Storaro: We always strove to show the conflict between the soldiers and both the jungle and the native people. 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. In that regard, Burne Hogarth was really my guide. Storaro: Well, I had several problems in that regard. Every country that has ever conquered another country — whether you're talking about Egypt, Italy, Spain, France, England or the United States — has always imposed its own language and culture upon the conquered region. Act now to receive 12 issues of the award-winning AC magazine — the world’s finest cinematography resource. Then, back in this dark corner, he had a lamp on with a lampshade over it. 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. In that regard, 1900 was really an exception; when I did The Spider’s Stratagem, we had no generator at all! 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.”. Pizzello: What were some of your visual influences for the film? After exposing the negative, we would sent it to Rome, where they would flash it before developing. The same idea applied to the sequence at the Do Lung Bridge. But once he was sure that I had come up with the best way to translate his concept onto film, he would give me total freedom to put together the entire sequence. I also sought to create that type of conflict in the lighting. !” My solution was to have the crew erect several towers, each of which had one arc on it. But when I spoke with Gordon about it, he assured me that he was not a part of the project, even though there was nothing wrong between him and Francis. 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? We don’t need any go-ahead from anybody else, but please remember that all of the responsibility is on me personally.” I always take my work very seriously, but after Francis said that to me, I really tried to give a maximum effort with the minimum equipment that I needed. In the Reduxversion, the scene is moved to later in the film, and Willard is shown reading the dossier without the surrounding activity and music. Storaro: In the end, not one person was hurt, which was a real testament to Joe and his crew. You also have to think things through really carefully. I told him that I wanted to portray the jungle in a similar way, with very aggressive colors. Digital technology is a great tool, but in my opinion everyone should be able to look at their footage on big video projectors, or at least a large, television-sized monitor. At the age of 11, he … 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. Storaro: We shot the film with Mitchell reflex cameras, which were modified by [the Italian company] Technovision to accept Cooke Hobson Taylor anamorphic lenses from England. He had me look at some images from Cadavari eccellenti [1976, a.k.a. You don’t have a safety net, so you have to present a vision that comes from your heart. “Non chiamatemi direttore della fotografia: sul set il direttore è uno solo, il regista”. At the age of 11, he … In the original version, Willard first me… Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". 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. 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. Vittorio Storaro ci tiene a precisarlo nella Lezione di cinema dedicata alla sua esperienza sul set di Apocalypse Now, uno dei più importanti film americani del secolo scorso, proiettato al Cinema Ritrovato nella versione integrale da 195 minuti. I kept asking Joe where we should put the crew members and the cameras to keep them safe, and at first, he couldn’t say for sure — the temple was built out of real stone, and he was planning to use real dynamite to blow it all up! Vittorio Storaro (Roma, 24 giugno 1940) è un direttore della fotografia italiano, vincitore di tre premi Oscar, per Apocalypse Now, Reds e L'ultimo imperatore Biografia. The scene plays right before the crew members meet Kilgore. 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. Alternately a brilliant and bizarre film, Francis Coppola's four year 'work in progress' offers the definitive validation to the old saw, "war is hell." Everyone has a good side and a bad side — a conscious and unconscious. Back in those days, the Italian film industry didn’t have much money, so we did everything with very low budgets. 4 years ago. The movie contains several newly added sequences and alterations to the original film: 1. To Italians in the year 1975, the topic of the Vietnam War was not that compelling, because it was so far away from us. ASC 100 Milestone Films in Cinematography of the 20th Century. He stays in his apartment, alone and isolated and drinks excessively and appears to be having difficulty adjusting to life in the rear-area. Close. During the dinner, the French tell the Americans, “We’re not afraid of the Vietcong. At the time, critics were sharply divided in their assessments of the film, but Francis Coppola’s visionary Vietnam War epic is now regarded as a modern classic. We’ll do it.” I walked out of that office, down those stairs, and back to my hotel, and all the way I was thinking to myself, “This is going to be great.” Then all of a sudden, I began asking myself, “What is perfect? The Context or The Illustrious Corpses], a film directed by Francesco Rosi and shot by Pasqualino De Santis. Everywhere Americans go, they make a great show of things, and I want to create a conflict between beauty and horror.”