Jim Morrison and Beginning with 'The End' | Ep4 | Making Apocalypse Now

Summary

The script explores the iconic opening of 'Apocalypse Now', revealing that director Francis Ford Coppola's discovery of discarded footage led to the film's haunting start with The Doors' 'The End'. It delves into the film's development, from John Milius' initial drafts to the final version, highlighting connections between The Doors, Jim Morrison's film school days, and the Vietnam War. The script also discusses the film's soundtrack, Coppola's creative process, and the powerful impact of the opening scene on the audience.

Takeaways

• 🎬 The opening scene of 'Apocalypse Now' was an accidental discovery by Francis Ford Coppola during the editing process, using discarded footage of a napalm explosion.
• 🎵 The film's iconic opening with The Doors' song 'The End' was a spontaneous idea by Coppola, adding an element of irony to the start of the movie.
• 📜 John Milius' original screenplay had a different opening, depicting a violent altercation between soldiers and anti-war protestors, setting a different tone for the narrative.
• 🔄 The film's opening was revised multiple times, with Coppola considering a black screen with jungle sounds or a simple image of trees before settling on the final version.
• 🔗 There is a deep connection between 'Apocalypse Now' and The Doors, including shared history at UCLA, Jim Morrison's film influences, and the use of their music in the movie.
• 🌅 The film's editor, Walter Murch, created an avant-garde sequence to represent the protagonist Willard's thoughts, blending sound and imagery to reflect his inner state.
• 🎼 The soundtrack of 'Apocalypse Now' was originally intended to feature more songs by The Doors, but the final selection was narrowed down for artistic reasons.
• 🎥 The connection between the helicopter sounds and the ceiling fan in Willard's room was an unplanned yet powerful cinematic moment that symbolizes the pervasive presence of war.
• 🗣️ The narration by Martin Sheen's character, Willard, reveals his struggle with PTSD and his longing to return to the jungle, highlighting the psychological impact of war.
• 🎭 The scene where Willard gets drunk was an improvisation that blurred the lines between acting and reality, leading to an injury and a deeply emotional performance.
• 📝 The various script drafts and revisions show the evolution of the film's narrative and character development, reflecting the complexity of creating a war film with multiple layers of meaning.

Q & A

How did Francis Ford Coppola discover the opening scene of the film 'Apocalypse Now'?

Coppola discovered the opening scene by chance during the editing process. He found barrels of film containing the beginnings of footage from the napalm tree-line explosion sequence, which were discarded. He thought the footage was interesting and unusual, and decided to use it as the opening of the film.

What is the significance of the song 'The End' by The Doors in the film?

The song 'The End' by The Doors was used to bookend the movie, playing at the beginning and climax. It was chosen by Coppola after stumbling upon the discarded footage for the opening scene, and it set a unique tone for the film. The song also has thematic connections to the film's exploration of the 'heart of darkness' and the psyche of the characters.

What was the original opening scene in John Milius' first draft of the screenplay?

In John Milius' first draft, the film opens with an author's note depicting newly enlisted soldiers in San Francisco, encountering anti-war protestors. A soldier hits a protestor, and the entire company claims responsibility. This scene was later replaced in subsequent drafts.

How did the character of Colonel Kurtz initially appear in the screenplay?

In the early drafts of the screenplay, Colonel Kurtz was depicted as a John Wayne-type character, wearing a green beret and having a tough, jutting jaw. This representation was influenced by Wayne's portrayal in the 1968 film 'The Green Berets'.

What was the original plan for the soundtrack of 'Apocalypse Now'?

Originally, the entire soundtrack was planned to consist of songs by The Doors. However, editor Walter Murch found that any song used in the film seemed too apt and hit the nail too firmly on the head, making it seem sophomoric. The soundtrack was later changed to include other music.

What was the connection between Jim Morrison and Francis Ford Coppola?

Jim Morrison and Francis Ford Coppola both attended UCLA film school. Morrison was influenced by German Expressionism and Josef von Sternberg, which influenced his work with The Doors. This shared background and artistic sensibilities created a deep bond between the psyche of Jim Morrison and the film 'Apocalypse Now'.

Why was the opening scene of 'Apocalypse Now' considered avant-garde?

The opening scene was considered avant-garde because it was an accidental discovery and not originally planned. The use of discarded footage, combined with the unconventional choice of the song 'The End' by The Doors, created a unique and unexpected cinematic experience.

