1979
| Academy AwardTM Nominations | ||
|---|---|---|
| Award | Won | Nominee(s) |
| Best Picture | Francis Ford Coppola, Gray Frederickson, Fred Roos, Tom Sternberg | |
| Best Director | Francis Ford Coppola | |
| Best Actor in a Supporting Role | Robert Duvall | |
| Best Original Screenplay | Francis Ford Coppola, John Milius | |
| Best Cinematography | | Vittorio Storaro |
| Best Film Editing | Lisa Fruchtman, Gerald B. Greenberg, Richard Marks, Walter Murch | |
| Best Sound | | Richard Beggs, Mark Berger, Nathan Boxer, Walter Murch |
| Best Art Direction | Angelo P. Graham, George R. Nelson, Dean Tavoularis | |
| Cast | |
|---|---|
| Cpt. Willard | Martin Sheen |
| Col. Kurtz | Marlon Brando |
| Lt. Kilgore | Robert Duvall |
| Chef | Frederic Forrest |
| Chief Phillips | Albert Hall |
| Lance Johnson | Sam Bottoms |
| Mr. Clean | Laurence Fishburne |
| Photographer | Dennis Hopper |
| Col. Lucas | Harrison Ford |
| General | G. D. Spradlin |
| Civilian | Jerry Ziesmer |
| Colby | Scott Glenn |
| Sgt. MP | Bo Byers |
| Kilgore's Gunner | James Keane |
| Agent | Bill Graham |
| Soldier with Suitcase | George Cantero |
| Roach | Herb Rice |
| AFRS Announcer | Marc Coppola |
| Machine Gunner | Damien Leake |
| Playmate Terri Tereil | Colleen Camp |
| Sergeant MP #2 | Larry Carney |
| Mike from San Diego | Kerry Rossall |
| Injured Soldier | Ron McQueen |
| Supply Sergeant | Tom Mason |
| Carrie Foster | Cynthia Wood |
| Playmate Sandra Beatty | Linda Carpenter |
| Soldier in Trench | Jack Thibeau |
| Lieutenant Carlsen | Glenn Walken |
| Spotter | William Upton |
| Major from New Jersey | Daniel Kiewit |
| Catholic Priest | Father Elias |
| Clean's Mother | Hattie James |
| Johnny from Malibu | Jerry Ross |
| Helicopter Pilot | Dick White |
| Director of TV Crew | Francis Ford Coppola |
| TV Photographer | Vittorio Storaro |
| Crew | |
|---|---|
| Director | Francis Ford Coppola |
| Screenwriter | Francis Ford Coppola |
| Joseph Conrad (Novel: Heart of Darkness) | |
| John Milius | |
| Michael Herr (Narration) | |
| Producer | John Ashley (Associate Producer) |
| Gray Frederickson (Co-producer) | |
| Eddie Romero (Associate Producer) | |
| Mona Skager (Associate Producer) | |
| Tom Sternberg (Co-producer) | |
| Francis Ford Coppola | |
| Fred Roos (Co-producer) | |
| Editor | Walter Murch |
| Lisa Fruchtman | |
| Gerald B. Greenberg | |
| Richard Marks | |
| Casting | Terry Liebling |
| Vic Ramos | |
| Cinematographer | Vittorio Storaro |
| Original Music | Francis Ford Coppola |
| Carmine Coppola | |
| Mickey Hart | |
| Art Director | Angelo P. Graham |
| Costume Designer | Charles E. James |
| Production Designer | Dean Tavoularis |
| Set Decorator | George R. Nelson |
| Sound | Walter Murch (Sound Montage, Sound Re-recording mixer) |
| Nathan Boxer (Production Sound Recordist) | |
| Mark Berger (Sound Re-recording Mixer) | |
| Richard Beggs (Sound Re-recording Mixer) | |
| Other | Richard Beggs (Musician - Synthesizer) |
| Alex Tavoularis (Production Illustrator) | |
Question: Why is the aspect ratio of the Apocalypse Now Redux DVD not the 2.35:1 ratio of the cinematic release?
Answer:
(by Kim Aubry, Producer of Apocalypse Now Redux)
In fact, the transfer of Apocalypse Now Redux (from film elements to High Definition digital videotape) was made with an aspect ratio of 2.0:1. This is consistent with the 1998 transfer of the original film Apocalypse Now done for DVD.
The aspect ratio 2.0:1 was chosen by the cinematographer, Vittorio Storaro, who supervised every aspect of this film transfer. Storaro believes that for the purpose of TV transfer, it is better to crop (slightly) the extreme left/right edges of the originally photographed frame and allow for a taller picture on both conventional and 16:9 TV monitors, because the video presentation will have more vertical resolution and detail and will be more impactful.
An orthodox 2.35:1 or 2.4:1 transfer would in some ways be a more accurate reflection of the framing seen in most cinemas, but the picture would be using only approximately 50% of the available scanning lines of the NTSC and PAL systems and hence have very limited vertical resolution. Storaro believes that since he himself composed these shots when the film was made and since he carefully made fine adjustments to the framing as needed in the transfer, the 2.0:1 transfer is the best possible compromise in adapting the very wide film picture to the very "square" TV.
Mr Coppola and I agree with Storaro's views and accepted his decision.
You are right to wonder about the discrepancy between the theatrical trailer and the feature itself. But the feature is not 1.85:1, it is 2.0:1. The transfer of the trailer was not supervised by Storaro, and was done using the conventional theatrical aspect of 2.35:1. It doesn't bother us, as this is considered a DVD "extra."
If you would like to learn more about Storaro's ideas and the 2.0:1 aspect ration, you may check out this informative web site: