Apocalypse Now

In the film, shortly before Colonel Kurtz dies, he recites part of T. S. Eliot's poem "The Hollow Men". The poem is preceded in printed editions by the epigraph "Mistah Kurtz – he dead", a quotation from Conrad's Heart of Darkness.

Two books seen opened on Kurtz's desk in the film are From Ritual to Romance by Jessie Weston and The Golden Bough by Sir James Frazer, the two books that Eliot cited as the chief sources and inspiration for his poem "The Waste Land". Eliot's original epigraph for "The Waste Land" was this passage from Heart of Darkness, which ends with Kurtz's final words:[23]

Did he live his life again in every detail of desire, temptation, and surrender during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision, – he cried out twice, a cry that was no more than a breath –

"The horror! The horror!"

When Willard is first introduced to Dennis Hopper's character, the photojournalist describes his own worth in relation to that of Kurtz with: "I should have been a pair of ragged claws/Scuttling across the floors of silent seas", from "The Love Song of J. Alfred Prufrock".

While working as an assistant for Francis Ford Coppola on The Rain People in 1967, filmmaker John Milius was encouraged by his friends George Lucas and Steven Spielberg to write a Vietnam War film.[24][1] Milius had wanted to volunteer for the war, and was disappointed when he was rejected for having asthma.[25] Milius came up with the idea for adapting the plot of Joseph Conrad's Heart of Darkness to the Vietnam War setting. He had read the novel as a teenager and was reminded about it when his college English professor, Irwin Blacker of USC, mentioned the several unsuccessful attempts to adapt it into a movie. Blacker challenged his class by saying, "No screenwriter has ever perfected a film adaption of Joseph Conrad's Heart of Darkness."[26][27][lower-alpha 2]

Coppola gave Milius $15,000 to write the screenplay with the promise of an additional $10,000 if it were green-lit.[28][29] Milius claims that he wrote the screenplay in 1969[26] and originally called it The Psychedelic Soldier.[30] He wanted to use Conrad's novel as "a sort of allegory. It would have been too simple to have followed the book completely."[28]

Milius based the character of Willard and some of Kurtz's on a friend of his, Fred Rexer. Rexer claimed to have experienced, first-hand, the scene related by Brando's character wherein the arms of villagers are hacked off by the Viet Cong. Kurtz was based on Robert B. Rheault, head of Special Forces in Vietnam.[31] Scholars have never found any evidence to corroborate Rexer's claim, nor any similar Viet Cong behavior, and consider it an urban legend.[32][33]

At one point, Coppola told Milius, "Write every scene you ever wanted to go into that movie",[26] and he wrote ten drafts, amounting to over a thousand pages.[34] Milius changed the film's title to Apocalypse Now after being inspired by a button badge popular with hippies during the 1960s that said "Nirvana Now". He was influenced by an article written by Michael Herr titled "The Battle for Khe Sanh", which referred to drugs, rock 'n' roll, and people calling airstrikes down on themselves.[26] He was also inspired by such films as Dr. Strangelove.

Milius says the classic line "Charlie don't surf" was inspired by a comment Ariel Sharon made during the Six-Day War, when he went skin diving after capturing enemy territory and announced, "We're eating their fish". He says the line "I love the smell of napalm in the morning" just came to him.[35]

Warner Bros.-Seven Arts acquired the screenplay in 1969 but put it into turnaround.[36][1] Milius had no desire to direct the film himself and felt that Lucas was the right person for the job.[26] Lucas worked with Milius for four years developing the film, alongside his work on other films, including his script for Star Wars.[37] He approached Apocalypse Now as a black comedy,[38] and intended to shoot the film after making THX 1138, with principal photography to start in 1971.[28] Lucas's friend and producer Gary Kurtz traveled to the Philippines, scouting suitable locations. They intended to shoot the film in both the rice fields between Stockton and Sacramento, California, and on-location in South Vietnam, on a $2 million budget, cinéma vérité style, using 16 mm cameras, and real soldiers, while the war was still going on.[26][37][39] However, due to the studios' safety concerns and Lucas's involvement with American Graffiti and Star Wars, Lucas decided to shelve the project for the time being.[28][37]