What was the significance of the helicopter and ceiling fan connection in the film?

The connection between the helicopter and the ceiling fan was a serendipitous moment that was not planned. It was created by editor Walter Murch, who combined the sound of helicopter rotors with the visual of the ceiling fan, symbolizing the constant presence of the war experience in Willard's mind.

How did the film's opening scene influence the rest of the movie?

The opening scene set the tone for the entire film, introducing themes of chaos, destruction, and the surreal nature of war. It also established a connection to the end of the film, with the song 'The End' playing at both the beginning and climax, creating a sense of circularity and thematic unity.

What was the role of sound in creating the atmosphere of 'Apocalypse Now'?

Sound played a crucial role in establishing the film's atmosphere. The distorted sounds of the helicopter, the jungle sounds, and the music, particularly from The Doors, contributed to the film's immersive and psychological depth, reflecting the characters' experiences and mental states.

Outlines

00:00

🎬 Iconic Opening of 'Apocalypse Now'

The opening of 'Apocalypse Now' was a serendipitous discovery by director Francis Ford Coppola during the editing process. Initially, discarded footage of a napalm explosion was found to have intriguing pre-explosion scenes. Coppola paired this footage with The Doors' song 'The End,' creating an iconic opening. The film's connection to The Doors is further deepened by the shared history between Coppola and Doors members at UCLA film school. The opening was also influenced by Jim Morrison's avant-garde influences and his father's role in the Vietnam War. The final opening was a departure from earlier drafts, which included different scenes and ideas, showcasing Coppola's evolving vision for the film's start.

05:00

🎼 The Doors' Music and Morrison's Legacy

The soundtrack of 'Apocalypse Now' was originally intended to feature The Doors' music extensively, highlighting a deep connection between the band's frontman, Jim Morrison, and the film's themes. Editor Walter Murch and Coppola experimented with various songs before settling on the opening sequence. The film's sound design also includes an accidental use of The Doors' master tracks, leading to a unique mix in the movie. Jim Morrison's father's military background and the band's potential opening song, 'Light My Fire,' add layers to the film's relationship with The Doors. Various script drafts reveal different opening ideas, each reflecting the film's development and the creative process.

10:01

🌴 Exploring the Jungle and Willard's Psyche

The third paragraph delves into the screenplay's development, focusing on the character of Willard and his connection to the jungle. Early drafts presented different scenarios for the film's opening, including an ambush scene and Willard's introduction in various settings. The final choice emphasized simplicity and character depth. Willard's struggle with PTSD and his internal battle are highlighted, drawing parallels to the competitive drive and determination needed in various aspects of life. The paragraph also touches on the filming of a pivotal scene involving Martin Sheen, which blurred the lines between fiction and reality, showcasing the actor and character's vulnerability.

Keywords

💡Heart of Darkness

Heart of Darkness is a novel by Joseph Conrad that serves as the thematic inspiration for the film 'Apocalypse Now'. It explores themes of colonialism and the darkness within human nature. In the script, the 'heart of darkness' metaphorically refers to the depths of the Vietnamese jungle and the moral ambiguity within the war.

💡The Doors

The Doors is a rock band known for their psychedelic sound and deep lyrics, which are used in 'Apocalypse Now' to set the tone of the film. Their song 'The End' is particularly iconic for the movie's opening, symbolizing the cyclical nature of war and its psychological impact on the characters.

💡Napalm

Napalm is a flammable substance used in warfare, creating a powerful and destructive explosion. In the script, the napalm tree-line explosion is a significant visual and auditory element, representing the intensity and devastation of the Vietnam War.

💡Coppola

Francis Ford Coppola is the director of 'Apocalypse Now'. His creative decisions, such as the use of discarded footage and music, shaped the film's unique style. The script mentions his discovery of the opening scene during the editing process, showcasing his improvisational approach to filmmaking.

💡Psychedelic

Psychedelic refers to the visual and auditory style of the 1960s counterculture, often characterized by vibrant colors and surreal imagery. In the script, the term is used to describe the opening scene's music and the hand-painted 'Gook Killer' on the helmet, reflecting the era's influence on the film's aesthetic.

💡Vietcong

The Vietcong, or VC, were the communist North Vietnamese forces fighting against the South Vietnamese and US forces during the Vietnam War. The script uses the term to represent the enemy that the protagonist, Willard, is fighting against, and it also symbolizes the struggle within the jungle.

