Hotel: Martin Sheen Cuts his Hand Wrestling a Demon on his Birthday | Ep5 | Making Apocalypse Now

Summary

Martin Sheen recounts his experience filming 'Apocalypse Now,' emphasizing the challenging yet rewarding collaboration with director Francis Ford Coppola. Sheen details the intense preparation, including the pivotal hotel scene shot while he was intoxicated, capturing his real-life struggles and emotional depth. The narrative also explores Coppola's directing choices and the impactful cinematography by Vittorio Storaro. Through personal anecdotes, Sheen reflects on the profound impact of the film on his career and personal life, highlighting the fusion of character and actor in a raw, transformative performance.

Takeaways

• 🎬 Martin Sheen felt he was too old for the role but is grateful for the opportunity given by Francis Ford Coppola, which opened new areas for him as an actor.
• 🤝 Sheen and Coppola formed a lasting friendship that began with the making of 'Apocalypse Now'.
• 🚫 Sheen was not accepted into the military during the war due to a birth defect in his left arm, which influenced his perspective on war.
• 🎭 Coppola thought Sheen's portrayal of Willard was initially too passive, which was a concern given Willard's character in the film.
• 🌅 The hotel scene was a significant opportunity for Coppola to add depth to Willard's character and show his personal crisis.
• 🎥 Vittorio Storaro's use of light and shadow through venetian blinds was a signature technique that added to the film's visual storytelling.
• 📅 The production timeline shows that the hotel scene was shot after several key sequences, allowing for deeper character development.
• 🤔 Sheen's drunkenness during the filming of the hotel scene added authenticity to his performance and was incorporated into the film.
• 💥 Sheen's injury during the scene, where he punched a mirror, added to the raw emotion of the performance but also raised concerns about his well-being.
• 🎬 The scene was a breakthrough for Sheen, helping him confront his personal demons and contributing to his transformation into a movie star.
• 🎭 Sheen's performance in 'Apocalypse Now' was deeply personal and reflected his struggle with alcoholism and self-identity.

Q & A

Why was Martin Sheen initially hesitant to accept the role of Willard in 'Apocalypse Now'?

Martin Sheen was hesitant because he felt he was too old for the part, being 36 at the time, and he had a birth defect in his left arm that he felt made him unsuitable.

How did Francis Ford Coppola's vision for the character of Willard differ from other war films?

Coppola's vision for Willard was to depict a professional soldier who didn't question the morality of war but rather the methods, unlike 'The Deer Hunter' and 'Coming Home' which focus on civilians' experiences in war.

What was the significance of the hotel scene in understanding Willard's character?

The hotel scene was significant as it provided a glimpse into Willard's personal crisis and his longing to return to the jungle, showcasing his complex nature and internal conflict.

How did the cinematography by Vittorio Storaro contribute to the portrayal of Willard's internal struggle?

Storaro used the striping effect of light from venetian blinds to create a visual representation of the conflict between civilization (light) and the dark, primal nature of humankind (shadow) within Willard.

Why was the scene of Willard in the hotel room shot on Martin Sheen's 36th birthday?

The scene was shot on Sheen's birthday as a way to incorporate his real drunkenness into the performance, adding authenticity to the portrayal of Willard's drunken state.

What was the impact of Martin Sheen's injury during the hotel room scene on the filming process?

Despite his injury, Sheen insisted on continuing the scene, which allowed for a more raw and authentic performance. Coppola was conflicted but ultimately allowed the scene to continue, leading to a powerful and memorable moment in the film.

How did Francis Ford Coppola's approach to directing Martin Sheen in the hotel room scene differ from traditional methods?

Coppola used a more improvisational approach, allowing Sheen to explore the character's emotions and reactions in a more organic way, rather than strictly adhering to a script.

What was the significance of the mirror in the hotel room scene for Willard's character development?

The mirror was used as a tool for Willard to confront his own reflection, symbolizing his internal struggle and the duality of his character, as well as his vanity and self-perception.