. It is entirely without hyperbole to introduce Vittorio Storaro as one of the most singular and influential cinematographers in the progression of modern motion pictures. This is consistent with the 1998 transfer of the original film Apocalypse Now done for DVD. The result was an immersive experience that took viewers on a surrealistic and hallucinatory upriver journey through an array of wartime horrors. Of course, that footage was definitely a challenge to shoot. However, the silhouettes were also inspired by the French naive painter Henri Rousseau. Also participating in the discussion were cinematographers John Bailey, ASC and Dante Spinotti, ASC, AIC, as well as AC associate editor Doug Bankston. Burum: Vittorio, can you tell us about the lab work and the special processes used on Apocalypse Now? Before we began shooting, I had constant nightmares that someone was going to get hurt. Storaro: Just before I started Apocalypse, a very good filmmaker friend of mine wanted to do a movie about Tarzan. Going back to my meeting about Dune with Alejandro Jodorowsky, I remember that the tone of it was quite cold. But I told Gray, “Well, tell me who your next cinematographer is going to be, because I’m leaving. I would present my ideas, and if he didn’t think they would work, I would come up with something else. Pizzello: Was your use of dramatic silhouettes in the film also inspired by comic-book art? 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]. To me, the whole project had an aura about it. Tem um grande modelo para a fotografia dos seus filmes, o pintor também italiano Caravaggio. That style is really apparent in the sequence where the tiger jumps out at Martin Sheen and Frederic Forrest; I didn’t want the color of the jungle to be a naturalistic color. 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? When the explosions went off, all of these big stone blocks were flying around, so you couldn’t even look through the camera. This article was originally published in the February 2001 issue of AC. 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. Posted by. 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. It looked great, so I performed some tests during [the postproduction of] Apocalypse Now, and the dense blacks we got were exactly what I’d had in mind for the scenes with Kurtz. Vittorio Storaro, the award-winning cinematographer who won Oscars for ". Stephen Pizzello: Vittorio, before I turn the floor over to Mr. Burum, I'd like to ask you how you got the assignment to shoot Apocalypse Now, which was your first collaboration with Francis Coppola. I developed a really strong relationship with Henryk Chroscicki, who unfortunately died last spring. But if you watch the scene, during the huge pan above the bridge, you can see only the silhouette of the two main characters against this explosion beyond them. For the first two weeks of shooting, the dailies were being sent to Technicolor Rome, which was just what I wanted. It smells like … victory.” It doesn’t matter to him how many people are dying; he’s somehow enchanted by the beauty of napalm. Who do you want to deal with there?” Francis was very nervous, because he wanted to see dailies sooner than one week afterwards. When you’re in that type of situation, you must push yourself a bit more and be very creative. Burum: Everybody tried to make a big deal out of that footage, but the only reason Francis included it in the 35mm prints was because Joe Lombardi got really upset when it was removed from the original cut. 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. By the time I was doing Apocalypse, there was no way I could use the older stock again, because the [change to the new stock] was almost complete. Pizzello: What can you tell us about the current restoration of Apocalypse Now for theatrical re-release? What do you remember about working on that sequence, Vittorio? Storaro Art Photography offers unique photographs by the award-winning Italian cinematographer Vittorio Storaro. When the ripple broke the surface of the water, it symbolized man disturbing the natural environment. Master cinematographer Vittorio Storaro shooting a fast dolly out shot for the opening action sequences of Apocalypse Now (1979) Image. Storaro's first American film was Apocalypse Now, directed by Francis Ford Coppola. I did some tests with the new stock for 1900, but I didn’t really like it. From Wings to Parasite, here's a look back at all of the Best Picture Oscar winners in the history of the ceremony. I’ll tell you, when those explosions went off, they were so powerful they would lift you right off the ground. Storaro: Yes. Everyone from those conquering countries always believes that they're only exporting the good aspects of their culture, but that's simply not true. Pizzello: Why was the temple set built with real stone? It is 1969. How can I have the same collaboration with the people at the lab [in Los Angeles] if I don’t know anybody there? When I told Ernesto I wasn’t happy with the blacks, he reminded me of an incident that had occurred several years earlier, during the filming of 1900. 