Coppola was drawn to Milius's script and acquired the rights, which he described as "a comedy and a terrifying psychological horror story".[40] In the spring of 1974, Coppola discussed with friends and co-producers Fred Roos and Gray Frederickson the idea of producing the film.[41] He asked Lucas and then Milius to direct Apocalypse Now, but both men were involved with other projects;[41] in Lucas's case, he got the go-ahead to make Star Wars, and declined the offer to direct Apocalypse Now.[26] Coppola was determined to make the film and pressed ahead himself. He envisioned the film as a definitive statement on the nature of modern war, the difference between good and evil, and the impact of American society on the rest of the world. The director said that he wanted to take the audience "through an unprecedented experience of war and have them react as much as those who had gone through the war".[40]

In 1975, Coppola was hoping for co-operation from the United States Army and scouted military locations in Georgia and Florida.[1] When the Army did not co-operate, while promoting The Godfather Part II in Australia, Coppola and his producers scouted possible locations for Apocalypse Now in Cairns in northern Queensland, that had jungle resembling Vietnam,[42] and in Malaysia.[1] He decided to make his film in the Philippines for its access to American military equipment and cheap labor. Production coordinator Fred Roos had already made two low-budget films there for Monte Hellman, and had friends and contacts in the country.[40] Frederickson went to the Philippines and had dinner with President Ferdinand Marcos to formalize support for the production and to allow them to use some of the country's military equipment.[43] Coppola spent the last few months of 1975 revising Milius's script and negotiating with United Artists to secure financing for the production. Milius claimed it would be the "most violent film ever made".[1] According to Frederickson, the budget was estimated between $12 and 14 million.[44] Coppola's American Zoetrope obtained $7.5 million from United Artists for domestic distribution rights and $8 million from international sales on the assumption that the film was going to star Marlon Brando, Steve McQueen and Gene Hackman.[40]

Steve McQueen was Coppola's first choice to play Willard, but the actor did not accept because he did not want to leave America for three weeks and Coppola was unwilling to pay his $3 million fee.[1] After McQueen dropped out in February 1976, Coppola had to return $5 million of the $21 million he had raised in financing.[1] Al Pacino was also offered the role, but he too did not want to be away for that long and was afraid of falling ill in the jungle as he had done in the Dominican Republic during the shooting of The Godfather Part II.[40] Jack Nicholson, Robert Redford, and James Caan were approached to play either Kurtz or Willard.[39] Tommy Lee Jones, Keith Carradine, Nick Nolte, and Frederic Forrest were also considered for the role of Willard.[45] In a 2015 The Hollywood Reporter interview, Clint Eastwood revealed that Coppola offered him the role of Willard, but much like McQueen and Pacino, did not want to be away from America for a long time. Eastwood also revealed that McQueen tried to convince him to play Willard; McQueen wanted to play Kurtz because then he would only have to work for two weeks.[46]

Coppola and Roos had been impressed by Martin Sheen's screen test for Michael in The Godfather and he became their top choice to play Willard, but the actor had already accepted another project and Harvey Keitel was cast in the role based on his work in Martin Scorsese's Mean Streets.[47] By early 1976, Coppola had persuaded Marlon Brando to play Kurtz for a fee of $2 million for a month's work on location in September 1976. He also received 10% of the gross theatrical rental and 10% of the TV sale rights, earning him around $9 million.[48][49]

Hackman had been due to play Wyatt Khanage who later became Kilgore, played by Robert Duvall.[1] Dennis Hopper was cast as a war correspondent and observer of Kurtz; when Coppola heard Hopper talking nonstop on location, he remembered putting "the cameras and the Montagnard shirt on him, and [shooting] the scene where he greets them on the boat".[39] James Caan was the first choice to play Colonel Lucas. Caan wanted too much money for what was considered a minor part in the movie, and Harrison Ford was eventually cast instead.

