Hearts Of Darkness

[Ravi]

the corpulent vintner

I'm referring to FFC as "the corpulent vintner" from now on.

[MacGuffin]

From Hollywood Elsewhere:

George Hickenlooper and Fax Bahr's masterful Hearts of Darkness: A Filmmaker's Apocalypse (Paramount Home Video, 11.20) is one of the best making-of-a-famous-movie docs ever made, but the new DVD looks like a VHS tape. It could have looked much better if the original elements had been remastered, but Apocalypse director Francis Coppola, who narrates the DVD along with wife Eleanor, provided PHV with "the same 1" inch tape that was used when they struck the materials for the 1991 videotape," says Hickenlooper.

No remastering, tweaking or upgrading...brilliant! It's almost 2008 with high-def video setting the hgh-end standard, and Coppola and Paramount Home Video have pooled their resources in order to give viewers an image consistent with video standards of 15 years ago.

DVD Beaver's review says that "the quality is poor...parts of the documentary [are] dark and muddy since the footage was shot with 16mm cameras [and[ some scenes were shot or mastered on video. Plus "the raw footage that Coppola shot for his movie was un-restored (scratches, sprocket jumps, etc.), though scenes from the finished film look very good."

DVD Talk's review says "it's aggravating that Paramount didn't give the film a cursory touch-up...this 1.33:1 fullscreen transfer is only a step or two above my VHS copy of the film. The ragged, worn look does evoke the proper atmosphere, but the screens of text lack sharpness and often [and] the newer interview segments look flat and a bit washed-out...a very so-so transfer of a long-awaited title."

http://www.dvdbeaver.com/film2/DVDReviews33/hearts_of_darkness.htm

http://www.dvdtalk.com/reviews/read.php?ID=31409

[MacGuffin]

Coppola Talks Hearts of Darkness
IGN chats with the legendary director!

To celebrate the release of the captivating behind-the-scenes documentary, Hearts of Darkness -- which chronicles the struggles to complete the classic film Apocalypse Now -- Francis Ford Coppola was kind enough to answer a few of our questions. Check out the following for his responses!

IGN: Despite the extent and sheer number of challenges associated with the filming, did you find that the struggle made you, in any way, a better filmmaker or inspired a creativity that helped the film in the long-run?

COPPOLA: Hard for me to say. But certainly the panic and energy one gets from being in very difficult circumstances must cause you to rise to your best potential in dealing with them. I've heard that said of me, that I do best when I'm in a tough situation—but in my opinion I can also do good work when I'm happy and relaxed. Though often, when trying to overcome a roadblock to what you thought you would do, you do find innovative solutions.

IGN: Does it increase or break your focus as a filmmaker to exist in such a stressful environment?

COPPOLA: I would hate to think that I can only do good work when I am miserable. I feel that one can find good solutions also when calm and involved in happy collaboration.

IGN: What was the one struggle or moment that resonated with you the most, or made you the most fearful (if that's the appropriate word) that the film would not be completed, or completed to your satisfaction?

COPPOLA: There were so many times during Apocalypse that I thought the project (and I) was doomed. I remember being very low during the huge undertaking of the helicopter battle, proving more difficult that I had thought it would be, and happening while I was also mulling over the replacement of the main actor. Certainly the shock of learning about martin's heart attack—which we had no warning of. He was fit, running several miles each morning and young and healthy—not a hint that this could happen. By the time of the typhoon, I just was beginning to get used to unanticipated events greeting me each week, and took that in stride.

IGN: That said, how does the film hold up in retrospect? Do you feel as if it resembles the film you set out to make, or does it fall short of what you hoped it could be?

COPPOLA: I feel the film caught hold of an energy, an out-of-control and bizarre essence of what, perhaps, that war was like. It comes alive with something unique and beautiful, and that is the most I hope for in a film.

IGN: What the emotional experience like in making Hearts of Darkness – humorous, painful, nostalgic, cathartic?

COPPOLA: Hearts of Darkness was being shot by my wife during a time when I was very occupied (and preoccupied). Often I would put the film down in speaking to her, in hopes (like all husbands) that she would say, "That's OK, Francis -- it's all going to turn out better than you think," and console me. But she'd say, "Would you say that again? I didn't get a good recording!" When the film was done, I understood that it was very good, and agreed that it be shown on TV the two times we contracted for. But I let it go despite the embarrassment I felt from it, for that reason. So when the term kept coming back to me as, "Show it more, in theaters, in DVD's, etc." I felt they had violated our agreement, and wasn't too pleased about it. Especially with provocative lines in it like "Marty is not dead until I say he's dead," which if you understand the context of what was going on (crew members calling home with false news of his death). I tried to correct these mis-impressions by doing a commentary and not editing anything out of the original documentary.

However, I am chagrined with those who say; "It should have been included in the original film's DVD" or speak about the film as somehow anyone, including the directors, had ownership rights to determine how the film be presented. I lived through that experience, not them, they weren't even there, I paid for it with my own money, and it was about me and featured my image and person. If Disney company owns and controls Mickey Mouse why shouldn't I control HOD?