Storaro: No doubt. "Apocalypse Now" was worth the wait. From Wings to Parasite, here's a look back at all of the Best Picture Oscar winners in the history of the ceremony. May 25, 2013 - Explore Frederik Storm's board "Vittorio Storaro", followed by 579 people on Pinterest. Archived. 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. I also remember asking Joe Lombardi to create some explosions in spots where I needed some light. Pizzello: What can you tell us about the current restoration of Apocalypse Now for theatrical re-release? Pizzello: What were some of your visual influences for the film? We were both wandering around with these finders, and it probably looked a bit ridiculous. What follows are some fascinating excerpts from a roundtable discussion held at the ASC Clubhouse, during which Storaro responded to questions posed by Stephen Burum, ASC, who supervised the second-unit cinematography on Apocalypse Now, and AC executive editor Stephen Pizzello. However, the silhouettes were also inspired by the French naive painter Henri Rousseau. 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. I also sought to create that type of conflict in the lighting. Storaro: Honestly, I never thought it would be great, because I was so scared to be working at that level! Flanked by presenters Jamie Lee Curtis and George Hamilton, Storaro cradles the Academy Award earned for his cinematography in Apocalypse Now. When Francis showed me his idea for the scene — which involved panning from the patrol boats to the bridge, at night, on a river in the middle of the jungle — I thought to myself, “How in the world am I going to light such a huge amount of space with just one thousand-amp generator? 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.]. 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. Before we began shooting, I had constant nightmares that someone was going to get hurt. I developed a really strong relationship with Henryk Chroscicki, who unfortunately died last spring. “the look” of Apocalypse Now evolved day-by-day over 15 long months working in the Philippines. 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. Posted by. Nel 2001 è stata pubblicata la versione restaurata e allungata di 47 minuti, con un nuovo montaggio e con l'inserimento di materiale scartato all'epoca della versione originale; questo materiale aggiunge un intero capitolo all'opera, storicizza il contesto e, infine, cambia leggermente il finale del 1979. Pizzello: Which camera and lenses did you use on Apocalypse Now? 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. Vittorio Storaro e Apocalypse Now - YouTube 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’ll be glad to see that footage back in the film — especially the key sequence in which the soldiers get off the boat and stumble across a French plantation, where they have dinner with the people who live there. Everyone has a good side and a bad side — a conscious and unconscious. These are our people.” A big philosophical discussion ensues, during which the French essentially denounce the Americans as colonialists. The Context or The Illustrious Corpses], a film directed by Francesco Rosi and shot by Pasqualino De Santis. The lighting I used for that scene came about for two reasons. 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. 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. Ironically enough, around the same day that [Apocalypse co-producer} Fred Roos came to Rome to speak with me about the picture, I met with Alejandro Jodorowsky; he was planning to direct Dune, and he offered me the chance to shoot it. Storaro … 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! Vittorio Storaro - Dirección de fotografía - Apocalypse Now Pizzello: Steve, can you tell us how you came to serve as second-unit cinematographer on Apocalypse? Joe also warned us, “Keep under cover, because once the blast goes off it’s gonna be raining snakes.” And it was! 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. Burum: We had the most wonderful Cooke anamorphic zoom lens on Apocalypse. No matter what I needed, he was already ready to make any changes or adjustments to the camera. 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? To me, the whole project had an aura about it. From watching all of this activity on the sets, I immediately understood that the color black was very important to Vittorio. I asked the production designer, Dean Tavoularis, to design a set that would incorporate a number of Photofloods. 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! Willard has returned to Saigon from deployment in the field. Apocalypse Now, Cinematography, DI, the conformist, Vittorio Storaro Originally published in our Web Exclusives section on June 8, 2007. Storaro: Francis is, without a doubt, the director who gave me the most freedom to express myself. Master cinematographer Vittorio Storaro shooting a fast dolly out shot for the opening action sequences of Apocalypse Now (1979) Image. They work only from a small monitor, so they’re probably editing the picture with television in mind, at least subconsciously. 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. Finally, we attached these cables to both heavy-duty tractors and the set, and when the explosion happened we just pulled the temple down. In the original film, the PBR Street Gang crew members relax and play around, listening to the Rolling Stones' "(I Can't Get No) Satisfaction" while Willard first looks at the dossier. 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. Storaro: Just before I started Apocalypse, a very good filmmaker friend of mine wanted to do a movie about Tarzan. Storaro Art Photography offers unique photographs by the award-winning Italian cinematographer Vittorio Storaro. How can I have the same collaboration with the people at the lab [in Los Angeles] if I don’t know anybody there? Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". I don’t think that anybody on the crew doubted that. Marlon Brando’s portrayal of a rogue army officer come spiritual leader and deity is both bizarre and disturbing. 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! When I was planning the visual strategy for the film, I began thinking that I could convey the conflict of cultures by creating a visual conflict between artificial light and natural light. Check out our editors' picks for the movies and shows we're excited about this month, like Mortal Kombat, "Them," and Stowaway. What do you remember about working on that sequence, Vittorio? Apocalypse Now, Last Tango in Paris, 1900 ... Vittorio Storaro reveals the inspiration behind some of the most beautiful films ever made The film’s spectacular images earned Vittorio Storaro, ASC, AIC, his first Academy Award and cemented his reputation as one of the world's most brilliant and innovative cinematographers. That’s the worst thing you can do to the film industry, because you’re reducing everything to video quality. In the course of over fifty years, he has collaborated with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, and Woody Allen. This article was originally published in the February 2001 issue of AC. 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. In the original version, Willard first me… Going back to my meeting about Dune with Alejandro Jodorowsky, I remember that the tone of it was quite cold. The main aesthetic principles of Futurism are beauty and speed: Balla, for example, painted things like dogs with eight legs, in order to show their speed in one single image. When the ripple broke the surface of the water, it symbolized man disturbing the natural environment. 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. After a grueling 15-month shoot in the Philippines, Apocalypse Now was finally released on August 15, 1979. Larry Fishburne is dancing to the Rolling Stones song “Satisfaction” on the radio, and Sam Bottoms is surfing behind the boat. For the first two weeks of shooting, the dailies were being sent to Technicolor Rome, which was just what I wanted. Burum: Vittorio, can you tell us about the lab work and the special processes used on Apocalypse Now? If you enjoy archival and retrospective articles on classic and influential films, you'll find more AC historical coverage here. The result was an immersive experience that took viewers on a surrealistic and hallucinatory upriver journey through an array of wartime horrors. I love Frank Herbert's book, and at that time I thought Apocalypse Now was just another war picture. Then I watched the filming of the picture’s opening sequence in the hotel room, when Willard is horribly drunk. Burum: I find it interesting that you were able to take those technical limitations and use them to create a distinctive visual style. Storaro: In my mind, the different scenes in the film became like parts of a puzzle. 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. They kept everybody informed about what was going to happen every step of the way. Storaro Art Photography offers unique photographs by the award-winning Italian cinematographer Vittorio Storaro. It is 1969. A tribute to the great Italian cinematographer Vittorio Storaro. ASC 100 Milestone Films in Cinematography of the 20th Century. That footage never appeared in the 70mm prints, and Mr. Coppola has acknowledged that its inclusion in the 35mm credits caused some confusion about the film’s ending. He used the changing light and seasons to establish a flow of time.Deranged megalomaniac Colonel Kurtz (Marlon Brando) “represents the dark side of civilization, the subconscious or the truth that comes out of the darkness. In case our plan is no good? [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: Yes. 2. 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. 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. Those scenes were designed to come together like the final pieces of the puzzle, we had created, and if the blacks weren’t black enough, that aspect of the story would not make as strong an impact visually. 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. What Will It Take to Stop Woody Allen’s Career? Storaro has received three Academy awards for Best Cinematography for Francis Ford Coppola's Apocalypse Now (1979), Warren Beatty's Reds (1981) and Bernardo Bertolucci's The Last Emperor (1987) and is one of only three living persons to have won the award three times. We had an electrician on each tower, and I would talk to them by walkie-talkie and tell them where to aim the light. [Laughs.] 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.”. 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. Apocalypse Now (1979) cast and crew credits, including actors, actresses, directors, writers and more. Black represented the unconscious, particularly in the sequences where we discover the true meaning of Kurtz; we were trying to show some portions of the truth emerging from the depths of the unconscious. Storaro's first American film was Apocalypse Now, directed by Francis Ford Coppola. 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. Apocalypse Now Redux Lo stesso argomento in dettaglio: Apocalypse Now Redux . We suddenly cut to a quiet shot of a teacher leading this group of children out of their school, and as a viewer you say to yourself, “Oh my God, are they going to attack those little children?” In most previous war movies, you always saw the cavalry arriving to save the day by attacking the bad guys. 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. 