Prior to departure for principal photography, Coppola took out an advertisement in the trade press declaring Keitel, Duvall and others as the "first choices" for the film.[1] The advertisement also listed other actors who did not appear in the film including Harry Dean Stanton, Robby Benson and Michael Learned.[1]

Sam Bottoms, Larry Fishburne and Albert Hall all signed seven-year deals, with Coppola including acting training of their choice in their deal.[1] Bottoms was infected with hookworm during filming in the Philippines, and the parasite "wrecked his liver".[50]

On March 1, 1976, Coppola and his family flew to Manila and rented a large house there for the planned four-month shoot.[39][1] Sound and photographic equipment had been coming in from California since late 1975. John Ashley assisted with production in the Philippines.[51] Shooting began March 20, 1976[36] and the film was due to be released on Coppola's 38th birthday, April 7, 1977.[1]

Within a few days, Coppola was unhappy with Harvey Keitel's take on Willard, saying that the actor "found it difficult to play him as a passive onlooker".[39] With Brando not due to film until 3 months later as he did not want to work while his children were on school vacation, Keitel left the project in April and quit the seven-year deal he had signed as well.[1][52] Coppola returned to Los Angeles and replaced Keitel with Martin Sheen, who arrived in the Philippines on April 24.[52] Only four days of reshoots were reported to be required following the change.[1]

Typhoon Olga wrecked 40-80% of the sets at Iba and on May 26, 1976, production was closed down. Dean Tavoularis remembers that it "started raining harder and harder until finally it was literally white outside, and all the trees were bent at forty-five degrees". One part of the crew was stranded in a hotel and the others were in small houses that were immobilized by the storm. The Playboy Playmate set had been destroyed, ruining a month's shooting that had been scheduled. Most of the cast and crew went back to the United States for six to eight weeks. Tavoularis and his team stayed on to scout new locations and rebuild the Playmate set in a different place. Also, the production had bodyguards watching constantly at night and one day the entire payroll was stolen. According to Coppola's wife, Eleanor, the film was six weeks behind schedule and $2 million over budget;[53] Coppola filed a $500,000 insurance claim for typhoon damage[1] and took out a loan from United Artists on the condition that if the film did not generate theatrical rentals of over $40 million, he would be liable for the overruns.[54] Despite the increasing costs, Coppola promised the University of the Philippines Film Center 1% of the profits, up to $1 million, for a film study trust fund.[1]

Coppola flew back to the U.S. in June 1976. He read a book about Genghis Khan to get a better handle on the character of Kurtz.[53] After filming commenced in July 1976,[36] Marlon Brando arrived in Manila very overweight and began working with Coppola to rewrite the ending. The director downplayed Brando's weight by dressing him in black, photographing only his face, and having another, taller actor double for him in an attempt to portray Kurtz as an almost mythical character.[55]

A water buffalo was slaughtered with a machete for the climactic scene in a ritual performed by a local Ifugao tribe, which Coppola had previously witnessed along with his wife Eleanor (who filmed the ritual later shown in the documentary Hearts of Darkness) and film crew. Although this was an American production subject to American animal cruelty laws, scenes like this filmed in the Philippines were not policed or monitored and the American Humane Association gave the film an "unacceptable" rating.[56]

After Christmas 1976, Coppola viewed a rough assembly of the footage but still needed to improvise an ending. He returned to the Philippines in early 1977 and resumed filming.[55]

On March 5 of that year, Sheen had a heart attack and struggled for a quarter of a mile to reach help. By that time, the film was already so over-budget, even he worried funding would be halted if word about his condition were to reach the investors, and claimed he suffered heat stroke instead. He was back on the set on April 19, and during the interim, his brother Joe Estevez filled in for him and provided voice overs needed for his character. Coppola later admitted that he can no longer tell which scenes are Joe and which are Martin.[57] A major sequence in a French plantation cost hundreds of thousands of dollars but was cut from the final film. Rumors began to circulate that Apocalypse Now had several endings but Richard Beggs, who worked on the sound elements, said, "There were never five endings, but just the one, even if there were differently edited versions". These rumors came from Coppola departing frequently from the original screenplay. Coppola admitted that he had no ending because Brando was too fat to play the scenes as written in the original script. With the help of Dennis Jakob, Coppola decided that the ending could be "the classic myth of the murderer who gets up the river, kills the king, and then himself becomes the king – it's the Fisher King, from The Golden Bough".[58]

Principal photography ended on May 21, 1977,[59] after 238 days of filming.[36]

