Fics SF)he most important thing I wanted to do in the making of Apocalypse Now was to create a film experience that would give its audience a sense of the horror, the madness, the sensuousness, and the moral dilemma of the Vietnam war. When I began working on the film, over four years ago, I thought it was going to be the only American fea- ture film made dealing with the war, and so I worked with that in mind. I tried to illustrate as many of its different facets as possible. And yet I wanted it to go further, to the moral issues that are behind all wars. Over the period of shooting, this film gradually made itself; and curiously, the process of making the film be- came very much like the story of the film. I found that many of the ideas and images with which I was working as a film director began to coincide with the realities of my own life, and that I, like Captain Willard, was moving up a river in a faraway jungle, look- ing for answers and hoping for some kind of catharsis. It was my thought that if the American audience could look at the heart of what Vietnam was really like—what it looked like and felt like—then they would be only one small step away from putting it behind them. —Francis CoppolaLog March 20, 1976. First day of shoot- ing. The crew on the navy PBR (Patrol Boat River) is filmed at a salt pond 2% miles outside Manila. The Philippines were chosen because of similarity to Vietnam terrain and availability of U.S.-made sur- plus helicopters and other vital military equipment which the U.S. Defense Department refused to make available. Shooting falls behind due to difficulty of coordinating production elements including jets, helicopters, boats, and dangerous special effects April 26, 1976. Martin Sheen, cast by Coppola after a chance meeting at the Los Angeles airport, reports to the set in Baler, Luzon, to take on the role of Captain Benjamin Willard. It now becomes clear that the original sixteen week shooting schedule will have to be extended. People try to adjust accordingly. May 15, 1976. Baler shooting is finished, including scenes of Robert Duvall-led Air Cavalry attack on village and surfing sequence. A simulated napalm drop consumes 1,200 gallons of gasoline in 90 seconds. Company moves to Iba, near Subic Bay, planning for six weeks shooting. May 18, 1976. typhoon Didang (Olga) destroys sets, equipment, and forces evacuation of cast and crew to Manila. Damage is estimated to be at least $1.3 million not including produc- tion delays. Most of the company is sent back to the United States to wait while new location is set up in Pagsanjan. July 27, 1976. crew returns and relocates in Pagsanjan, a town two hours’ drive from Manila New sets are built on high ground because of rainy season now underway. Sets include Intelligence Compound, Vietnamese village, Hau Phat (Play- boy Bunny stage), Do Lung Bridge and Kurtz August 7, 1976. shooting begins on Do Lung temple compound. Bridge scene in which the 150-foot bridge is blown up by the Viet Cong. The bridge, erected by the crew on pilings of an old span that had been demolished in World War II, washed away in the typhoon and was reconstructed in order to be destroyed for the film More than 500 smoke bombs, 100 phosphorus stic 1,200 gallons of gas, 50 water explosions of 35 sticks of dynamite each, 2,000 rockets, flares, tracers, and 5,000 feet of detonating cord are used in the 1/2 minute finale.September 3, 1976. Marion Brando arrives. He reads Heart of Darkness and shaves his head for the Col. Kurtz role. A tribe of 264 Ifugao Philippine aborigines is quartered at Pagsanjan to play the parts of Kurtz Montagnard followers. The sacrifice of the caribou, one of the film’s last scenes, is a real ritual slaughter by the Ifugao, caught on film. 1976. More than a thousand Anglo extras are recruited from Manila and environs—students, businessmen, tourists— for filming of the Hau Phat U.S.O. Bunny sequence. The Bunnies introduced by rock impre- sario Bill Graham, are Cyndi Wood (1974 Playmate of the Year), Linda Carpenter, and Colleen Camp. March 5, 1977. Martin Sheen is hospital- ized in Manila as a result of heat exhaustion. Some shooting continues around him using doubles; even his brother is flown in from the U.S. for specific scenes. Sheen, still under medical supervision, April 26, 1977. The puppy-sampan returns to work on April _using South Vietnamese refugees who have escaped 19, 1977. their country by boat only two weeks previously. May 21, 1977. The 238th and last shooting day in the Philippines. Coppola addresses the crew at day’s end. “I’ve never in my life seen so many people so happy to be unemployed.” ApocatyPsE