American Cinematographer - July 2020 - 32

Storaro and His Directors

t Family first: The cinematographer spends time
with son Giovanni on the set of Apocalypse Now.
tq Coppola and Storaro eye a scene for a
segment of the anthology film New York Stories.

me on the phone! 'It is a movie about
civilization,' he said. 'Please read
Heart of Darkness by Conrad [on
which the script is based], and read
the script. And in two weeks, we will
meet in Australia to look at locations.
Then I will take you to L.A. and we

will meet Gordon, and you'll make
your decision.'
"On the plane to Sydney, which
took 26 hours, I didn't get up from my
seat, but wrote down all the cinematographic concepts for the movie. I
had read the novel and I understood

Vittorio Storaro is definitely one of the most inspirational visual storytellers
in the history of moviemaking. The color and light philosophies that he has been
advocating and living by are a great inspiration to me.
Happy birthday, Mr. Storaro.
- Janusz Kaminski
32

July 2020

American Cinematographer - 100 Years

that when one culture comes to
another, they bring a lot of violence,
and this needs to be denounced. I
understood that this is a universal
concept, and I needed to work out
how to transfer this to cinematography. I thought that if I put artificial
light against natural light, I could
create a visual conflict, which would
be the story of the movie. I began to
understand the meaning of my own
life - to try to find an equilibrium of
opposite elements."
In Australia, Coppola and
Storaro discussed the idea of using
artificial light for the Americans and
natural light for the Vietnamese.
Coppola, Storaro recalls, said the film
should avoid a documentary style.
"Francis told me that everywhere
America goes, it makes a big show, a
big event - so the film had to be
surrealistic, and nothing to do with
reportage."
After a dinner in L.A., during
which Willis gave Storaro the goahead to do the movie, Storaro
prepared to fly off to the Philippines
with his Italian crew for what was
intended as an 18-week shoot. The
film went famously over budget. A
typhoon destroyed many of their sets,
lead actor Martin Sheen suffered a
heart attack, and filming ultimately
took them 238 days. Some feared
Coppola wouldn't be able to
complete the film, but Storaro was
confident in his director. "If you just
pick up one Academy Award statue
- it is very heavy. After the Academy
Awards for Godfather II, there were
pictures of Francis holding his three
Oscars in one hand! You can see the
kind of willpower he had."
The working relationship with
Coppola was looser than Storaro was
used to. "Francis loved to capture the
concept of a scene - remember, he



American Cinematographer - July 2020

Table of Contents for the Digital Edition of American Cinematographer - July 2020

Contents
American Cinematographer - July 2020 - Cover1
American Cinematographer - July 2020 - Cover2
American Cinematographer - July 2020 - 1
American Cinematographer - July 2020 - Contents
American Cinematographer - July 2020 - 3
American Cinematographer - July 2020 - 4
American Cinematographer - July 2020 - 5
American Cinematographer - July 2020 - 6
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