The budget had doubled to over $25 million, and Coppola's loan from United Artists to fund the overruns had been extended to over $10 million.[1] UA took out a $15 million life insurance policy for Coppola.[60] By June 1977, Coppola had offered his car, house, and The Godfather profits as security to finish the film.[61][1] After Star Wars became a gigantic hit, Coppola sent a telegram to George Lucas asking for money.[62] The release date was pushed back to spring 1978.[1]

Japanese composer Isao Tomita was scheduled to provide an original score, with Coppola desiring the film's soundtrack to sound like Tomita's electronic adaptation of The Planets by Gustav Holst. Tomita went as far as to accompany the film crew in the Philippines, but label contracts ultimately prevented his involvement.[63] In the summer of 1977, Coppola told Walter Murch that he had four months to assemble the sound. Murch realized that the script had been narrated but Coppola abandoned the idea during filming.[59] Murch thought that there was a way to assemble the film without narration but it would take ten months and decided to give it another try.[64] He put it back in, recording it all himself. By September, Coppola told his wife that he felt "there is only about a 20% chance [I] can pull the film off".[65] He convinced United Artists executives to delay the premiere from May to October 1978. The author Michael Herr received a call from Zoetrope in January 1978 and was asked to work on the film's narration based on his well-received book about Vietnam, Dispatches.[65] Herr said that the narration already written was "totally useless" and spent a year writing various narrations with Coppola giving him very definite guidelines.[65]

Murch had problems trying to make a stereo soundtrack for Apocalypse Now because sound libraries had no stereo recordings of weapons. The sound material brought back from the Philippines was inadequate, because the small location crew lacked the time and resources to record jungle sounds and ambient noises. Murch and his crew fabricated the mood of the jungle on the soundtrack. Apocalypse Now had novel sound techniques for a movie, as Murch insisted on recording the most up-to-date gunfire and employed the Dolby Stereo 70 mm Six Track system for the 70 mm release. This used two channels of sound from behind the audience as well as three channels of sound from behind the movie screen.[65] The 35 mm release used the new Dolby Stereo optical stereo system, but due to the limitations of the technology at the time, this 35 mm release that played in the majority of theaters did not include any surround sound.[66]

In May 1978, Coppola postponed the opening until spring of 1979.[67] The cost overruns had reached $18 million which Coppola was personally liable for but obtained the rights to the picture in perpetuity.[68]

The 1979 Cannes Film Festival Palme d'Or was awarded to Apocalypse Now.

At Cannes, Zoetrope technicians worked during the night before the screening to install additional speakers on the theater walls, to achieve Murch's 5.1 soundtrack.[69] A three-hour version of Apocalypse Now was screened as a "work in progress" at the 1979 Cannes Film Festival on Saturday, May 19, 1979[1] and met with prolonged applause.[72] It was the first work in progress shown in competition at the festival.[71] At the subsequent press conference, Coppola criticized the media for releasing reviews of the work in progress[36] and for attacking him and the production during their problems filming in the Philippines and said, "We had access to too much money, too much equipment, and little by little we went insane", and "My film is not about Vietnam, it is Vietnam".[72] The filmmaker upset newspaper critic Rex Reed who reportedly stormed out of the conference. Apocalypse Now won the Palme d'Or for best film along with Volker Schlöndorff's The Tin Drum – a decision that was reportedly greeted with "some boos and jeers from the audience".[73]

On August 15, 1979 Apocalypse Now was released in North America in only 3 theaters equipped to play the Dolby Stereo 70 mm prints with stereo surround sound,[74] - the Ziegfeld Theatre in New York City, the Cinerama Dome in Los Angeles and the University Theatre in Toronto.[36] The film, without credits, ran 146 minutes and tickets cost $5, a new high for L.A.[36]

It ran exclusively in these three locations for four weeks before opening in an additional 12 theaters on October 3, 1979.[75] On October 10, 1979, the 35mm version, with credits, was released in over 300 theatres.[36]

The film had a $9 million advertising campaign bringing total costs to $45 million.[36]

At the time of its release, discussion and rumors circulated about the supposed various endings for Apocalypse Now. Coppola said the original ending was written in haste, where Kurtz convinced Willard to join forces and together they repelled the air strike on the compound. Coppola said he never fully agreed with the Kurtz and Willard dying in fatalistic explosive intensity, preferring to end the film in a more encouraging manner.