Now, originally budgeted for $12 million, is fast becoming a $30 million war epic.Directed and Produced by Written by and Narration by Starring Francis Ford Coppola Presents A United Artists Release re Co-Produced by Photography by Production Designer Also Starring and Supervising Editor Sound Montage and Design Music andEditors Walter Murch, Gerald B. Greenberg, and Lisa Fruchtman Associate Producer Mona Skager Creative Consultant Dennis Jakob Special Assistant to the Producers Doug Claybourne Executive Assistants Melissa Mathison, Jack Fritz Music Produced by David Rubinson Master Synthesist Patrick Gleeson Synthesists Richard Beggs, Bernard L. Krause, Don Preston, Shirley Walker, Nyle Steiner E.V.1. Soloist Guitarist Randy Hansen Percussion Based Score Mickey Hart Music Production Assistance Airto Morel Michael Hinton Performed with The Rhythm Devils, Jordan Amarantha, Greg Errico, Zakir Hussain, Billy Kreutzmann, Phil Lesh, Jim Loveless Special Thanks to Flora Purim ‘Art Director Angelo Graham Set Decorator George R. Nelson Production Managers Leon Chooluck, Barrie Osborne Assistant Director Jerry Ziesmer 2nd Assistant Director Larry J. Franco Additional Assistant Director Tony Brandt (Camera Operator Enrico Umetelli Camera Assistants Rino Bernardini, Mauro Marchetti, Efren Lapid, Rogilio De La Rama, Giuseppe Alberti 2nd Unit Director of Photography Stephen H. Burum ASC Insert Director of Photography Caleb Deschanel 2nd Unit Cameraman Piero Servo Insert Camera Operator Hiro Narita Still Photographers Chas Gerretsen, Josh Weiner Aerial Coordinators Dick White, David Jones ‘Aerial Cameraman David Butler ‘Assistant Cameramen David Nowell Re-Recordists Walter Murch, Mark Berger, Richard Beggs, Dale Strumpell, Thomas Scott Additional Editors Blackie Malkin, Evan Lottman ACE Associate Editor George Berndt First Assistant Film Editor Michael Jacobi Assistant Film Editors Tracey Smith, Steve Semel, Richard Candib, Jerry Ross, Ken Fisher, Jay Boekelheide, Michael Kirchberger, Arthur Coburn Apprentice Film Editor Susan Arnold Supervising Sound Editor Richard Cirincione Sound Editors Leslie Hodgson, Les Wiggins G BF E, Pat Jackson, Jay Miracle Music Editor Stan Witt Dialogue Editors Leslie Shatz, John Nutt, James A. Borgardt Assistant Sound Editors Tim Holland, Nina Wax, Karen Wilson, Barbara MeBane, Dave Davies Apprentice Sound Editors Jephrey Hetz, Louis Benioff, Jeff Watts, Barbara Ellis, Denise Thorp, Rob Fruchtman Foreign Post Production Coordinator Rudi Fehr Post Production Coordinators Doug Claybourne, Barbara Marks Production Executive and Construction Coordinator John LaSalandra Costume Supervisor Charles E. James Costumers Dennis M. Fin George Little Luster Bayless Norman Burza Makeup Jack Young, Fred C. Blau Jr. MAA. Playmate Show Choreographer John Calvert Special Effects Coordinators Joseph Lombardi, A. D. Flowers Special Effects Men Larry Cavanaugh, Jerry Endler, Rudy Liszezak, John Fraser, Richard Helmer, Ted. Martin, Eddie Ayay, David St. Ana, Mario Carmona Special Effects Unlimited Marine Coordinators Pete Cooper, Dennis Murphy, Shane Edwards Military Advisors Dick White, Fred Rexer, Jr., Paul Gregory, Lt. Colonel Peter Kama (U.S. Army retired), Paul Hensler, Richard Dioguardi, Doug Ryan Fixed Wing Pilot John Addington ‘Transportation Coordinators John C. Reade, Dennis Hollis Assistant Art Director James Murakami Production Illustrators Alex Tavoutaris, ‘Thomas A. Wright Leadman Gary Fettis Sculptor James Casey Construction Foreman Bob Scaife Set Artist Roger Dietz Production Accountant Norman Webster Production Controller Jean A. Autrey ‘Assistant Production Controller Gwen M. Lucas Key Grip Alfredo Marchetti Gaffer Luciano Galli Production Recordists Nathan Boxer, Jack Jacobsen Post Production Recordist Randy Thom Script Supervisors Raymond Quiroz, Nancy Tonery Property Master Doug MadisonAssistant Property Masters Tom Shaw, Tom Roysden, Matt Tomich, Willie E. Hunter Casting Terry Liebling, Vie Ramos Montagnard Tibesmen Casting Eva Gardos Philippine Casting Lou Whitehill, Randy Carter Casting Assistants Hig Beck Ken Metcalfe Mare Coppola Sue Bastian ‘Stunt Coordinator Terry J. Leonard ‘Stuntmen Joe Finnegan, Kerry Rossal, Chuck Waters, Steve Boyum ‘Campaign Coordinator Gabe Sumner U.S. & Canadian Producer's Representative Irwin Yablans Foreign Producer's Representative Ernst Goldschmidt Marketing Director Lee Beaupre Foreign Publicity Coordinator Brett Dicker U.S. Production Liaison and Research Deborah Fine Production Coordinators Marisa Ale: Loolee De Leon Documentary Supervisor Eleanor Coppola U.S. Production Secretary Francesea Riviere Location Coordinator