💡PTSD

PTSD, or post-traumatic stress disorder, is a mental health condition triggered by experiencing or witnessing traumatic events. The script mentions Willard's struggle with PTSD, indicating the psychological toll of war on soldiers and a central theme of the film.

💡Gulf of Tonkin

The Gulf of Tonkin incident refers to a series of events in 1964 that led to the escalation of US involvement in the Vietnam War. The script connects Admiral George Stephen Morrison, Jim Morrison's father, to this event, drawing a parallel between historical events and the film's narrative.

💡John Wayne

John Wayne was an American actor known for his roles in Western and war films, often portraying the archetypal American hero. The script describes Kurtz as having a 'John Wayne-type' persona, emphasizing the character's larger-than-life presence and the film's commentary on American ideals.

💡Montagnard

Montagnards were indigenous people of the Central Highlands of Vietnam who were often allied with the US forces during the war. In the script, they are depicted alongside Kurtz's army, illustrating the fusion of cultures and the blurred lines between friend and foe in the jungle warfare.

💡Oedipus

Oedipus is a character from Greek mythology who unknowingly kills his father and marries his mother, embodying the tragic hero archetype. The script references the story of Oedipus in the context of Morrison's lyrics, suggesting a thematic connection to the film's exploration of fate and self-destruction.

Highlights

The film's iconic opening with distorted helicopter sounds and 'The End' by The Doors was discovered by Coppola in discarded footage.

Coppola's serendipitous discovery in the editing room led to the film's unique opening sequence.

John Milius' first draft of the screenplay began with a scene of soldiers departing for Vietnam and an altercation with anti-war protestors.

The initial screenplay included a detailed description of a soldier emerging from a swamp, setting the stage for the film's jungle setting.

Coppola's December 1975 draft cut the Army memorandum and opened directly with the iconic shot of the soldier in the swamp.

Coppola considered opening the film with a black screen and jungle sounds, creating an immersive auditory experience.

The Doors' song 'The End' was used to bookend the film, playing at both the beginning and climax.

Jim Morrison and Ray Manzarek of The Doors met at UCLA film school, sharing a connection with Coppola.

Morrison was influenced by German Expressionism and Josef von Sternberg, which influenced The Doors' music and Morrison's student film.

Jim Morrison's father, Admiral George Stephen Morrison, played a significant role in the Vietnam War, adding a personal connection to the film's subject matter.

The original plan was to use The Doors' music throughout the soundtrack, reflecting a deep bond between the band's psyche and the film.

Editor Walter Murch created an avant-garde sequence showing Willard's thoughts, connecting the jungle imagery with his mental state.

The connection between the helicopter and ceiling fan in Willard's room was a spontaneous idea that enhanced the film's cinematic language.

The soundtrack mix in the film differs from the album due to the accidental use of the master tracks, including Morrison's unreleased vocals.

John Milius originally wanted the film to open with 'Light My Fire' instead of 'The End,' reflecting his vision for the film's start.

Various script drafts explored different openings, including an attack on the Vietcong and Willard's introduction as a bodyguard.

Milius' drafts emphasized Kurtz's army's integration with the jungle, showing a stark contrast to traditional American soldiers.

Coppola's final decision to simplify the opening aimed to avoid making Marty Sheen's character seem too bland.

Willard's narration reveals his struggle with PTSD and his constant desire to return to the jungle, highlighting the psychological impact of war.

Transcripts

The film opens with the strange distorted sounds of a helicopter passing as we fade-in

on a tree-line— the entrance to the jungle and the "heart of darkness," so to speak.

The beginnings of a song titled 'The End' by The Doors plays. This iconic opening was

actually something Coppola stumbled upon during the edit (Commentary). Coppola had visited

the editing room on the last day of one of his editors, Barry Malcolm, before he had

to leave for another project (Commentary). Coppola noticed barrels of film that were

the beginnings and ends of footage from the five cameras that photographed the napalm

tree-line explosion from the end of the Flight of the Valkyries battle sequence.

These beginnings of the takes before the explosion happened had been discarded into the barrels

(Commentary). So, what you are looking at is footage meant for the trashcan of the camera

rolling and just waiting for the large explosion to blow up the trees. I've always kind of

imagined that the camera wouldn’t have panned if the shot had been planned from the start

to open the movie.