How did the cinematography in 'Apocalypse Now' reflect the themes of the film?

The cinematography, with its use of light and shadow, visually represented the film's themes of the conflict between civilization and savagery, as well as the duality of human nature.

What was the role of the second unit cinematographer, Stephen Burum, in 'Apocalypse Now'?

Stephen Burum was brought in to assist with the extensive filming requirements of 'Apocalypse Now', ensuring that the additional footage matched the style and intensity of Vittorio Storaro's cinematography.

How did the filming of the hotel room scene affect the crew and the director emotionally?

The intensity of the scene and Sheen's raw performance deeply affected the crew and Coppola, leaving them emotionally shaken and reflecting on the power of the performance.

Outlines

00:00

Martin Sheen's Journey and Experiences with 'Apocalypse Now'

05:01

Vittorio Storaro's Cinematographic Influence and Techniques

10:04

Challenges and Cinematic Techniques in Filming Willard's Hotel Scene

15:07

The Emotional and Physical Toll of Filming on Martin Sheen

20:09

Reflecting on 'Apocalypse Now' and Its Legacy

Keywords

💡Courage

Courage, in the context of the video, refers to the bravery and determination to take on challenging tasks despite potential risks or personal limitations. It is exemplified by Francis Ford Coppola's decision to cast Martin Sheen as Willard, despite Sheen being older than the character's intended age, which ultimately led to a transformative role for Sheen and deepened their friendship.

💡Apocalypse Now

Apocalypse Now is the central film discussed in the video, a war movie directed by Francis Ford Coppola. It serves as the backdrop for exploring themes of war, personal transformation, and the creative process in filmmaking. The video delves into the production challenges, character development, and the impact of the film on both the actors and the audience.

💡Character Development

Character development is the process of evolving a character's personality and motivations throughout a story. In the video, it is highlighted through the evolution of Willard's character, from a passive observer to a complex individual experiencing a personal crisis. The script mentions how Coppola and Sheen worked on embodying the character's depth and internal conflict.

💡Vietnam War

The Vietnam War is the historical backdrop of Apocalypse Now and a significant theme in the video. It is the setting where the main character, Willard, operates and where Martin Sheen's own family members served, influencing his personal connection to the role and the film's exploration of the war's impact on soldiers and civilians.

💡Cinematography

Cinematography is the art of capturing and creating visual images on film. In the video, it is discussed in relation to Vittorio Storaro's innovative use of light and shadow to convey the internal conflict within Willard and the broader themes of Apocalypse Now. The technique is exemplified by the use of Venetian blinds to create striped shadows, symbolizing the duality of light and darkness.

💡Personal Crisis

A personal crisis is a critical turning point in an individual's life, often marked by intense emotional turmoil. The video describes Willard's journey through a personal crisis, symbolized by his drunken hotel room scene, which represents a deep introspection and confrontation with his own demons.

💡Heart of Darkness

Heart of Darkness is a novel by Joseph Conrad that serves as a literary reference point in Apocalypse Now. The video draws parallels between Willard and the novel's protagonist, Marlow, both navigating through a metaphorical and literal darkness, exploring themes of human nature and the consequences of power and colonization.

💡Post-Traumatic Stress Disorder (PTSD)

PTSD is a mental health condition triggered by experiencing or witnessing traumatic events. In the video, it is mentioned in relation to Willard's character, suggesting that his experiences in the war have left him with deep psychological scars, reflecting the real-life impact of war on veterans.

💡Professional Soldiers

Professional soldiers are individuals who serve in the military as a career, often characterized by a different perspective on warfare compared to conscripts. The video contrasts the attitudes of professional soldiers like Willard, Marlon, and Bobby Duvall's characters with those of civilians, highlighting their acceptance of war as part of their identity.

💡Cinematographer

A cinematographer is responsible for capturing the film's visual elements, including lighting, framing, and camera movement. The video discusses Vittorio Storaro's role as the cinematographer of Apocalypse Now and his collaboration with second unit cinematographer Stephen Burum to create the film's distinctive visual style.