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. In the professional sense, he also made me feel totally comfortable. Lezione di Cinema. [Laughter all around.]. 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. The first day of any shoot is when you really begin to discover your relationship with the director, and what your contribution will be. Apocalypse Now Redux Lo stesso argomento in dettaglio: Apocalypse Now Redux . The physical action of Tarzan in Hogarth’s art was unbelievably dynamic, and every color in the drawings was so strong and saturated that the overall impact became very surrealistic. Storaro … Storaro: Honestly, I never thought it would be great, because I was so scared to be working at that level! Burum: Exactly. According to Storaro. Stephen Burum, ASC: I'd been trying to get into the union for 13 years, and I got my chance by shooting television. There are only a handful of cinematographers in the world whom we could even place in the same sentence as Vittorio Storaro. Storaro won Oscars for "Apocalypse Now," "Reds" and "The Last Emperor". 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. [Special-effects coordinator] Joe Lombardi was going to demonstrate those parachute flares; he was planning to shoot them into the air, for they would hang and light up a whole, huge area. Storaro’s philosophical approach to the picture incorporated the careful use of deeply saturated colors, silhouettes and artificial light sources that selectively pierced the darkness of the story’s jungle settings. Storaro: On any picture, when you meet the director for the first time, you have to have a very strong connection in order to share a truly spiritual collaboration. [Laughs.] He represents the dark side of the United States, which is why black is such an important color in the film. 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. Storaro Art Photography offers unique photographs by the award-winning Italian cinematographer Vittorio Storaro. Vittorio Storaro, A.S.C., A.I.C. 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. Francis arranged this work-in-progress screening for the cast and crew at the Bruin Theater in Westwood, and when it was over, Joe grabbed Francis in the lobby and jumped all over him: “Damnit, I had my effects guys all over the jungle to shoot that scene!” So in order to placate Joe, Francis put the footage over the credits, which led to all of this speculation about the film’s ending. Today, unfortunately, editors are used to working on the Avid system or something similar. Storaro: No doubt. By doing that, he made the black in the corner look better, because he had that bright reference in the frame. America was the same way in Vietnam, and in Apocalypse Now, Colonel Kurtz represents the unconscious, which we all have inside of us. The movie was a crime thriller that required strong blacks and a very dramatic look, so Rosi and De Santis used Ernesto’s new system for all of the dailies; unfortunately, for the usual distribution reasons, they didn’t use the system on the release prints — they only used it for the dailies. Pizzello: Steve, can you tell us how you came to serve as second-unit cinematographer on Apocalypse? The lighting I used for that scene came about for two reasons. 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. Storaro: Francis is, without a doubt, the director who gave me the most freedom to express myself. For example, when I was shooting The Outsiders and Rumble Fish, he’d show me the scene and ask, “What do you want to do?” I’d tell him, “Well, we should do this, this and this.” If he liked what I said, he’d reply, “Okay, where do you want to start?” If he didn’t like what I was saying, he’d tell me some allegorical story! That type of director really knows how to get the best out of people. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". No matter what I needed, he was already ready to make any changes or adjustments to the camera. 