How Coppola Raised Millions to Make ‘Apocalypse Now’ Independently | Ep3 | Making Apocalypse Now

Summary

This video script delves into the making of 'Apocalypse Now', revealing the challenges faced by Francis Ford Coppola in creating this cinematic masterpiece. From initial budgeting and location scouting to securing military support and maintaining creative control, the script highlights the director's struggle and determination. It also touches on the fortuitous documentary 'Hearts of Darkness', offering an intimate look at the film's tumultuous production and Coppola's quest for artistic independence.

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Q & A

Who were the first people that Coppola brought onboard for the project of 'Apocalypse Now'?

The first people that Coppola brought onboard for 'Apocalypse Now' were Fred Roos and Gray Frederickson.

What roles did Fred Roos and Gray Frederickson play in the production of 'Apocalypse Now'?

Roos served as a Line Producer, handling much of the logistics of shooting, while Frederickson was responsible for securing locations and dealing with location problems, also utilizing his fluency in Italian.

What was the significance of the Patrol Boat, River (PBR) in the film 'Apocalypse Now'?

The PBR, or Patrol Boat, River, was a type of plastic patrol boat common on rivers and was crucial for the film's setting. Frederickson initially budgeted for only two PBR boats, but they should have had more as spares for any issues during shooting.

Who was hired as the production designer for 'Apocalypse Now' and what was his contribution to the film?

Dean Tavoularis was hired as the production designer. He had previously worked as the art director on 'Bonnie and Clyde' and as the production designer on 'The Godfather' movies, and he introduced Coppola to Marlon Brando.

Why was Vitorio Storaro chosen as the cinematographer for 'Apocalypse Now'?

Coppola chose Vitorio Storaro as the cinematographer after seeing his work on Bernardo Bertolucci’s films 'The Conformist' and 'Last Tango in Paris', admiring the way Storaro experimented with light and color.

What was the significance of the press tour in Sydney, Australia for the development of 'Apocalypse Now'?

The press tour in Sydney allowed Tavoularis, Roos, Frederickson, and Coppola to scout locations that could act as Vietnam, all expenses paid by Paramount instead of using funds from Coppola’s production company, Omni Zoetrope.

What challenges did the location scouting team face when considering Cairns in Queensland, Australia?

Cairns in Queensland, Australia had a jungle suitable for the film, but Frederickson noted the absence of carabao or water buffalo and the difference in rice growth, which would affect the authenticity of aerial shots.

Why was the Philippines initially considered a risky location for shooting 'Apocalypse Now'?

The Philippines was considered risky due to the heavy rainfall during the rainy season from May to November, which could potentially damage or wash out sets and equipment.

How did the Australian Screen Actors’ Guild's demands affect the production plans for 'Apocalypse Now'?

The Australian Screen Actors’ Guild demanded that most actors in the film be Australian, which could have been a hurdle in casting, especially after it was suspected that the United States Department of Defense disliked the script.

What was the financial arrangement between United Artists and Coppola's company for the distribution of 'Apocalypse Now'?

United Artists and Coppola's company agreed to split the gross rentals in the United States 50-50 up to $20 million, with the proportion increasing in favor of Zoetrope for revenues over $100 million, up to a maximum of 74.8125 percent.

How did Eleanor Coppola's involvement in filming behind-the-scenes material impact the production and legacy of 'Apocalypse Now'?

Eleanor Coppola's footage and audio recordings, initially intended for a short promotional film and her personal diary, eventually became the basis for the documentary 'Hearts of Darkness: A Filmmaker's Apocalypse', providing an intimate and unguarded look at the film's production and Coppola's creative process.