💡Creative Process

The creative process involves the development of original ideas, often leading to the production of an artistic work. The video provides insight into the creative process behind Apocalypse Now, from the casting decisions and character development to the innovative cinematography techniques used to convey the film's themes and narrative.

Highlights

Martin Sheen's casting in 'Apocalypse Now' was a courageous decision by Francis Ford Coppola despite Sheen being older than the character's age.

Sheen's personal connection to the Vietnam War through his brothers and their experiences.

Coppola's concern about Sheen's portrayal of Willard's passive nature and the strategy to use Sheen's 'beautiful face'.

The significance of the hotel scene in revealing Willard's character outside of his mission.

John Milius' comparison of Willard to Marlow from 'Heart of Darkness', highlighting Willard's complex character.

Sheen's perspective on 'Apocalypse Now' being different from 'The Deer Hunter' and 'Coming Home', focusing on professional soldiers.

The creative process of reconstructing Saigon in the Philippines and the challenges faced by Coppola.

Vittorio Storaro's innovative use of light and shadows to represent the conflict within Willard.

Storaro's approach to cinematography, influenced by his work on 'The Conformist' and his interest in the separation of light and shadow.

The组建 of a second unit to assist with the extensive filming of 'Apocalypse Now', led by Stephen Burum.

Sheen's method acting during the hotel scene, incorporating his real-life drunkenness into the performance.

Coppola's direction to Sheen to bring out the dark side of Willard through vanity and self-reflection.

The intense and emotional aftermath of the hotel scene filming, affecting both the crew and Sheen.

Sheen's reluctance to view the hotel scene initially and the emotional impact it had on him when he finally did.

The physical risks Sheen took during filming, including injuries from heat and on-set explosions.

Sheen's transformation into a movie star following his performance in 'Apocalypse Now'.

Transcripts

Martin Sheen: “You know, Francis had a lot of courage— one, in bringing me in to play

that part. I was too old, frankly. I was 36 when I came to the Philippines and I’m eternally

grateful to Francis and we formed a friendship over the years that started with that and

he opened a lot of areas to me and allowed me to explore a lot of things that I don’t

know if I ever would have gotten the chance to do and never would have gotten to know

myself as a result of ‘Apocalypse’ if he that courageous and that generous and that

tough on me. He was tough on me.

Martin Sheen wasn’t accepted into the military during the war saying, "I was classified 4F

because I had a birth defect, my left arm was crippled, most of my classmates ended

up in Vietnam … I would have gone. I had two brothers in Vietnam, one who was decorated,

a Marine, my brother John was a decorated hero, he survived, he had a very difficult

time, and he's one of my heroes. He's still alive, God love him. My feelings for him are

of joy ... he became a corpsman in the Navy ... the Marines took all the corpsmen into

combat. He found himself in some horrible conflicts and lost all his friends. He became

a raging lunatic and ended up in jail and beat people up,

and finally had a moment of clarity” (Travers 114).

Coppola thought that Sheen was hesitant in his depiction of Willard. Willard is a pretty

passive character and the hotel scene is our only real glimpse into the kind of person

Willard is outside of his mission.

Coppola: “Much of what the character had to do was look at weird things, I mean, it

was always a shot of a face and he’s looking at whatever it may be, but it was a very passive

kind of a role and I really worried about that. It’s one of the reasons why I wanted

Marty Sheen to do it because he has such a beautiful face.”

I don’t follow, sir.

Coppola: “I figured, well, if your going to look at this fellow, he ought to look nice.”

Sir, I am unaware of any such activity.

At this point, they had been shooting for 4 to 5 months. Let’s take a look at the

production timeline.

You can see here that the hotel scene was shot after they already had the flight of

the valkyries, the tiger, the playboy, and the medivac sequences in the can. This was

Coppola's chance to apply further meaning to Willard’s watchful eye and transform

these images of a character simply seeing the strange things around him to a character

going through a personal crisis.

