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Apocalypse Now Redux : A Screenplay Paperback – September, 2001


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Paperback, September, 2001
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About the Author

Francis Ford Coppola won his first Oscar at age 31 for the screenplay for Patton, which he co-wrote with Edmund H. North. He won his first Palme d'Or at the Cannes Film Festival with The Conversation, which he wrote and directed. He went on to direct 20 films, including the epic Godfather trilogy, and most recently, Bram Stoker's Dracula, Jack, and John Grisham's The Rainmaker. He lives in Northern California.

Co-writer John Milius is a director, screenwriter and producer, who has worked on Evel Knievel, Big Wednesday, and Conan the Barbarian. He also did uncredited rewrite work on Dirty Harry. He lives in Los Angeles.

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Product Details

  • Paperback: 208 pages
  • Publisher: Miramax Books; 1st edition (September 2001)
  • Language: English
  • ISBN-10: 0786887451
  • ISBN-13: 978-0786887453
  • Product Dimensions: 6.1 x 0.5 x 9.2 inches
  • Shipping Weight: 13 ounces
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #1,309,745 in Books (See Top 100 in Books)

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6 of 6 people found the following review helpful By Joe Kenney on May 2, 2003
Format: Paperback
I was disappointed to see that this book doesn't contain the original version of the Apocalypse Now script, by John Milius. It could have at least contained one of the later Milius/Coppola rewrites, such as the final revised 1975 version, which is easily found online. The simple fact is, those scripts provide a better reading experience; you're better off just watching the movie than reading this one. And, if you're a fledgling screenwriter, you're certainly not going to learn anything about the craft of scriptwriting from this book.
The reason being, as any viewer of the excellent documentary "Hearts of Darkness" knows, is that Coppola basically gave his actors free reign in expanding and ad-libbing their dialog on the set. Having read the earlier Milius/Coppola rewrites, I know that a lot of the lines in Apocalypse Now were in fact from the script. But many more of them (particularly Brando and Hopper's dialog) were in fact made up by the actors themselves. So to publish this book and say that it's a pure creation of Milius and Coppola is a bit misleading (something which Coppola himself vaguely asserts in his introduction).
A straight-up publication of an earlier version would have been preferable, if for the simple fact that it would give amazing insight into the twisted path this film took, from script to celluloid. For example, the '75 version mentioned above (the script Coppola started with on the set, but eventually rewrote day by day) not only opened with a psychedelic action scene, it also ended with one: a surreal, apocalyptic (of course) set-piece that involved untold VC, rampant destruction, and drugged-out GI's, with "Light My Fire" blaring over humongous stereos.
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Format: Paperback Verified Purchase
After reading the screenplay i watched the film over again to catch all the little stuff that went on in the background that I missed.
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7 of 15 people found the following review helpful By A Customer on June 22, 2002
Format: Paperback
"Apocalypse Now! Redux" is celebrated as one of the most powerful anti-war manifestos. One of the reasons for its long-term success is, without a doubt, its precocious post-modernism. The Air Cavalry scene, in particular, conveys a message that will become part of the post-modern intellectual credo. Most core Western cultural symbols, old and new, are intrinsically violent, "barbaric." "Apocalypse Now!" is not only a harbinger of this vision, it takes it to the extreme. In it, even the counterculture, in other contexts celebrated as a "liberating force," is intertwined with the lethal vines of death. In the new release of the movie the Playboy culture and the untrammeled eroticism of the sixties become central driving forces of the Vietnam war. In Coppola's own words "This is an L.A. war." His synopsis of the movie sums it up: "The American War `to bring civilization to the ignorant millions' is merely the extension of mercantile colonialism[;] the horror and savagery lie not in the jungle, but in the American culture itself, with its powerless [sic] technology and pop culture."
Although not very original-the idea goes all the way back to Marx-this vision, combined with a daring cinematography and paranoid atmosphere, made the movie into a landmark cinematic event. At the time (1979) it sent shivers down, for different reasons, obviously, many liberal and conservative spines.
When I first saw "Apocalypse Now!, behind the Iron Curtain, I found it an exhilarating visual experience. It gave me a glimpse into, I thought, a new world of meanings. Particularly intriguing was the idea that one can talk about war, usually associated with the "shoot `em up" clichés of the "Dirty Dozen"-kind, without using grandiloquent musical scores and images. War can be "modern.
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