Jack English Production Assistan Robert Carroll, Phil Radcliffe John Chapman Kevin Hughes Russ Corin Lloyd Kino ‘Tony Dingman Barbara Parker Matt Tomich Patti Claybourne We wish to gratefully acknowledge the cooperation of the people of the Philippines for their help in filming this motion picture. Philippine Military Liaison Dennis Juban Hemisphere Productions John Ashley, Eddie Romero Philippine Department of Tourism Linda Ignacio Montagnard Tribesmen portrayed by the Ifugao People of Banaue, Philippine Islands. Filmed in Technovision Opticals by Modern Film Effects Skip Watt, Joe Benoit Color by Technicolor Supervising Color Technicians Ernesto Novel Larry Rovetti Recorded on Multi-Track Magneties, Inc. High Speed Film Recording System. ED ‘The persons and events in this film are fictitious. Any similarity to actual persons or events is unintentional Copyright ©1979 by Omni Zoetrope All rights reserved. Titles Wayne Fitzgeral ‘The Hollow Men’ by T.S. Eliot courtesy of Mrs. T.S. Eliot and Messrs. Faber & Faber Ltd., London Other Music ‘The End” by The Doors Performed by The Doors Can't Get No Satisfaction” courtesy of ABKCO Records, Ine. Love Me, And Let Me Love You" The Ride of the Valkyries” from “Die Walkure” by Richard Wagner. Conducted by Sir Georg Solti, ‘The Vienna Philharmonic Orchestra courtesy of Decca Record Company Ltd/London Records Ine “Let The Good Times Roll” by Leonard Lee ‘Suzie Q” by Dale Hawkins, S.J. Lewis, E. Broadwater Performed by Flash Cadillac, courtesy of Private Stock Records, Excerpts from "Mnong Gar Music from Vietnam” courtesy of OCORA Radio France: "Collection Musée de homme Zoetrope Music Company ‘The Doors, courtesy of Elektra/Asylum Records Production and post production facilities furnished through OMNI ZOETROPE STUDIOS San Francisco! Los Angeles Kristine Peterson, Mitchell Dubin, Franklin Simeone, Joseph Zappala, Robert Peitso, David Wirt, Douglas Gross, Wayne Wagner, Nancy Ely, Sherry Nisewaner, Daniel Gleich, David Parker, Charles Esposito, James Hill, Katherine Morton, Dain Fritz, Karen Frerichs, Liza Randol, Abigail Abbuehl, Lawrence Andrews, Paul Broucek, Douglas Hemphill, Julie Kramer, Clifford Latimer, Andrew Moore, Madeline Lee Werner, James Miller, Shelley Higgins, Todd Boekelheide, Christopher Nedderson, Andrew Aaron, Donald Kaufman, David Carroll, Denise Cé ‘Valerie Koutnik, Wm. Popla Popso, Colin Michael Kitehens, Larry Carney, Julie Morin, Susan Thistle, Krystal Walters, Teresa Zaleska, Dennis Gassner by Robert Duvall Original Soundtrack Album available on Elektra Records and Tapes. Ras Program design by Milton Glaser, Inc. Editor: Umberto Tosi Printed in U.S.A.MARLON BRANDO (Colonel Kurtz). His legendary stage performances, combined with the achievements of his remarkable screen career —more than 33 movies includ: ing A Streetcar Named Desire, The Wild One, Onthe Water. front, The Godfather, and Last Tango in Paris—and the boldness of his personal convictions have created a mythic image which has influenced more fellow actors and cap tured the imaginations of more audiences than any other performing artist of our era In 1972, after a prolific though tepid decade of films, Brando was cast by Francis Coppola as Don Corleone in The Godfather. With that he reasserted his position as the ‘American screen actor of the post-World War II period, and ‘won an Oscar for Best Actor (which he declined to accept). He followed with Last Tango in Paris. He spent the next three years dedicated to social and philanthropic causes, hot appearing on screen. He returned in The Missouri Breaks, and in 1978 appeared in Superman ROBERT DUVALL (Lt. Colonel Kilgore). In this, his sixth film for Francis Coppola, Duvall makes the gung-ho Lt. Colonel Kilgore the kind of vividly unforgettable ‘character that audiences and critics have come to expect From him. “If what Kilgore does in the film is absurd,” says Duvall, “then the absurdity lies inthe reality. ‘Although his motion picture career had started a decade caalier, it was his portrayal of Tom Hagan, ‘consigliere’ to the Corleone family in Coppola's The Godfather, that brought him to national attention. Before his feature film debut as the children's retarded friend in 1963's To Kill a ‘Mockingbird, Duvall had appeared in at least sixty Broad. way and Off-Broadway plays, including Wair Until Dark and A View From the Bridge, also in several television series, including The FB... Mod Squad, Naked City, and The Defenders. Memorable film roles which followed his debut include those as John Wayne's nemesis in True Grit the pious doctor in Robert Altman's M.A.S.H1., and the coldly efficient businessman in