Milius relates Willard to Marlow— the protagonist from Heart of Darkness— saying, "Willard

was my Marlow, a very complex character, a guy who was ahead of his time, written of

a lot now, but not then… He was a warrior, but not warlike, but got high on war, it was

his drug, and he had nowhere else to go, he didn't know what else to do. Willard is a

poster boy for post-traumatic [stress disorder] syndrome, especially the first scene. I love

the idea that he hopes they're gonna come to get him” (Travers 117).

I wanted a mission. And for my sins, they gave me one. Brought it up to me like room service.

Sheen: "My opinion of The Deer Hunter, and Coming Home, both brilliant films, are really

about civilians who went to war. Apocalypse Now is about professionals who invented it,

and there really is no comparison. We play, both Marlon and myself and Bobby Duvall, professional

soldiers, who don't question really the morality or the right and wrong of fighting in Vietnam,

but rather the methods of how it's fought."

I don't see any method at all, sir.

The sound of a helicopter outside causes Willard to drag himself out of bed and look out the

window to realize-- after a night of heavy drinking— that he is still in stuck in Saigon

waiting for a mission— longing to go back into the jungle. Coppola remarked in the commentary

that reconstructing Saigon in the Philippines was a hectic day involving lots of “taxis

and people” and Coppola never quite got it the way he wanted it (Commentary). It’s

interesting that so much work was put in for a shot that is less than 10 seconds and seen

only partially through the venetian blinds.

Here is some footage of the recreated Saigon that wasn’t used in the final film.

The way the light shines through the venetian blinds creates almost a war-paint effect on

Willard’s face. This wasn’t the first time cinematographer Vittorio Storaro played

with the striped shadows and light from venetian blinds. In fact, by this time, it was almost

a trademark of Storaro.

Storaro had been finishing up his cinematography work on Dario Argento’s The Bird with the

Crystal Plumage just before moving on to his next job— The Conformist by Bernardo Bertolucci.

You might remember that Storaro got offered the job of cinematographer on Apocalypse Now

because of Coppola’s love of The Conformist. Well, due to scheduling, Storaro went straight

from The Bird with the Crystal Plumage to The Conformist and had very little time to

prepare (NYFF55). He met with Bertolucci less than a week before filming would begin. Storaro

saw some Venetian blinds and immediately had the idea to use the striping effect of light

coming through the blinds for a scene they were preparing (NYFF55).

Storaro: I said, "Bernardo, let's create a kind of cage around this character. Let's

use the light in such a sharp way, that there is not any embrace, not any harmony between

light and shadows.

He was extremely happy to discover, on the day, that the costume designer had a similar

idea and dressed the actress in black and white stripes (NYFF55). Storaro was very interested

in the separation between light and shadow and later came across this Alfred Stieglitz

photo from 1889 in Northern Italy depicting a woman striped by the shadows and light coming

from the blinds (NYFF55). He would later revisit an old short that he had worked on in which

he had forgotten that he had also used the striping effect of venetian blinds. They had

a soundstage and he had a student grip take all the stage lights down from overhead and

place lights on the other side of the set’s window (NYFF55). In Storaro’s mind, the

light represents something and the dark represents the opposite and with the blinds, we get a

strong sense of the conflict and separation between these two things.

The Conformist, is about a man’s struggles with being swept up by fascism. He tries to

conform, but there is a conflict within himself. This conflict is represented in the separation

of light and shadow— reality and artifice created by fascism.

Amore.

Storaro said that Bertolucci would “express each scene” in the proper conscious way,

but not completely— there was always some part that was suggested or symbolic or hiding

in the shadows (NYFF55). This likely encouraged Storaro when heightening reality for Apocalypse Now.

Here, we can already see the conflict between light and shadow as representing this conflict

in Willard. The light is civilization and the shadow is the dark, primal nature of humankind.