When Coppola originally organized the ending, he considered two significantly different ends to the movie. One involved Willard leading Lance by the hand as everyone in Kurtz's base throws down their weapons, and ends with images of Willard piloting the PBR slowly away from Kurtz's compound, this final scene superimposed over the face of a stone idol, which then fades into black. The other option showed an air strike being called and the base being blown to bits in a spectacular display, consequently killing everyone left within it.

The original 1979 70mm exclusive theatrical release ended with Willard's boat, the stone statue, then fade to black with no credits, save for '"Copyright 1979 Omni Zoetrope"' right after the film ends. This mirrors the lack of any opening titles and supposedly stems from Coppola's original intention to "tour" the film as one would a play: the credits would have appeared on printed programs provided before the screening began.[4]

There have been, to date, many variations of the end credit sequence, beginning with the 35 mm general release version, where Coppola elected to show the credits superimposed over shots of the jungle exploding into flames.[4][36] The explosions were from the detonation of the sets.[36] Rental prints circulated with this ending, and can be found in the hands of a few collectors. Some versions of this had the subtitle "A United Artists release", while others had "An Omni Zoetrope release". The network television version of the credits ended with "... from MGM/UA Entertainment Company" (the film made its network debut shortly after the merger of MGM and UA). One variation of the end credits can be seen on both YouTube and as a supplement on the current Lionsgate Blu-ray.

Later when Coppola heard that audiences interpreted this as an air strike called by Willard, Coppola pulled the film from its 35 mm run and put credits on a black screen.[36] However, the "air strike" footage continued to circulate in repertory theaters well into the 1980s, and it was included in the 1980s LaserDisc release. In the DVD commentary, Coppola explains that the images of explosions had not been intended to be part of the story; they were intended to be seen as completely separate from the film. He had added the explosions to the credits as a graphic background to the credits.[76]

Coppola explained he had captured the now-iconic footage during demolition of the sets (set destruction and removal was required by the Philippine government). Coppola filmed the demolition with multiple cameras fitted with different film stocks and lenses to capture the explosions at different speeds. He wanted to do something with the dramatic footage and decided to add them to the credits.[77]

The film was re-released on August 28, 1987, in six cities to capitalize on the success of Platoon, Full Metal Jacket, and other Vietnam War movies. New 70 mm prints were shown in Los Angeles, San Francisco, San Jose, Seattle, St. Louis and Cincinnati – cities where the film did financially well in 1979. The film was given the same kind of release as the exclusive engagement in 1979, with no logo or credits and audiences were given a printed program.[61]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 98% based on 90 reviews, with an average rating of 8.94/10. The website's critics consensus reads, "Francis Ford Coppola's haunting, hallucinatory Vietnam War epic is cinema at its most audacious and visionary."[78] Metacritic, which uses a weighted average, assigned the film a score of 94 out of 100 based on 15 critics, indicating "universal acclaim".[79]

Upon its release, Apocalypse Now received mixed reviews.[80][81][82] In his original review, Roger Ebert wrote, "Apocalypse Now achieves greatness not by analyzing our 'experience in Vietnam', but by re-creating, in characters and images, something of that experience".[83] In his review for the Los Angeles Times, Charles Champlin wrote, "as a noble use of the medium and as a tireless expression of national anguish, it towers over everything that has been attempted by an American filmmaker in a very long time".[75] Other reviews were less positive; Frank Rich in Time said: "While much of the footage is breathtaking, Apocalypse Now is emotionally obtuse and intellectually empty".[84] Vincent Canby argued, "Mr. Coppola himself describes it as "operatic," but ... Apocalypse Now is neither a tone poem nor an opera. It's an adventure yarn with delusions of grandeur, a movie that ends—in the all-too-familiar words of the poet Mr. Coppola drags in by the bootstraps—not with a bang, but a whimper."[85]

Ebert added Coppola's film to his list of The Great Movies, stating: "Apocalypse Now is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul. It is not about war so much as about how war reveals truths we would be happy never to discover".[86]