Coppola's The Conversa ton. Similar roles as corporate men were seen in Sidney Lumet’s Network and Dan Petrie's The Betsy. His first star ring role was in George Lucas's THX 1138: and his brilliant work asa character actor has enriched many films, includ ing Caprain Newman, M.D., Bullitt, The Chase. Tomor row, Badge 373, The Great Northfield Minnesota Raid, The Outfit, The Rain People (for Coppola), Breakout, The Kil: ler Elite, and The Seven-PerCent Solution. MARTIN SHEEN (Captain Willard). “One thing I'm certain about, this is going to be one of the most talked about films in motion picture history,” says Sheen. Born in Dayton, Ohio, Sheen was the seventh often chil dren of an Irish mother and Spanish father. He left for New York, and_after working on and Off-Broadway, made the move to Hollywood in 1969 for a role in Mike Nichols’ Catch 22. His ability 0 “take off the masks and get in touch with the hurt” enabled him to follow his debut with a series Of stunning cinematic performances: the psychotic killer in Badlands: the courageous Civil War non-combatant of No Drums, No Bugles; and the eccentric and romantic abductor of elcome to Xanadu He has guest-starred on numerous major television series and his performances in a number of sensitive and contro- Versial films for television have marked his ascending popularity: That Certain Summer, The Execution of Private Slovik, The Missiles of October, Catholics, The California Kid, Message to My Daughter, Pretty Boy Floyd, The Last Survivors, and Blind Ambition. ‘Sheen lives in Los Angeles with his wife, Janet, and four children FRANCIS COPPOLA (Producer, Director, Co- Screenwriter). Apocalypse Now is the eighth film he has directed, The first, released in 1963, was Dementia 13, a horror film he shot in three days on iocation in Ireland for producer Roger Corman, for whom he was an assistant while attending UCLA graduate film school. He worked for Corman on several other low-budget films as associate producer, soundman, and writer You’ re a Big Boy Now was the second feature he directed. His screenplay for Patton, co-authored with Edmund North, won him his first Academy Award in 1967. Thereaf- ter he directed Finian’s Rainbow and independently pro- duced and directed The Rain People, after a short story he had written in college Tn 1969 he opened American Zoetrope film production ‘center in San Francisco which sponsored then unheralded writers and directors George Lucas, John Milius, John Korty, Willard and Gloria Huyck, Carroll Ballard, Walter Murch, Hal Burwood and Matthew Robbins. Zoetrope pro- duced Lucas's THX 1/38 and American Graffiti, as well as Coppola's The Godfather for Paramount, which won three 1973 Oscars: Best Film, Best Screenplay Adapted from ‘Another Medium, and Best Actor. In 1974, The Conversation, also Coppola-ditected, won the grand prix, Cannes, but iost at the Oscars against his ‘own The Godfather, Part Il, which won six awards, includ- ing Best Picture, Best Director, and Best Screenplay’ ‘Coppola was born in Detroit on April 7, 1939; he discov- cred his love for film while recovering from polio in 1947 and started making 8mm movies. He graduated from Hofstra University in 1959 before entering UCLA. Coppola lives in San Francisco and Napa with his wife, Eleanor, and theie three children, Sofia, Roman, and Gian-Cs JOHN MILIUS (Co-screenwriter). An absorption with history and commitment to excellence are evident in the many screenplays he has written, including Jeremiah Johnson, The Life and Times of Judge Roy Bean, The Wind ‘and The Lion, Dirty Harry, Dillinger, and Magnum Force He also has directed films; The Wind and The Lion, Dil. linger. and Big Wednesday. Milius grew up in Malibu and attended Los Angeles City College and the University of Southern California School of Cinema where he won many International Student Film awards. Milius’s capsulized philosophy is “Life is a dive out of the clouds headlong into an aircraft carrier.” He speculates hhemight one day retire from films to teach history and raise hunting dogs. Milius lives in Los Angeles with his wife, CeliaMICHAEL HERR (Narration). Born in Syracuse, New York, Herr worked as a foreign correspondent for Exguire agi i eta ring 676 sharing noes and realistic reporting produced the best-selling book Disparches, published in 1977 ‘Currently working on a novel, Herr lives in New York City with his wife, Valerie, and daughter FRED ROOS (Co-Producer). Before becoming a pro- ducer. Roos was widely regarded as one of Hollywood's Finest casting directors, fulfulling that role on more than ‘one hundred pictures. Many of today's prominent actors had their earliest