Case study: Apocalypse Now Final Cut

In one of the most awaited conferences of this International Classic Film Market, James Mockoski, Yann Le Prado and Paul Rassam, on a surprise visit, provided a clearer picture of the Final Cut version of Apocalypse Now.

Against all odds, the star of the day was not James Mockoski (archivist and restoration supervisor at American Zoetrope) but Paul Rassam, French distributor of Apocalypse Now. The brother of producer Jean-Pierre Rassam, generally allergic to public appearances, honoured the MIFC with his presence at the case study on the release of Apocalypse Now Final Cut. Francis Ford Coppola's two historical collaborators were joined by StudioCanal's Yann Le Prado to answer questions from CinemaTeaser's editor-in-chief, Emmanuelle Spadacenta.

Barely after the presentations, Paul Rassam embarked on a small history lesson, anxious to explain the difficulties surrounding the shooting of the film, which earned his director a second Palme d'Or. From Steve McQueen's cancer to Harvey Keitel's dismissal, from Martin Sheen's heart attack to Coppola's staggering debt, Apocalypse Now was even a risk in the way the sound was recorded. Coppola's pioneering recklessness in using 5.1 technology is one of the main reasons for the release of Apocalypse Now Final Cut. Although not fully rewarded at the time, Coppola's ambition allowed for an exceptional quality of restoration, thanks to the technological achievements of recent years. As James Mockoski explains, working with Dolby Atmos has finally allowed the director to create an immersive sound atmosphere, as chaotic as the combats on screen.

The image has also been reworked in a different way according to Zoetrope's ponte. This is the first time that laboratories have used the original negative, when even Redux had been restored from a rather dull copy. Thanks to the quality of this surprisingly well preserved negative, the colorimetric team was able to regain the brightness of the colors faded over the years with the reissues in VHS or DVD. Although the cost of yet another restoration ($300,000 split between Zoetrope, StudioCanal and Lionsgate) raises questions, Yann Le Prado reassured the public about the longevity of this master and its accurate representation of Coppola's vision. While reminding that these efforts on the distributors' side can only be effective if the theatres do their part in terms of equipment. As Mockoski sums it up, the purpose of this restoration is to give the illusion that this masterpiece was shot yesterday. A great way to sensitize a new generation to the atrocities of war. And to good cinema.