Commentators have debated whether Apocalypse Now is an anti-war or pro-war film. Some evidence of the film's anti-war message includes the purposeless brutality of the war, the absence of military leadership, and the imagery of machinery destroying nature.[87] Advocates of a pro-war stance view these same elements as a glorification of war and the assertion of American supremacy. According to Frank Tomasulo, "the U.S. foisting its culture on Vietnam", including the destruction of a village so that soldiers could surf, affirms the film's pro-war message.[87] Anthony Swofford recounted how his marine platoon watched Apocalypse Now before being sent to Iraq in 1990 to get excited for war.[88] Nidesh Lawtoo illustrates the ambiguity of the film by focusing on the contradictory responses the movie in general and the "Ride of the Valkyries" scene in particular, triggered in a university classroom.[89] According to Coppola, the film may be considered anti-war, but is even more anti-lie: "... the fact that a culture can lie about what's really going on in warfare, that people are being brutalized, tortured, maimed, and killed, and somehow present this as moral is what horrifies me, and perpetuates the possibility of war".[90]

In May 2011, a new restored digital print of Apocalypse Now was released in UK cinemas, distributed by Optimum Releasing. Total Film magazine gave the film a five-star review, stating: "This is the original cut rather than the 2001 'Redux' (be gone, jarring French plantation interlude!), digitally restored to such heights you can, indeed, get a nose full of the napalm".[91]

Apocalypse Now performed well at the box office when it opened on August 15, 1979.[72] The film initially opened in three theaters in New York City, Toronto, and Hollywood, grossing $322,489 in the first five days. The film grossed over $78 million domestically with a worldwide total of approximately $150 million.[4]

May 1, 2010, cover of the Economist newspaper, illustrating the 2010 European sovereign debt crisis with imagery from the movie, attests to the film's pervasive cultural impact.

Today, the movie is regarded by many as a masterpiece of the New Hollywood era. Roger Ebert considered it to be the finest film on the Vietnam war and included it on his list for the 2002 Sight & Sound poll for the greatest movie of all time.[92][93] It is on the American Film Institute's 100 Years...100 Movies list at number 28, but it dropped two to number 30 on their 10th anniversary list. Kilgore's quote, "I love the smell of napalm in the morning," written by Milius, was number 12 on the AFI's 100 Years ... 100 Movie Quotes list and was also voted the greatest movie speech of all time in a 2004 poll.[94] It is listed at number 7 on Empire's 2008 list of the 500 greatest movies of all time.[95] Entertainment Weekly ranked Apocalypse Now as having one of the "10 Best Surfing Scenes" in cinema.[96]

In 2002, Sight and Sound magazine invited several critics to name the best film of the last 25 years and Apocalypse Now was named number one. It was also listed as the second best war film by viewers on Channel 4's 100 Greatest War Films and was the second rated war movie of all time based on the Movifone list (after Schindler's List) and the IMDb War movie list (after The Longest Day). It is ranked number 1 on Channel 4's 50 Films to See Before You Die. In a 2004 poll of UK film fans, Blockbuster listed Kilgore's eulogy to napalm as the best movie speech.[97] The helicopter attack scene with the Ride of the Valkyries soundtrack was chosen as the most memorable film scene ever by Empire magazine (this same piece of music was also used in 1915 to similar effect to accompany The Birth of a Nation). This scene is recalled in one of the last acts of the 2012 video game Far Cry 3 as the song is played while the character shoots from a helicopter.[98] It was likewise adapted for the Cat's Eye anime episode "From Runan Island with Love" and the Battle of Italica scene in Gate: Jieitai Kano Chi nite, Kaku Tatakaeri.

In 2009, the London Film Critics' Circle voted Apocalypse Now the best film of the last 30 years.[99]

In August 2009, the head of the German Financial Regulator told the Bundestag Finance Committee that the failure of the "terrible" Depfa Bank, which was completely supervised by its Irish equivalent, led to the collapse of its German parent which forced Berlin to bail it out at a cost of €102 billion. The committee was told that the alternative was a run on German banks and the eventual collapse of the European finance system, and "You would have woken up on Monday morning in the film Apocalypse Now".[100]

