That brings back some memory of the original Willard we met at that Saigon hotel room, and you realize he has no wife any longer and that he got divorced, and there is some part of him that’s empty. “The way it’s cut now, the all of the history and politics is in the background while Willard is looking at Roxanne. We never cut it, or shrunk it a little bit, or rebalanced it. When we did Redux, we just put things back in.
So somehow I was hoping for a version that most crystallized the movie’s theme. “The French plantation serves as a rest,” Coppola said, “and if the going up the river was the same as going back in time, first you go back 40 years, and then after the French plantation, you go back a millennium into premedieval times. But now I don’t consider Time as much of a target.” So I thought it was important to take to task. “It could take you to task, and then hurt you if it wanted to. “When I made the movie, Time was still a very important and feared news outlet,” Coppola said. Coppola also cut Kurtz’s reading from Time, another scene that doesn’t play for modern audiences. Removing the medevac scene was a good call it reads as too sexually exploitative for the #MeToo era. It’s included as an extra if people want to see it.” But my instinct now tells me that, in the overall continuity of the movie, that scene. “I was trying to show that their being used to titillate people sexually wasn’t a lot different from those 18-year-old boys, the abuse heaped on them when they’re sent to war. “I felt there was reason to shoot those bizarre little vignettes of those little 18-year-old girls,” he said. Redux included scenes that the public hadn’t seen before: Willard’s larky theft of Kilgore’s favorite surfboard, which forces the crew to hide the PBR under a canopy of foliage their layover at an abandoned medevac station, where Chef and Lance fool around with two stranded Playmates, played by Colleen Camp and Cyndi Wood an interlude at a plantation run by members of a French colonial family, who appear to be ghosts and Kurtz reading to Willard, whom he has captured and encaged, from a propagandistic Time magazine article predicting America’s imminent victory in the war.Ĭoppola has cut the medevac sequence for Final Cut.
Camp camp apocalypse au series#
Traveling up the fictional Nung River in a Navy PBR boat, Willard and the crew-Chief Phillips ( Albert Hall), Chef ( Frederic Forrest), Lance (Sam Bottoms), and Clean ( Laurence Fishburne, credited here as “Larry”)-witness or participate in a series of horrendous incidents that mostly represent real events from the war. Kurtz (Marlon Brando), whose army of Montagnard tribesmen are fighting a war of indiscriminate terror. Spradlin) and a CIA man ( Jerry Ziesmer) to cross into Cambodia to “terminate with extreme prejudice” an insane Special Forces colonel, Walter E. I knew I wanted to balance Redux a little better.”Ĭovert-missions operative Captain Benjamin Willard ( Martin Sheen) is charged by General Corman (G.D. When we did Redux, we just put things back in-but I was troubled about showing that version this time, because I really feel that, for many people and even for the theme of the film, it required more time than seemed right to me.
“I felt that in my lust to make it shorter and less weird back then, I removed so many important things. “When I was asked which version I wanted to show this time, I knew I didn’t want to show the 1979 version,” Coppola said.
Camp camp apocalypse au movie#
The metaphor-laden movie has not only been lavishly restored, but significantly trimmed Final Cut, as the latest version is subtitled, is 20 minutes shorter than the 202-minute extended edition, Apocalypse Now Redux, that Coppola issued in 2001. The 80-year-old director has, in fact, removed more than six frames from his hallucinatory Vietnam War epic, which is returning to theaters today and on home video on August 27-in its third incarnation-40 years after its initial release. So my feeling was that to get Apocalypse Now to light up as an experience for the audience just required some tweaking.” It’s the same with a movie: you might do a lot of little things. I used to tell my kids that in getting a cigarette lighter to work, you might change the flint, put in more fluid, pull the wick out, and keep doing little things so finally it lights. “After all, a movie is an illusion, and what makes the illusion come alive could be a matter of maybe taking out six frames from one sequence-that might do the trick. “A cut of a film is a magical thing,” Francis Ford Coppola told me last week.
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