48 wins & 37 nominations. We could do multiple takes, of course, but we had to get the scenes right on the days when they were scheduled. Every coun­try that has ever conquered another country — whether you’re talking about Egypt, Italy, Spain, France, England or the United States — has always … People Francis Ford Coppola, Vittorio Storaro I was so ticked off when that was cut out of the picture, because it really addressed the central philosophical concept that Vittorio mentioned earlier — one culture imposing itself upon another. What am I going to do?” I sometimes wound up sitting on the riverbank for three days to get a shot, because Francis had told me not to shoot anything unless it was perfect! They work only from a small monitor, so they’re probably editing the picture with television in mind, at least subconsciously. I knew he had a reputation for doing everything on his pictures, including the cinematography, so I asked him why he had called me. 75 comments. A lot of comic-strip art was also influenced by studies done during the Italian Renaissance, particularly those by Michelangelo, who portrayed figures in a way that was very much like sculpture. 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. 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. 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. Then I watched the filming of the picture’s opening sequence in the hotel room, when Willard is horribly drunk. The aspect ratio 2.0:1 was chosen by the cinematographer, Vittorio Storaro… Flanked by presenters Jamie Lee Curtis and George Hamilton, Storaro cradles the Academy Award earned for his cinematography in Apocalypse Now. Well, later on, when I was having my problems with the blacks on Apocalypse, he finally showed me an example of this new process he had developed. He told me that he had admired my work on The Conformist, and he never let me feel that I was out of place, or too young, or that I didn’t know enough English. He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. We would only show certain things amid all of the darkness, and we would reveal different pieces of the puzzle as we went further up the river. Frankly, I don’t know how many other producers or directors would have allowed me to do something like that — Francis gave me his complete support. They had enough of the previous stock for us, so we bought it from them instead for Scandal. 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. That way of working costs the film industry a lot of money, and it drains the quality of the filmmaking. 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 arrived in the Philippines, he wanted to show me some color sketches of the helicopter attack sequence — Francis had actually filmed these sketches in CinemaScope and edited them together with music, and he showed me this footage on a big screen! 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. First, at 7 p.m., Friday, March 24, Storaro will introduce Francis Coppola's great epic,Apocalypse Now, in its extended Redux version. Vittorio Storaro - Dirección de fotografía - Apocalypse Now The film opens, introducing seasoned veteran Benjamin L. Willard (Martin Sheen); a deeply troubled, seasoned veteran. I agreed to head up the second unit, so about a month later I got on a plane and flew to the Philippines. These are our people.” A big philosophical discussion ensues, during which the French essentially denounce the Americans as colonialists. 756. But from our very first meeting, Francis was so friendly that I felt as if I’d known him forever. Vittorio Storaro, ASC, AIC: Actually, I initially refused to shoot the picture, because I didn't want to interfere in the relationship between Francis and Gordon Willis [ASC]. Archived. I wasn’t happy with the contrast of the new stock, and when I did some tests in Rome with Ernesto Novelli, we decided to flash the negative of Apocalypse Now. First, at that point in my career, I had never used a really extensive lighting package; the biggest picture I had ever done was 1900, on which I used a single thousand-amp generator! Storaro: In my mind, the different scenes in the film became like parts of a puzzle. It was one of the best anamorphic lenses I’ve ever seen or used, and Francis eventually bought it. 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! On the first day of Apocalypse, Francis gave me an anamorphic viewfinder with my name on it, and he had one of his own. We were both wandering around with these finders, and it probably looked a bit ridiculous. 2. 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. 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. Apocalypse became my first picture outside of Italy with a foreign production company, because prior to meeting Francis, I’d never felt comfortable with any of the other foreign directors I’d met. 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] involving Martin Sheen, G.D. Spradlin, Harrison Ford and Jerry Ziesmer. Also, around that time, Kodak had just introduced its new color negative stock [5247]. Apocalypse Now was selected as one of the ASC 100 Milestone Films in Cinematography of the 20th Century. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". In my experience, that’s still a very good piece of advice! That process, of course, was what came to be known as ENR [in honor of its inventor, whose full name is Ernesto Novelli-Raimond]. Pizzello: Which camera and lenses did you use on Apocalypse Now? Given the relatively low budgets that I'd had, I was accustomed to simply using the minimum lighting I required. To light that huge Playboy sequence from beyond the stage area was basically impossible, so instead I came up with the idea of using lights set up within the stage area. When I got to the Philippines, I went into his office, and he said, “Steve, I’m in so much trouble now that the only way we can get out of this is to do everything perfectly.” I answered, “Francis, I’ve been waiting all my life to hear someone say that to me. However, the second reason for doing the scene that way was that I wanted to create this intrusion of artificial light in the jungle — the incredible force of the light would serve to enhance the blackness of the Jungle. Finally, we attached these cables to both heavy-duty tractors and the set, and when the explosion happened we just pulled the temple down. I realized that the darkness mentioned in the book's title did not belong to the jungle culture, but to the supposedly “civilized” culture that was making its way up the river. He would sometimes make a few little changes to our plan while we were shooting, but usually we wouldn’t deviate much from the initial plan we had worked out in the morning. When I asked him who was going to direct those scenes, he said, “You will.” I suggested that maybe [director] Carroll Ballard should supervise the scenes with me shooting them, but Francis replied, “Carol told me that you should do it.” [Laughs.]. Three-time Oscar winner, Vittorio Storaro is more than just a legendary Italian cinematographer – recognized by the Academy for his outstanding visual work in Coppola’s Apocalypse Now, Beatty’s Reds and Bertolucci’s The Last Emperor – he is a philosopher of light, colors and elements.. I don’t think that anybody on the crew doubted that. Burum: I find it interesting that you were able to take those technical limitations and use them to create a distinctive visual style. See more ideas about cinematography, film stills, apocalypse. All of the air would be sucked away from you, and then this rush of hot air would come back at you. "Apocalypse Now" was worth the wait. I have complete trust in your expertise with the camera, so please feel free to do anything you think is correct. I'd been doing that for about two years when I got a call from Fred Roos, who told me, “Francis wanted me to ask if you'd come to the Philippines to shoot second-unit footage for Apocalypse.” I'd been reading in the papers that the production had been shut down because the terrible typhoon had destroyed the sets, but I said, “Well, sure.” I went to an office at Samuel Goldwyn to talk to Francis, and he wanted to discuss the aerial footage. They have a very small screen in front of them, and it’s very hard to see an emotion from an actor, or a particular action. Storaro: Dean Tavoularis wanted it to look authentic, of course, but I think it was simply easier to use real materials in that particular location rather than shipping materials in. We really had to have a good plan, because we knew we’d only have one chance to shoot each sequence. He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. 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. Burum: I do remember that when I got to the Philippines, there was a general feeling that Apocalypse was going to be a great picture. Check out our editors' picks for the movies and shows we're excited about this month, like Mortal Kombat, "Them," and Stowaway. And he answered, “I know that on this movie, I need much more in terms of the operating and the lighting, and I think that you can do better.” But I couldn’t tell if he was being sincere with me or not, which made me a bit hesitant. When I arrived to do Apocalypse Now, I brought just one thousand-amp generator, without any backup — that's how crazy I was! But Francis told me, “Vittorio, this is the first picture that I’ve really produced completely. They kept everybody informed about what was going to happen every step of the way. Francis Ford Coppola; Vittorio Storaro. Apocalypse Now, Last Tango in Paris, 1900 ... Vittorio Storaro reveals the inspiration behind some of the most beautiful films ever made Vittorio’s solution was to really use the black areas [of the scene] and the highlights provided by the arc lights and Photofloods that we did use in the scene. I asked the production designer, Dean Tavoularis, to design a set that would incorporate a number of Photofloods. Vittorio, let’s talk a bit about the way Francis handles people, because he does it in a very interesting way. 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. In 1972, just before we began working on Apocalypse, Hogarth had published two new books of his Tarzan art [Tarzan of the Apes and Jungle Tales of Tarzan], and they really focused on the principles of movement.
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