In 2011, actor Charlie Sheen, son of the film's leading actor Martin, started playing clips from the film on his live tour and played the film in its entirety during post-show parties. One of Sheen's films, the 1993 comedy Hot Shots! Part Deux, includes a brief scene in which Charlie is riding a boat up a river in Iraq while on a rescue mission and passes Martin, as Captain Willard, going the other way. As they pass, each man shouts to the other "I loved you in Wall Street!", referring to the 1987 film that had featured both of them. Additionally, the promotional material for Hot Shots! Part Deux included a mockumentary that aired on HBO titled Hearts of Hot Shots! Part Deux—A Filmmaker's Apology, in parody of the 1991 documentary Hearts of Darkness: A Filmmaker's Apocalypse, about the making of Apocalypse Now.[101]

The film is credited with having created the Philippines surfing culture based around the town of Baler where the helicopter attack and surfing sequences were filmed.[102]

On January 25, 2017, Coppola announced that he was seeking funding through Kickstarter for a horror role-playing video game based on Apocalypse Now.[103] The game has since been canceled by Montgomery Markland (the game's director), as revealed on the game's official Tumblr page.[104]

In 2001, Coppola released Apocalypse Now Redux in cinemas and subsequently on DVD. This is an extended version that restores 49 minutes of scenes cut from the original film. Coppola has continued to circulate the original version as well: the two versions are packaged together in the Complete Dossier DVD, released on August 15, 2006, and in the Blu-ray edition released on October 19, 2010.

The longest section of added footage in the Redux version is the "French Plantation" sequence, a chapter involving the de Marais family's rubber plantation, a holdover from the colonization of French Indochina, featuring Coppola's two sons Gian-Carlo and Roman as children of the family. Around the dinner table, a young French child recites a poem by Charles Baudelaire entitled L'albatros. The French family patriarch is not satisfied with the child's recitation. The child is sent away. These scenes were removed from the 1979 cut, which premiered at Cannes. In behind-the-scenes footage in Hearts of Darkness, Coppola expresses his anger, on the set, at the technical limitations of the scenes, the result of shortage of money. At the time of the Redux version, it was possible to digitally enhance the footage to accomplish Coppola's vision. In the scenes, the French family patriarchs argue about the positive side of colonialism in Indochina and denounce the betrayal of the military men in the First Indochina War. Hubert de Marais argues that French politicians sacrificed entire battalions at Điện Biên Phủ, and tells Willard that the US created the Viet Cong (as the Viet Minh) to fend off Japanese invaders.

Other added material includes extra combat footage before Willard meets Kilgore, a humorous scene in which Willard's team steals Kilgore's surfboard (which sheds some light on the hunt for the mangoes), a follow-up scene to the dance of the Playboy Playmates, in which Willard's team finds the Playmates stranded after their helicopter has run out of fuel (trading two barrels of fuel for two hours with the Bunnies), and a scene of Kurtz reading from a Time magazine article about the war, surrounded by Cambodian children.

A deleted scene titled "Monkey Sampan" shows Willard and the PBR crew suspiciously eyeing an approaching sampan juxtaposed to Montagnard villagers joyfully singing "Light My Fire" by The Doors. As the sampan gets closer, Willard realizes there are monkeys on it and no helmsman. Finally, just as the two boats pass, the wind turns the sail and exposes a naked dead Viet Cong (VC) nailed to the sail boom. His body is mutilated and looks as though the man had been flogged and castrated. The singing stops. As they pass on by, Chief notes out loud, "That's comin' from where we goin', Captain." The boat then slowly passes the giant tail of a shot down B-52 bomber as the noise of engines high in the sky is heard. Coppola said that he made up for cutting this scene by having the PBR pass under an aircraft tail in the final cut.

A 289-minute First Assembly circulates as a video bootleg, containing extra material not included in either the original theatrical release or the "redux" version.[107]

In April 2019, Coppola showed Apocalypse Now Final Cut for the 40th anniversary screening at the Tribeca Film Festival.[108] This new version is Coppola's preferred version of the film and has a runtime of three hours and three minutes, with Coppola having cut 20 minutes of the added material from Redux; the scenes deleted include the second encounter with the Playmates, parts of the plantation sequence, and Kurtz's reading of Time magazine.[109] It is also the first time the film has been restored from the original camera negative at 4K; previous transfers were made from an interpositive.[110] It was released in autumn 2019, along with an extended cut of The Cotton Club.[111] It also had a release in select IMAX theaters on August 15 and 18, 2019.[112]