Civilization is creeping in from outside, but it appears that he is already approaching

the heart of darkness when we meet him.

There is a conflict in every human heart between the rational and the irrational.

Between good and evil.

Coppola: I always imagined the type of operations he did he spent many many many nights in the

jungle alone eating what he could and so he was used to a very solitary kind of strange

existence.

When Storaro arrived in the Philippines, he had brought with him

his own team made up of camera operator Enrico Umetelli, gaffer Luciano Galli, and key grip

Alfredo Marchetti, but it wasn’t long before Storaro would realize that the sheer scope

of Apocalypse Now would require assembling a second unit to help shoot the film (Cowie 48).

Coppola agreed to this request and they hired on Stephen Burum as second unit director and

cinematographer who would be aided by “one of Storaro’s favorite operators” named

Piero Servo, who had brought his own cameras (Cowie 48). Of course, Burum would have his

work cut out for him because he would have to match the intense style of Storaro’s

cinematography. Burum would later go on to be the cinematographer for such movies as

The Outsiders, The Untouchables, and the first Mission Impossible movie.

Burum said, "I agreed to head up the second unit, so about a month later I got on a plane

and flew to the Philippines. 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. 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]” (American Cinematographer 95). And shortly

after, Burum would shadow Storaro on Willard’s drunken night in the hotel.

Burum said, "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.

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. Coming from the industry in Los Angeles, I was used to having all of

this equipment; we had more gadgets and tools than anybody else in the world. Vittorio,

on the other hand, was just using Brute arcs and Photofloods with blue gels on them. 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. Then, back in this dark corner,

he had a lamp on with a lampshade over it. By doing that, he made the black in the corner

look better, because he had that bright reference in the frame. He also had this elaborate system

of cutting pieces of paper or gels for the shades in order to block out the light coming

toward the camera, and have as much of it as possible hitting the wall instead” (American Cinematographer 95).

Sheen: "I remember complaining to Francis one day about my confusion about all that

was going down and I said to him, 'I don't know who this guy is, who is this Williard?'

And Francis just looked at me square in the eye and he said, 'He's you. Whoever you are.

Whatever we're filming at the time. You are that character.’"

The scene was shot on August 3rd, 1976— Sheen’s 36th birthday. He had been drinking

all day and Coppola had an idea to incorporate Sheen’s drunkenness into the scene (Travers 116).

By the time they got going, Sheen was so drunk that he could barely stand (Hearts of Darkness).

Storaro set up two cameras and they started rolling without telling Sheen what to do,

but letting Sheen know that they could wrap for the day

whenever he felt like it (Cowie 69, Hearts of Darkness).

Coppola: "At the time of doing that scene, I was talking in terms of, you know, showing

the different levels of good and evil in yourself and I imagine that this guy did things that

nobody had ever seen or even ever talked to anyone, must still be in him. And he must

still have that Kurtzian other side in him."

Coppola: "I thought, I wish there was one scene at the beginning that established that

he was a complex, deep guy. So the audience, and audiences will do this, would read into

if he's looking at something interesting, that they would read emotion or thoughts in

the character that's really, he's just looking, is very passive."

Coppola needed something to set up the dark side of Willard and instill this conflict within him

that would drive him ultimately to Kurtz with the question being: what would he do when he gets there?

But Coppola needed an approach for displaying this conflict within the scene.

Earlier Coppola had a dream that he was shooting the scene with Sheen and a Green Beret advisor

and the advisor told Coppola that all these elite military guys were vain— in the dream,

Coppola had Sheen go to the mirror and admire his beautiful face “and when he turned around,

Francis could see that Marty had suddenly turned into Willard" (Coppola 103).

Sheen: "He was hard on me in that he would not let me get away with any cheap shots,

acting wise, you know. He wanted me to fully realize myself in this piece."

Coppola decided to take this approach in the scene, having Sheen admire himself in the mirror.

Coppola: "Marty, go look at yourself in the mirror.