Coppola thought that the footage looked interesting and unusual and then he went through a bin

of music and said, “Wouldn’t it be funny if we took a song called ’The End’ and

put it at the beginning of a movie?” (Commentary). Coppola said that, if he hadn’t been there

on that particular Saturday, the movie wouldn’t have begun this way (Commentary).

John Milius’ first draft dated December 5th, 1969, begins with an author’s note

telling a story of newly enlisted soldiers waiting to leave San Francisco for Vietnam.

The line of new paratroopers are approached by a couple of hippies handing out anti-war

pamphlets and one of the soldiers takes off his helmet and bashes one of the hippies.

A sergeant yells, “Which one of you bastards hit this boy?” And the entire company responds

in unison, “I did— sir!” After which, another hippie remarks, “Just think what

they’ll be like when they come back.”

Milius’ screenplay then begins with the narrator reading an Army memorandum and what

follows would have been this familiar image. The description reads:

“It is very early in the dawn - blue light filters through the jungle and across the

foul swamp. A vague mist clings to the trees. The SOUND of crickets and jungle animals is

playing undisturbed. TILT DOWN into tepid water. Suddenly but quietly a helmet emerges

- the water pours off REVEALING a set of beady eyes just above the water. Printed on the

helmet, clearly visible in the dim light, are the words “G*** Killer” written in

a psychedelic hand. The head emerges REVEALING that the tough looking SOLDIER beneath has

exceptionally long hair and beard. He has no shirt on, only bandoliers of ammunition

— his body is painted in an odd camouflage pattern” (Screenplay).

A draft of Milius’ screenplay rewritten by Coppola dated December 3rd, 1975, cuts

the memorandum and has the movie open directly with this iconic shot.

This shot was ultimately reincorporated into the climax of the film. That said, it seems

that shortly before the inspiration to start the film with the napalm explosion, Coppola’s

idea was to open with a black screen and slowly the sounds of the jungle would come out of

the darkness [quote] “before any images are seen on the screen” (Coppola 282).

Imagine an overture of insects.

The idea was to bookend the film with these sounds over black, opening and ending the

film (Coppola 282). In the final film, the Doors' song sort of bookends the movie as

it opens with “The End” and climaxes with “The End.”

Something a little bit more like the opening in the final film appears in a Coppola rewrite

from June 29th, 1976 where he describes the opening as [quote] "A Simple Image of Trees:

coconut trees being VIEWED through the veil of time. Occasionally colored smoke wafts

through the frame. We HEAR music suggestive of 1968, psychedelic . . . Perhaps the

Moody Blues' "Knights in White Satin", or The Doors' "The End".' Willard is seen asleep in Saigon,

after making love to a whore" (Cowie 45).

So it seems like Coppola already had a vague idea of what this would be like when he stumbled

upon the footage in the barrels.

Apocalypse Now has more of a connection to The Doors than just the song— Doors frontman,

Jim Morrison and keyboardist Ray Manzarek met at UCLA film school while Coppola was

attending (Travers 4). Morrison said, “The good thing about film is that there aren’t

any experts… There’s no authority on film. Any one person can assimilate and contain

the whole history of film in himself, which you can’t do in other arts. There are no

experts, so theoretically, any student knows almost as much as any professor” (Travers 42).

By the way, some of their teachers during this time included “Stanley Kramer, Jean

Renoir, and Josef von Sternberg” (Travers 42).  Morrison was particularly influenced

by Josef von Sternberg and German Expressionism and this influence

would carry over to The Doors (Travers 42).

Morrison made a very avant-garde student film with tons of bizarre imagery including Morrison

smoking a joint and winking at the camera while an atomic bomb explodes (Travers 45).

“Have you ever seen God? Mandela. Symmetrical angel.”

“It’s bombastic.”

Apparently it was enough for some of the faculty members to “[call] it the worst student

film ever,” which, if you’ve seen many student films, is kind of impressive (Travers 45).

“Hey, Morrison. F*** them, man. It’s great. It’s non-linear. It’s poetry. It’s everything

good art stands for.”

After the negative feedback, Morrison and Manzarek and another friend named John Densmore

decided to drop out of their universities and start The Doors (Travers 4).

“I quit.”