success in films cast by Roos. ‘A native of Southern California, Roos attended UCLA with a major in theatre arts/motion pictures. After gradua- tion he spent two years inthe army where he wrote and di rected documentary films for the Armed Forces Radio and ‘Television Network Early in his career Roos produced two films starring Jack Nicholson, Back Door 1o Hell and Flight to Fury, Later his association with Nicholson continued as casting director of Five Easy Pieces and as associate producer of the Nicholson-direeted Drive, He Said. Roos first worked for Francis Coppola as a casting direc tor on The Godfather, then on American Graffiti. Starting with Coppola's The Conversation, Roos moved perma- nently into producing, serving as co-producer on that film, as well as The Godfather, Part I!, the soon to be released The Black Stallion, and Apocalypse Now. Roos is currently preparing several new projects for Omni Zoetrope, includ Ing’ Hammett, to be directed by Wim Wenders. GRAY FREDERICKSON (Co-producer). 1b create the atmospheric backdrop of the Vietnamese war, co-producer Gray Frederickson had to draw on every facet of his exten- sive international production expertise and all of the inti- mate knowledge of Coppola's working needs he had ac- ited as associate producer on The Godfather and as co- Producer of The Godfather, Part Il. Frederickson and Cop- pola spent months looking for an appropriate tropical locale “and then, when the Philippines proved suitable—more weeks combing jungles and backwaters by plane and heli- copter searching for set locations. 'A native of Oklahoma, Frederickson attended the Uni versity of Lausanne, Switzerland, then, after a stint with an Malian engineering company, staried his film career by join ing an Italian film company, Sanero, He was production coordinator on The Good, The Bad and The Ugly, associate producer on Making 1 and Little Fauss and Big Halsey, land executive producer of Hit. Most recently he was viee president of Lorimar’s feature film production, and is Eurrenily producing «project for Zoetope's Los Angeles TOM STERNBERG (Co-producer). Sternberg joined Coppola in 1975 after a career in television and motion pic- ture production in New York and London. With Fred Roos, he is the producer of The Black Stallion for Omni Zoetrope. Next, with Coppola, he will produce On the Road, Kerouac’s classic novel about the Beat Generation, and The Brotherhood of the Grape, the story of an ltalian-American family in Northern California. ‘Sternberg's experience includes five years as an as- sociate producer and production manager with NBC News, ‘where his credits include documentaries Filmed in Europe, South Africa, the Middle East, and the United States. Same Mud, Same Blood. filmed in Vietnam, about the black sol dier in the American Army, won an Emmy in 1967. Prior © his association with Coppola, Sternberg was vice president fof the commercial production division of the Children's ‘Television Workshop in New York Sternberg lives in San Prancisco with his wife, Martha, and sons Tim and Nick. —e eo VITTORIO STORARO (Cinematographer). Apoca: lypse Now was bis First English language film. He is best Known to American audiences through his previous Work with Bernardo Bertolucci on Last Tango in Paris, 1900, The Conformist, and The Spider's Strategem. His work on these fand in other Italian features has three times earned him crit ical honors. After shooting Apocalypse Now, he was cinematographer on Agatha, 'A philosopher and poet as well as artist, Storaro defines his work in cinema with a single word—forographia—the Italian word for photography, which literally means “light writing.” He states thatthe visual composition ofthe frame land the camera movement within a shot are simply the words and sentences ofa paragraph. The director is respon sible forthe paragraph and the cinematographer's contribu: tions make up the sentences within He attended the Centro Sperimentale di Cinematografia inhis native Rome, served as assistant and camera operator ‘on several features, and made his debut as director of photography on L’ Urlo and Rapporto Segreto—shor films Which earned him his first prize from the Nasiri d"Argento dei Critiet Haliant DEAN TAVOULARIS (Production Designer). Born in Lowell, Massachusetts, his first work in film was at the Walt Disney Studios in the 50s, doing animation. His first film as art director was Bonnie and Clyde, which he fol: lowed with Candy, Zabriskie Point, Lisle Big Man, The Godfather, The Conversation, The Godfather, Part Il Farewell My Lovely, and The Brink’s Job ‘About his work on Apocalypse Now, he comments: “Kurtz compound took 