yoavs blog

The production phase of ‘Apocalypse Now’ transversed a charismatic and cinematically mature Frank Ford Coppola through a crazed, arguably chaotic and out of control process. The film was the fourth amendment to Coppola’s reel, and thus he was able to bring his art-house vision to life with the help of his good relationship with trusting bankers and businessmen, that provided large budgets, allowing his experimental masterpiece to be developed. -        Vast budgets -        Often involved with businessmen -        Connections bankers -        Very experimental up to a point where it ‘should’ fail commercially -        Straddled commercial vs. artistry & experimentation – specifically for AN -        Chaotic shooting behind the process of Apocalypse now -        A cross between art-house and blockbuster -        Similar to Spielberg and Scorsese -        Coppola tried to find himself through the making of his films – however, too much money seemed to

New Hollywood Coppola was at the forefront of the so-called 'film school generation', from the 1960s onwards.  This group also included Steven Spielberg, Martin Scorsese, Brian di Palma and George Lucas.  This new generation of directors had studied at film school; were well-versed in film theory; had absorbed the influences of New Wave filmmakers in France; were given big budgets with which to work. From the dawn of cinema, various epitomes of exceptional editing in films are used as examples of how successful manipulation of the footage in postproductions  can  certainly enhance its image. Editing will most of the time act as the glue, which holds all other elements together. Between Casablanca and Apocalypse Now, various similar and contrasting editing techniques are employed to achieve appropriate spectatorial effects. A strong illustration of this can be drawn from the introductory sequence of Apocalypse Now and the scene introducing Rick in C