I want you to look at how beautiful you are, I want you to look at your mouth--

mouth and your hair.

You look like a movie star."

Costas: "What do you think you were trying to be, that no long matters to you?”

Sheen: "Well, all my life, I wanted to be a movie star, you know, and here was the opportunity

of a lifetime, I was working with the most important talented director in the world on

the biggest feature ever made with one of my idols, Marlon Brando, you know. And I'd

felt terribly insecure and empty about it all. It just didn't make any sense. Why me?

And why this? And why now? You know? Over and over again, I would talk to Francis about

who is this character Willard, and how do we play him, and Francis was always, always

clear about it, in that he'd tell me constantly, Willard is you, whoever you are at this time,

in this place."

In her production diary, Eleanor Coppola writes, "Yesterday Francis shot the scene in the hotel room.

He let Marty get a little drunk, as the character is really supposed to be.

He and Marty both knew they were taking a chance. The first layer of the character Marty played

was the mystic, the saint, the Christlike version of Willard. Francis pushed him with

a few words and he became the theatrical performer, Willard as the Shakespearean actor. Francis

prodded him again and he moved to a street tough, a feisty street fighter who has been

at the bottom, but is smart, knows some judo, is used to a scrap” (Coppola 103).

Crew: "Fellas, get right here, as soon as you can, please …"

A Vietnam veteran and friend of Sheen's named Joe Lowery taught Sheen about hand-to-hand

combat (Cowie 69). Lowery told Sheen that it was best to practice in front of a mirror

[quote] “because nothing is faster than your own reflection” (Cowie 69).

Since the scene would just play out over music, Coppola directed Sheen during the shooting

of each take. He told Sheen, "You're evil; I want all the evil, the violence, the hatred

in you to come out" (Travers 116). Coppola had told Sheen to be vain, and now he told

Sheen [quote] “now frighten yourself, Marty” and Sheen punched the mirror (Travers 116).

Sheen: "I was so intoxicated I didn't realize how close to the mirror I was, and when

I struck it, I ended up catching my thumb in the mirror and split it open a bit."

Sheen said, "Francis tried to stop it, and he called for a doctor and there was a nurse

standing by, I said, 'No, let it go,' I said, 'Let's have it out right here and now.' It

had to do with facing my own worst enemy, myself" (Travers 116).

Coppola was conflicted. He wanted to stop and have a nurse look at Sheen’s hand, but

Sheen wanted to keep going. Sheen was blind drunk and likely wasn’t really in a position

to judge exactly how badly he had been injured, but luckily it wasn’t too bad.

Coppola: "I was sitting up on a piece of the furniture and I knew that I should say "cut"

because he might have hurt his hand. And yet, if I said "cut," it would mean that the scene

would be stopped and ruined and all of this that he had gone through would have been lost

and so I sat up there and I bit my tongue and I allowed it to go on, against partly

my better judgement, and there was I, as the director, wanting him to have the scene which

I knew he wanted to have and yet at the same time I said, "my god, I'm responsible for

this guy" and so finally when we did cut and immediately gave medical attention to his

hand, you know, I felt badly, I'm not sure his wife appreciated that I allowed him to

go on longer after he had cut his hand. It was an accident and I was responsible but

nonetheless I did and the scene is as it is because of that decision."

Sheen: "Yeah, I still got the scar. Yeah, I cut myself and bled quite a lot, and Francis

tried to stop the scene. And I begged him to continue rolling, there were two cameras

going, and he said he couldn't do it and they had a nurse standing by and I said, "Please,

I must do this for myself, I beg you to leave it going." And he did. And he allowed me to

wrestle, in a sense, with some demons that I had been wrestling with for quite awhile.

And now I was doing it in a public forum and in a sense I got them out."

Eleanor writes, "Francis had a moment of not wanting to be a vampire, sucking Marty’s

blood for the camera, and not wanting to turn off the camera when Marty was Willard” (Coppola 104).

