And then Vittorio Storaro got involved, the cinematographer. And he said, 'Well, if you're going to do that, you're going through all that trouble, then we need to make a new way of storing the negative. And so we're going to use the Technicolour three-strip process which is the best way – and it is – of storing negatives, which is to make black and white negatives from the negative, tuned to three different colours: yellow, cyan, and magenta.' It's kind of like our three trichromatic eyes, yellow, blue and red. And so that added another layer of complexity. So from a relatively modest beginning... 'Can't we just take the French plantation and pull it off the shelf and put it on the film?' 'No.' 'Well, okay, if we can't do that, then we have to do this. And if we're doing that, then let's do this.' And the end result is that [Apocalypse] Redux is a pretty accurate, pretty close example of the screenplay that Francis went to the Philippines to shoot. There's a couple of small scenes left out, but... And the whole ending with Marlon Brando, Colonel Kurtz, that was not really in the screenplay at the time, that was heavily rewritten once Brando was on location. So in that case, there's a caveat there. But if you want to get a pretty good idea of what the screenplay looked like when Francis when to shoot the film, Apocalypse Redux is it. Is it therefore better or different than the 1979 version? It's certainly different, not fundamentally different. The hard question is: we're sending a spaceship to another planet, and there can be only one copy of Apocalypse Now, which copy will it be? I would probably go for the 1979 version, because it was made in the full heat of that original impulse to make the film. And we were very proud of it at the time, it was a big, long struggle. But there was nothing about that 1979 version that made us think, 'Well, wouldn't it be better if we...' So Redux is an afterthought, kind of a glorious afterthought, but it is thinking after the initial impulse of the film.