8 months to build using up t0 600 laborers a day, working in the 2,000-year-old techniques which the Khymer aborigines used —no power equipment atall, caribou and people pulling these 300-pound blocks Which totalled thousands, thousands... nobody had built anything like it. The B-52 tail_—we got the dimensions from ‘4 Mattel model, the way the Russians do—it was about 80 feet tall. They built it piece by piece in a litle fabrication shop in Manila and then they brought it out tothe set and put ittogether and it worked: FREDERIC FORREST (Chef). This skilled Texas-born actor had his first association with Francis Coppola on The Conversation in 1974. His work in that film as the cold, ur- bane killer carned him glowing reviews to add to those he had received for his central role in 1972's When the Legends Die, and garnered him roles in anumber of films, including The Don Is Dead, The Dion Brothers, and The Missouri Breaks. He also starred in CBS-TV's film Larry. Before his ‘move (o Hollywood in 1969, Forrest worked Off-Broadway in such plays as Tom Paine, Massachusetts Trust, Silhouet- tes. and Pu ALBERT HALL (Chief). Hall came to Apocalypse Now having appeared frequently Off-Broadway, in several New York Shakespeare Festival productions, as a featured player fon Broadway in Ain't Supposed To Die a Natural Death, land the ABC-TV special /f You Give a Dance, You Gotta Pay the Band —a searing drama about the difficulties of life in the New York ghetto. Other films in which he has played include Cotton Comes to Harlem, Shamus, Willie Dyna- mite, and Leadbelly all lives with his wife, Madge, and two children in Los Angeles,SAM BOTTOMS (Lance). Only ten years old when he started acting in school productions and barely in high School when he got his fist motion picture part —that of the deaf mute in The Last Picture Show —Sam Bottoms says, “Lnever expected to go into acting full ime.” He chai his mind after subsequent successful film roies in Class of ‘44, as Gene Hackman's young brother in Zandy’s Bride, and as a gunman in The Oullaw Josey Wales. His three brothers, Timothy, Joseph, and Benjamin, also have rapidly ascending acting careers. LARRY FISHBURNE (Clean). Although he had not yet tumed fifteen when he was signed by Francis Coppola for the key role of Clean, young actor Larry Fishburnehad al ready demonstrated a natural talent for his craft in several theatrical and television appearances, “He's got personality, and he's the clown of the patrol boat,” says Fishburne, describing the character of Clean, and the same words could fairly describe Fishburne— un pretentious, whimsical, and carefree, he endured the many hardships of 14 months of Philippine location shooting with aan ease that was the envy of many older cast and crew members Born in Augusta, Georgia, Fishburne and his parents moved to New York City when he was two. Atthe age of 10 hhe made his professional acting debut in an Off-Broadway production of In My Own Names and Days. He then was Signed for a major role in the ABC-TV special, If You Give @ Dance, You Gotta Pay the Band. Larry made his screen debut in' Cornbread, Earl and Me, for which he received deserved critical praise Fishburne now lives in Los Angeles with his mother, Hattie James. DENNIS HOPPER (Freelance Photographer). Best known as the director, co-star, and co-author of Easy Rider, his screen credits also include Rebel Without a Cause. Giant, Gunfight at the O.K. Corral, Night Tide, Cool Hand Luke, The THp, True Grit, Kid Blue, Mad Dog, Tracks, and The Last Movie, which he also wrote and directed Hopper's fascination with the theatre began in 1939 when, as a toddler, he saw the arrival of Errol Fiynn for the premiere of Dodge City. in his hometown, Dodge City Soon after finishing high school he went to Hollywood and ‘short time later landed number of television roles and ‘was offered contracts by three movie studios, Today he lives in Taos, New Mexico. "People come, hhave a flat tire, and stay the rest of their lives—orthey can’t wait to get out’ Itdrives some people crazy." Hopper also is an accomplished photographer, painter, sculptor, and poet. RICHARD MARKS (Supervising Editor). Marks has been associated with Francis Coppola since 1968 and The Rain People on which he served as assistant editor; in 1974 he shared editing credit on The Godfather. Part I! ‘A picture usually takes from five months to a year to edit,” he observes, “whereas I've been involved with Apocalypse Now since January, 1977, and can expect to be ‘on through September of this year approving final prints. ‘The size, complexity, and length ofthis project—more than 1,100,000 feet of