’d known him forever. Pizzello: Let’s talk a bit about the explosion of the Kurtz compound, which was only shown over the end credits of the initial 35mm release prints. That approach is completely apparent in the Wagnerian helicopter attack and the subsequent scene in which Robert Duvall’s character says, “I love the smell of napalm in the morning. The camera operator, Enrico Umetelli, was sitting next to me, and Francis told us, “Remember, this is just a rough idea for the sequence; we’re going to do it much better when we really shoot it.”. I became very fascinated with the images in Hogarth’s books, and I showed them to Francis during our early meetings. No matter what I needed, he was already ready to make any changes or adjustments to the camera. I don’t think that anybody on the crew doubted that. Burum: Vittorio, can you tell us about the lab work and the special processes used on Apocalypse Now? 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. That idea became very interesting to me, and I ultimately accepted the job. Burum: While I was shooting pass-bys on the patrol boat, Vittorio said to me, “We should see nature before we see man.” I would therefore compose those shots so that the boat was hidden in silhouette, and the first thing you saw was the wake of the boat — this little silver ripple. About a day and a half after I got there, I met Vittorio, who introduced me to Piero Servo, who would be operating the camera for me. 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. 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. For the first two weeks of shooting, the dailies were being sent to Technicolor Rome, which was just what I wanted. Close. 4 years ago. Storaro: No doubt. By doing that, he made the black in the corner look better, because he had that bright reference in the frame. 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? At one point, we were shooting in Parma, Italy, and every day we were sending dailies to Ernesto in Rome; occasionally, he would visit me on the set so we could discuss things. The scene plays right before the crew members meet Kilgore. Storaro: It took nine nights to shoot that scene, and we set up about 10 cameras — a VistaVision camera, an infrared camera, a high-speed camera and normal cameras. Storaro: In Italy, we have a saying: “When the wolf is hungry, he will come out of his cave.” In other words, necessity will force you to come up with an idea! He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. I'd gone to school [at UCLA] with Francis, so I understood how he thought, but I didn’t yet understand how Vittorio thought, and it was very interesting to observe the way in which he used the light. Apocalypse Now (1979) 236 of 340 Francis Ford Coppola and Vittorio Storaro in Apocalypse Now (1979). When I was planning the visual strategy for the film, I began thinking that I could convey the conflict of cultures by creating a visual conflict between artificial light and natural light. Of course, that footage was definitely a challenge to shoot. Also, around that time, Kodak had just introduced its new color negative stock [5247]. On all of those pictures, I really had to work out the visual strategies with the director, because we couldn’t afford to do a master shot, an over-the-shoulder and then a close-up; that approach took too much time and money. We could do multiple takes, of course, but we had to get the scenes right on the days when they were scheduled. From watching all of this activity on the sets, I immediately understood that the color black was very important to Vittorio. 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. Because the Italian film industry was so poor at the time, we could not afford Panavision equipment, and the only serious company over there was Technovision. The same idea applied to the sequence at the Do Lung Bridge. Storaro: In the end, not one person was hurt, which was a real testament to Joe and his crew. On that picture, we had used an original matrix dye-transfer system was the only way I could accomplish that strategy, and it looked wonderful. Burum: Don’t you think that in some ways you have more of an impact on the audience when you work with limited technical resources? director. Storaro: That sequence at the Do Lung Bridge really demonstrates the main photographic concept for Apocalypse Now, which sprang directly from this idea I mentioned of one culture superimposing itself on another.

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