He did not like using blimps (sound boxes) because it prevented him from immediately shooting an image when he saw it (as he had learned as a photojournalist). Gerretsen used three Nikon F2 cameras and one Leica M4 during the filming. He sold the three cameras to Zoetrope Studios after Hopper, who had originally been cast as Captain Colby, became the photojournalist. The three black body Nikon F cameras that Hopper's character used, had been used by Gerretsen in Vietnam. Gerretsen suggested that if Coppola wanted to portray the manic side of the press, he should use a photojournalist because, "We were all crazy". During the lunch, they discussed the scene where an American television correspondent (played by Coppola) yells at some passing soldiers, "Don't look at the camera". The character of the photojournalist was first suggested by unit photographer Chas Gerretsen and Robert Capa, Gold Medal Award winner (1973) during a lunch with Francis Ford Coppola. The conversation can be found and played on Youtube. But it's clear from this recorded candid conversation between the two that Brando did indeed hate Reynolds. Other people who were in Coppola's production team refuted this claim though saying Coppola was never seriously considering Reynolds for either movie. Reynolds himself told this story to the media and he was flattered that Brando even knew who he was and would go to such extreme lengths to get rid of him. He worships at the temple of his own narcissism." According to industry gossip Coppola was considering casting Reynolds in Apocolypse, just as he had considered casting him in the Godfather years before and reportedly Brando vehemently put his foot down each time even threatening to quit Godfather if Reynolds was cast as Sonny or Michael. He is the epitome of everything disgusting about being a thespian. He is the epitome of everything that makes me want to throw up. Brando: Don't say that name in front of me. The following conversation took place and was recorded between Marlon Brando and Francis Ford Coppola on the set of Apocolypse Now during the down time in between takes as they were discussing various people in the industry:" Coppola: Burt Reynolds. So the 175-minute 'Final Cut', released in 2019 during the film's 40th anniversary, is shorter than the Redux version, but still substantially longer than the theatrical version.
#CHARLIE HUMAN APOCALYPSE NOW NOW READING MOVIE#
But in 2019, Coppola again re-evaluated the movie and decided to remove 21 minutes of footage from the Redux version.
In 2001, he admitted that he had cut away too much, and re-edited the film into a 196-minute 'Redux' version by adding 49 minutes of new footage that he felt the world was now ready to see. He also shortened the movie on studio advice, since he had co-financed it with his own money and hoped that a shorter run-time would increase its commercial potential. Contrary to popular belief, these versions were never censored for political content by studio mandate director Francis Ford Coppola had final cut, but chose to leave out scenes he had doubts about.
The workprint was reportedly over 5 hours, but eventually edited back to 3 hours for the Cannes Film Festival premiere, and further cut down to 147 minutes for the 1979 theatrical version. According to his book "In the Blink of an Eye", Walter Murch took nearly two years to edit the movie, with an average of 1.47 cuts a day.
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