Both Coppola and Sheen knew how truthful this performance was— Sheen was Willard

and this moment really expresses Willard’s nature— not to mention, it adds some great

humor to the next scene.

Are you all right, Captain?

What's it look like?

Sheen: "I had done that scene in bars, I'd done that scene at home, you know, in my drunkenness.

I'm an alcoholic, you know. And I had to come to grips with it. I had to exorcise that out of myself."

Coppola: Why did you come back?

Why did you come back?

Think about it.

Your wife...

Home...

Car.

My heart is broken.

Eleanor talks about the aftermath of filming this scene saying, "I was outside in the street,

shooting [for the documentary]. When I went back to the set, Enrico, Vittorio and the

people who had been inside during the scene were coming out, visibly shaken. Silent and

disturbed, emotionally affected by the power of Marty/Willard baring his guts in the room…

I waited for Francis to come outside after the wrap. He never came. Finally, I went into

the set. Francis and Marty were alone. Marty was lying on the bed, really drunk, talking

about love and God. He was singing an old hymn called “Amazing Grace” and trying

to get Francis and me to sing with him, holding our hands and crying… His cut finger had

been bandaged. It started to bleed again because he was squeezing our hands, hard, and sometimes

hitting edges of the bed… The nurse came in and I helped hold his arm, so she could

put a fresh dressing on the cut and try to stop the bleeding. The cut was not deep, but

it was right on the knuckle and he kept bending it. Everyone was trying to sort of ease him

toward the car. The Filipina nurse was praying out loud and saying, 'Jesus loves you Marty.'

It took about two hours to get him in the car and back to the hotel in the rain... Francis

wanted an actor to have confidence in him, even if wasn’t all written in the script.

Confidence that he would find a way to get to that moment where the actor, the person

and the character merged into reality when the cameras are rolling." (Coppola 104).

Sheen: "I pretended I couldn't remember a lot of the things that I'd done that night.

Actually, I remembered it all."

Since they had been in production for nearly 5 months before shooting this scene, this

actually wasn’t the first injury Sheen sustained during production— [quote] "He had already

fainted from the heat and needed four stitches from cuts after standing too dose to an on-set

explosion” (Travers 115).

At first, Sheen didn’t want to see that scene. The scene wasn’t in the version that

premiered at Cannes, but Sheen would later go it in New York with friend who had been

in the Army and was “shocked” by what he saw (Travers 116).

Costas: "What did it look like when you saw it?"

Sheen: "Pretty frightening. And today I don't recognize that man, he's a pretty sad guy.

Pretty sad man. Trying to be something he wasn't, afraid of things that he shouldn't

have been. Immature in a lot of ways. Very painful guy."

In a separate interview, Sheen said, "It was a transcendent scene. I am an alcoholic, and the insanity of alcoholics

is, you think that's who you are ... that's where I was at that time. ... I knew I was

gonna wrestle one of the demons ... some part of me wanted to see it on film.... I had to

look at that, and see what family members had seen in me: self-loathing, guilt. All

the things that destroy our humanity. I had to live that” (Travers 116).

Sheen had already been a well-known actor, but after Apocalypse Now,

he would be a movie star (Travers 114).

It’s hard to think of anyone else playing Willard at this point, but Sheen wasn’t

the first choice to play Willard— they had originally wanted Steve McQueen for the role

who entertained the idea but ultimately declined (Casting). Sheen wasn’t available, so they

cast the great frequent Scorsese player Harvey Keitel, but things didn’t go so well…

This episode’s companion PDF is a little more simplified for the sake of time. In this

one, I compare the introduction of Willard in John Milius’ 1969 draft, Willard’s

introduction in Coppola’s 1975 draft, and Willard’s introduction in the final film,

as well as a selection of interesting comments from the previous episode.

It’s yours for just a dollar and you can check-out easy with PayPal. Your support really

helps keep the channel afloat during copyright issues and other annoying problems that inevitably

arise while making these. Thanks so much for your support and for watching!