negative were exposed—has made it one of the most unusual, yet extremely rewarding pictures T've worked on, "Marks is a New York resident whose other editing credits include The Last Tycoon, Lies My Father Told Me, Serpico, Bang the Drum Slowly, and Little Big Man. WALTER MURCH (Sound Montage and Design). He hhas worked with Francis Coppola since The Rain People on Which he was sound mixer. Murch was sound supervisor on ‘The Godfather, picture editor and sound mixer on The Con. versarion, and mixer on The Godfather, Part I. Other cred. its since graduating from the University of Southern California Film School with illustrious classmates George Lucas (who introduced him to Coppola), Matthew Rob- bins, Hal Barwood and others, include sound mixer for American Graffiti, and picture editor on Julia. “Murch lives north of San Francisco with his wife, Aggie, ‘and children MONA SKAGER (Associate Producer). Ms. Skager has been working exclusively for Francis Coppola since 1967, serving as script supervisor and production secretary on The Rain People, assuming responsibility for Coppola's expanding business affairs, and acting as associate pro- ducer on The Conversation, the Academy Award-winning Godfather, Part II, and currently on Hammett Born in Minnesota and raised in Southern California, Ms. Skager graduated from the University of Mexico Mexico City. She joined KHJ-TV, Los Angeles, inits news and publicity departments, and for two years was in charge ‘Of publicity on Daystar’s Outer Limits television series be fore joining Coppola's organization DOUG CLAYBOURNE (Special Assistant to the Pro- ducers). Having met Francis Coppola while working as as- sistant art director of City magazine in 1975, Claybourne made use of his experience as a helicopter door gunner in Vietnam during the intricate battle filming, especially in coordinating the many Philippine Army helicopters used in the battle scenes. For 10 months he worked as assistant director/unit production manager of the second unit, and during the final five months of shooting as first assistant di- rector of the first unit. After filming was completed in May 1977, he served as first assistant director on The Black Stallion. After that he was made special assistant to the producers and coordinated the final post-production ac tivities for Apocalypse Now. Most recently, Claybourne is co-producer of Misdirection —a comedy of circumstances with Fred Roos. Claybourne is a graduate of the University of Tulsa, is married to Patti, and divides his time between the L.A. andCARMINE COPPOLA (Music). Already a distinguished flutist, conductor, composer, and arranger, Coppola won an (Oscar in 1974 with his co-composer, the late Nino Rota, for the original score of The Godfather. Part I ‘Born in New York City, Coppola won a scholarship to Juilliard to study flute, composition, and conducting. After [graduation and soon after his marriage to lyricist Italia Pen. hino, he was appointed first flutist at Radio City Music Hall. In 1937 he became first flutist of the Detroit Sym phony and assistant conductor and arranger for the Ford Sunday Evening Radio Concerts. From 1941-51 he was, principal futist of the NBC Symphony under Arturo Tosca- fini. In the 1950s Coppola conducted orchestras for na tional touring companies of the Broadway musicals Kis ‘et, Stop the World | Want To Get Off, and Half.a Sixpence. ‘The Apocalypse Now score, co-composed with his son Francis, is entirely synthesized, making use of numerous synthesist artists. It is conceived in a split surround format three sound sources in front and two atthe rear of the the ‘ater—and is part of an enormously complex sound mix that is designed as an integral part of the drama—a "film op- cera,” Francis Coppola has termed it Se ee ee DAVID RUBINSON (Music Producer). Rubinson has produced albums for Santana, Herbie Hancock, The Pointer Sisters, Phoebe Snow, Peter, Paul and Mary, and other artists. He started his own company, David Rubinson land Friends, Inc., after staff positions at Capitol and CBS Records and a partnership with Bill Graham in The Fillmore Corporation. “Mostof the completely synthesized score for Apocalypse Now was recorded at his recording studios, The Automatt, in San Francisco, as was the original sound track album for Elektra ‘A graduate of Columbia University, he OBIE award-winning version of Mare Bll Cradle Will Rock at the age of 21 with Leonard Bernstein as ‘musical director. Born in Brooklyn, David now lives in San Mateo with his wife, Martha, and their two children, LEON CHOOLUCK (Production Manager). Amul linguist, born in New York City, Chooluck soon moved 10 Los Angeles. In 