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. 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. 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? 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. Well, the flares didn't work, because the air was so humid that they wouldn't even burn. The same idea applied to the sequence at the Do Lung Bridge. Vittorio Storaro, A.S.C., A.I.C. I watched that footage with my mouth open, and I whispered to Enrico, “Do you think we’ll be able to do that?” I thought there was no way I could meet those expectations, but I think Francis picked up on my concern, and he was very reassuring. 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. Storaro: It took nine nights to shoot that scene, and we set up about 10 cameras — a VistaVision camera, an infrared camera, a high-speed camera and normal cameras. I want to create a big show, something that’s magnificent to see. He represents the dark side of the United States, which is why black is such an important color in the film. They don’t know me, and they won’t know what to do.” Ernesto Novelli [of Technicolor Rome] had done The Spider’s Stratagem [1970], The Conformist [1971], Last Tango in Paris [1973], 1900 [1977] and several other pictures with me, so he knew exactly what kind of look I wanted. Apocalypse Now (1979) 236 of 340 Francis Ford Coppola and Vittorio Storaro in Apocalypse Now (1979). I think Hogarth was very aware of an Italian style of painting known as Futurism, which is exemplified by the work of Giacomo Balla and Umberto Boccioni. 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. But Francis told me, “Vittorio, this is the first picture that I’ve really produced completely. Storaro: We always strove to show the conflict between the soldiers and both the jungle and the native people. Pizzello: Was your use of dramatic silhouettes in the film also inspired by comic-book art? Interview by Stephen Burum, ASC and Stephen Pizzello. 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. 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. I have complete trust in your expertise with the camera, so please feel free to do anything you think is correct. That process, of course, was what came to be known as ENR [in honor of its inventor, whose full name is Ernesto Novelli-Raimond]. On the first day of Apocalypse, Francis gave me an anamorphic viewfinder with my name on it, and he had one of his own. 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. In that regard, Burne Hogarth was really my guide. 75 comments. Stephen Burum, ASC: I'd been trying to get into the union for 13 years, and I got my chance by shooting television. When I did Scandal [1976] just before Apocalypse Now, Kodak Italy told me, “You have to use the new stock, because there’s none of the old stock left.” I therefore refused to buy the film in Rome, and we called Kodak in Rochester, New York. America was the same way in Vietnam, and in Apocalypse Now, Colonel Kurtz represents the unconscious, which we all have inside of us. At the age of 11, he … A must-see theatrical experience, but the first cut remains the one worth preserving. 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. Burum: The way Francis handles everyone on a set is worth discussing. If you’d shown the whole jungle, it wouldn’t have been as effective. 4 years ago. 1980 - Apocalypse Now 1982 - Reds 1988 - The Last Emperor: Vittorio Storaro (Roma, 24 de junho de 1940) é um diretor de fotografia italiano, conhecido como "o mago da luz". Given the relatively low budgets that I'd had, I was accustomed to simply using the minimum lighting I required. He stays in his apartment, alone and isolated and drinks excessively and appears to be having difficulty adjusting to life in the rear-area. Then, back in this dark corner, he had a lamp on with a lampshade over it. 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]. People Francis Ford Coppola, Vittorio Storaro The film opens, introducing seasoned veteran Benjamin L. Willard (Martin Sheen); a deeply troubled, seasoned veteran. 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. 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. 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. 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. 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. That way of working costs the film industry a lot of money, and it drains the quality of the filmmaking. After exposing the negative, we would sent it to Rome, where they would flash it before developing. Pizzello: Why was the temple set built with real stone? On some pictures, they don’t even print dailies anymore, so editors can’t even double-check footage on the big screen to make sure that the cuts, the rhythms or the emotions are right. Also, around that time, Kodak had just introduced its new color negative stock [5247]. Burum: Exactly. The movie contains several newly added sequences and alterations to the original film: 1. At the age of 11, he … !” My solution was to have the crew erect several towers, each of which had one arc on it. They’d done such wonderful work on The Godfather films that I thought it would be wrong for someone else to shoot Apocalypse. See more ideas about cinematography, film stills, apocalypse. 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. 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. 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. Storaro: In the end, not one person was hurt, which was a real testament to Joe and his crew. 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. Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". 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. 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.