And the connection doesn’t end with UCLA— Jim Morrison’s father, George Stephen Morrison,

a former World War II fighter pilot, served as an Admiral [quote] “in command of the

carrier division during its pivotal role in the Gulf of Tonkin incident” (Travers 41).

Wikipedia describes the Gulf of Tonkin incident as [quote] “an international confrontation

that led to the United States engaging more directly in the Vietnam War” (Wiki). Admiral

Morrison would go on to be “in charge of all U.S. Operations in Vietnam” after following

“President Lyndon Johnson’s orders to ‘give me my damn war’" (Travers 1).

Originally, the entire soundtrack was going to be songs by The Doors (Cowie 101).  Editor

Walter Murch said, "We tried many, many songs, but anything we put on the film seemed to

be so apt that it was wrong, it hit the nail so firmly on the head that it seemed sophomoric.

There was no connection other than a very deep bond between the psyche of Jim Morrison

and the psyche of this film” (Cowie 101). Murch also saw the opening image of the exploding tree-line

as [quote] “emblematic of the whole Vietnamese experience” (Cowie 101). If I had to guess

what he means means by this, I would probably say that it’s something similar to these

images in Stanley Kubrick’s Full Metal Jacket.

The North Vietnamese making small bold strikes

and the US unloading massive amounts of expensive

bombs and ammunition and not necessarily hit anything.

“You know, one time we had a hill bomb for twelve hours and when it was all over, I walked up.

We didn’t find one of them. Not one stinking Dink body.”

Once the decision was made to use the Doors’ song in the beginning, editor Walter Murch

created an avant-garde sequence of our protagonist, Willard, thinking about the jungle (Commentary).

Coppola wanted to show what was inside Willard before the story begins and, here, we see

what is inside his mind, soon we’ll get a glimpse into his soul (Commentary).

Like the opening shot, the beautiful connection of the helicopter to the ceiling fan was also

not planned. Coppola had gotten a shot of Willard on his back, so naturally he got a

shot of what Willard would be looking at— the ceiling fan, but Murch’s idea to combine

it with the sounds of the helicopter blades really shows us how much the jungle is a part

of Willard and it’s done in a purely cinematic way (Commentary).

Murch said, "I remember vividly the moment when I made the connection between the sound

of the helicopter rotors and visual of the fan. Willard was filmed upside down like that

originally. The shot of the Buddha at the right of frame was part of the idea of forecasting

the end at the beginning” (Cowie 100).

Here, we actually see part of the end of the film with Willard about to kill Colonel Kurtz,

but we don’t know it. It just appears as a surreal look into Willard’s primal psyche.

Sound Re-Recording Mixer Richard Beggs put the track of the Doors’ song over the opening,

but when Murch requested the track from the record label, they accidentally sent the master tracks,

so the mix in the movie sounds different than the mix on the album (Wiki). One thing

that was changed was part of Morrison’s vocals repeating ‘f***’ over and over

as part of a reference to the story of Oedipus where he… you know, accidentally kills his

father and marries his mother…

He seemed pretty upset about it. I mean, he gouged his own eyes out…

“Hey, Josephus!”

“Hey, Motherf***er.”

Anyway, Morrison’s vocals in that part were essentially buried on the track. Beggs said,

"They sent me the four-track… a direct copy of the original master they had made

for the song, and in that version Morrison kept saying “F*** yeah! F***! F***! Yeah!”

but it was never in the album, so I incorporated it into the picture. It was like finding some

buried treasure!’ (Cowie 100).

That said, screenwriter John Milius had always wanted the movie to open with the Doors’

Light My Fire, which he considered to be better than The End  (Cowie 100).

In this episode’s Companion PDF, I go into more detail about Jim Morrison and The Doors’

connection to Apocalypse Now. You can get it for just $1

and it really helps the channel out.

“The man’s enlarged my mind.”

There were actually several very different openings that had been written into the various

script rewrites. The first opening that was written depicts a Montagnard attack on the

Vietcong followed by the introduction of Willard on “luxury cabin cruiser"

in Marina del Ray (Cowie 44, Screenplay). Here, Willard is a bodyguard for “the head of a large

American Corporation” (Screenplay). He thinks about Vietnam and tells a woman that “Los

Angeles… was once one of the dark places of the earth” and this opens up a dialogue

between the two where the woman says, “You’re going to tell me about the horrors of war”

and Willard replies, “The horror? Would you really listen if I told you? I mean, about

the real horror?” (Cowie 44).