1946, the former professional dancer re- turned to Holly wood from four years in the Army as asignal Corps news combat photographer. Since that time, ‘Chooluck has worked in over 80 feature films, was as sociate producer of the popular television shows The Outer, Limits and 1 Spy, and has been the production supervisor on EL Cid, Bautle of the Bulge, Kotch, Midas Run, and The Grissom Gang. Currently living in Los Angeles, Chooluck recently completed work on the soon-to-be-released Americathon. JERRY ZIESMER (Assistant Director). Born in Mil: Waukee, assistant director Ziesmer left the teaching profes Sion some 10 years ago to enter the motion picture industry Ziesmer worked on Black Sunday and Rocky I, and he has just completed a stint as assistant director on Steven Spiel berg's "/941 Hie also had a ole in Apocalypse Now as a member of the intelligence unit that assigns Capt. Willard his mission 10 seek out and “terminate” the command of Col. Kurtz, RICHARD CIRINCIONE (Supervising Sound Editor). “We wanted the sereen to take on an added dimension — new feeling, insight, and emotion—a sensual reality that ‘one would be totally consumed and affected by,” he says. For that job, Cirincione assembled an international staff of talented sound editors and technicians and began purchas- ing and recording the sound effects needed to produce au thentic Vietnam battle sounds. His tasks included recording factual combat maneuvers with mortar shells flying close ‘overhead, and one helicopter sound session had the crew aloft watching for other aircraft as the' pilot navigated through zero-visibility fog. ‘A native of New York City, Cirincione’s screen credits include The Missouri Breaks, Thieves, Slaughterhouse Five, The Heartbreak Kid, Serpico, Night Moves, Dog Day ‘Afternoon, The Night They Raided Minsky's, and Midnight Combo JOHN LaSALANDRA (Construction Coordinator). A 30-year veteran of the motion picture industry, construction ‘coordinator LaSslandra knew the Philippines better than ‘most, having served a previous stint there as construction boss on Robert Aldrich’ Too Late she Hero. Features he has, worked on include The Brink’ Job, The Killer Elite, The Godfather. Part II, and The Getaway ‘Originally from Chicago, LaSalandra currently lives in Phoenix JOSEPH LOMBARDI (Special Effects Coordinator). A Veteran of more than 60 features and 1.000 tele shows, Lombardi has completed his third assignm Coppola, having previously worked on The Godfather and The Godfather, Part I1. Lombardi considers Apocalypse Now the biggest explosive show ever devised for film and ‘one of his proudest achievements. "I served one hitch in the Pacific in "42, and another one there with Francis, It was the chance of a lifetime. Born in Passaic, New Jersey, Lombardi settled in Hol lywood after the war. His work in television for f Love Lucy, Wyatt Earp, and 1 Spy led to film work in The Valachi Papers, Across 1101h Street, Crazy Joe, Obsession and Rage A.D. FLOWERS (Special Effects Coordinator). This is hhis third assignment with Coppola (both Godfathers) Flowers previous work includes The Towering Inferno, Rio Lobo, Take the Money and Run, Sleeper The Fury, and two for which he won the Oscar Tora, Tora, Tora and The Poseidon Adventure, He has just completed "/94/." His television work includes four years on The Untouchables and five years on Combar ‘Born in Oklahoma, he settled in Los Angeles in 1936, arting his career as a laborer at MGM, working his way into the prop department and then into special effects. MILITARY ADVISORS. A group of experienced mili- {ary advisors saw to it thatthe battle action in Apocalypse Now was portrayed with verisimilitude. Dick White was Coordinator of jets and helicopters and was Coppola's per ‘Sonal helicopter pilot. Lt. Col. Peter Kama (U.S. Army re tired) was insignia and infantry operations advisor. Paul Gregory spoke local Philippine dialects and headed the massive security forces around production facilities, Richard Dioguardi and Fred Rexer, Jr, were Special Forces advisors; Paul Hensler, who set up an orphanage for Viet fhamese refugees, is still active in Vietnamese humanitarian relief, U.S. Marine Corps Captain Doug Ryan was advisor ‘on special unit military tactics.Marlon Brando Robert Duvall aero] Frederic Forrest Pa) Sam Bottoms ea a gigi} Dennis Hopper G. D. Spradlin Harrison Ford Bae 4g Scott Glenn 12to So) BT oe Crt) Kerry Rossall Ron McQueen Be Eel) Cynthia Wood Colleen Camp Linda Carpenter BE Te aire) Glenn Walken George Cantero eT early unity William Upton eae Marc Coppola pT mudi g Father Elias Bill Graham ae eu} Bava Coss) Pre eyIr UT Ctr cy Pe irer regenera