Willard telling his story would be a framing device similar to the one in Heart of Darkness.

The novella has its protagonist telling his story to fellow sailors aboard an ivory trading

company’s steamboat (Wiki). Another draft of the Apocalypse Now script, from January

1976, opens with the military finding Willard sharing war stories at a bar in Danang (Cowie 44).

“Go f*** yourself.”

Millius’ versions of the screenplay always seemed to put Kurtz at the beginning of the

film and it is here where we can really see Milius’ idea of what Kurtz and his army

are like. First, an ambush of Vietcong soldiers by Kurtz’ army shows Americans who have

embraced the jungle and have become part of it.

Milius’ screenplay reads:  “Our VIEW TURNS as the men around us are

thrown and torn, screaming and scattering into the jungle. More AMERICANS appear, unexplainably,

out of the growth. It is now that we fully SEE the bizarre manner in which they are dressed.

Some wear helmets, others wear strange hats made from feathers and parts of animals. Some

of them have long savage-looking hair; other crew-cut or completely shaved; they wear bandoliers,

flack jackets, shorts and little else. They wear Montagnard sandals or no shoes at all,

and their bodies and faces are painted in bizarre camouflage patterns. They appear one

with the jungle and mist, FIRING INTO US as they move” (Screenplay).

Shortly after this, the soldier whose head had slowly peeked out from the water now emerges,

dripping with mud, and firing a machine gun (Screenplay).

Kurtz is soon shown as a John Wayne-type with a description reading “He wears a green

beret and he has close-cropped hair and a tough jutting jaw (Cowie 38).

It is easy to see the connection to John Wayne when you look at Wayne's 1968 anti-communist

Vietnam War movie, The Green Berets. Wayne is depicted as the ultimate American,

stomping out Communism.

In the margins of Milius’ draft, Coppola writes, “What am I saying about him?” (Cowie 38).

Milius’ scene continues:  “The massive stone gate—the patrol passes

under it in triumph — men displaying scalps hanging from their M16’s — they hold up

captured AK 47’s — dope — rice and other booty. Wild-looking Montagnards CHEER and

cackle with delight. The Colonel turns and crosses his arms, standing majestically” (Cowie 38).

Coppola writes, “Again, this must not appear funny. But it’s as though

we have come upon a view of something unlike [anything] we have seen before” (Cowie 38).

Eventually these openings were scrapped in favor of something simpler. Coppola said, "Marty's

character was coming across as too bland… I tried to break through it. I always look for

other levels, hidden levels in the actor's personality and in the personality of the

character he plays. I conceived this all-night drunk; see another side of the guy” (Travers 117).

The narration, which we’ll talk about more in another video, orients us. He has divorced

his wife, he can’t stop thinking about getting back to the jungle— he’s only been back

in the civilized world for a week. It’s obvious that he has some kind of PTSD (or

post-traumatic-stress-disorder), which had a devastating effect on many veterans of war.

I think, perhaps, the most striking bit is when he says:

“Every minute I stay in this room, I get weaker. And every minute Charlie squats in

the bush… he gets stronger.”

“Charlie” is referring to Victor Charlie — part of the NATO phonetic alphabet—

Victor for “V” and Charlie for “C” — “VC”, which stands for Viet Cong (Wiki).

What Willard says here is sort of similar to that motivational saying that the people

you are competing against— in business, in art, in a trade, or whatever— they are

hustling harder than you and they aren’t taking breaks. But in this case, the subtext

is a little stronger in that the Viet Cong have more at stake and the jungle is their home.

Willard has to keep his edge, not just to fight the Viet Cong, but to fight his own demons.

What’s interesting, is that they would provoke a drunk Martin Sheen on his

36th birthday to wrestle with his own demons… on camera. This would result in an injury

to Sheen’s hand as well as a scene that blurs fiction and reality where a character

and an actor bares their soul for the audience at the same time.

This episode’s companion PDF features some more detailed information on Jim Morrison

at UCLA, some interesting quotes by Walter Murch and Coppola on the use of The Doors’

music in the film, as well as a playlist of music that Coppola noted or wrote into the

script, but didn’t end up using. Download it now for just one dollar.

And if you support me on Patreon at the $5 level, you’ll get access to all the companion

PDFs I make for this series.

Thanks for watching!