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"Chas's stunning photos bring back the experience." -Francis Ford Coppola
Hired in 1976 by Francis Ford Coppola as the still photographer for his masterpiece Apocalypse Now, Chas Gerretsen's private archive of hundreds of photographs propels readers immediately into the chaos and drama surrounding one of the most important movies ever made.
Gerretsen was a renowned freelance photographer who had previously worked in Chile and Vietnam when he got the call from Coppola, who was looking for a combat photographer for a war movie. Given unprecedented access to the film's stars, extras, crew, and legendary behind-the-scenes drama he spent six months in the Philippines, shooting thousands of images. Culled from that archive, these full-color photographs offer an intimate glimpse of the turmoil and excitement of a Hollywood spectacle rising out of the unpredictable climate of the Philippine rainforest. Capturing the star power of Marlon Brando, Martin Sheen, and Dennis Hopper, as well as the sprawling sets, he takes us into the beauty of the Southeast Asian jungle and shows us how its inhabitants were incorporated into the filming. Throughout the book, Gerretsen's astute reflections of his experience on set are as fascinating as his photography. While Apocalypse Now remains one of the most critically acclaimed movies of all time, the making of the film is equally legendary. Nearly fifty years later, Gerretsen's photographs remind us of Coppola's artistic achievements and of a pivotal era in American cultural history.
Hired in 1976 by Francis Ford Coppola as the still photographer for his masterpiece Apocalypse Now, Chas Gerretsen's private archive of hundreds of photographs propels readers immediately into the chaos and drama surrounding one of the most important movies ever made.
Gerretsen was a renowned freelance photographer who had previously worked in Chile and Vietnam when he got the call from Coppola, who was looking for a combat photographer for a war movie. Given unprecedented access to the film's stars, extras, crew, and legendary behind-the-scenes drama he spent six months in the Philippines, shooting thousands of images. Culled from that archive, these full-color photographs offer an intimate glimpse of the turmoil and excitement of a Hollywood spectacle rising out of the unpredictable climate of the Philippine rainforest. Capturing the star power of Marlon Brando, Martin Sheen, and Dennis Hopper, as well as the sprawling sets, he takes us into the beauty of the Southeast Asian jungle and shows us how its inhabitants were incorporated into the filming. Throughout the book, Gerretsen's astute reflections of his experience on set are as fascinating as his photography. While Apocalypse Now remains one of the most critically acclaimed movies of all time, the making of the film is equally legendary. Nearly fifty years later, Gerretsen's photographs remind us of Coppola's artistic achievements and of a pivotal era in American cultural history.
Perlentaucher-Notiz zur Süddeutsche Zeitung-Rezension
Rezensent David Steinitz stöbert gerne im Fotoband des niederländischen Kriegsfotografen Chas Gerretsen, der auch den Filmdreh von Coppolas "Apocalypse Now" dokumentierte. Neben vielen bereits bekannten Geschichten über die sagenumwobenen, weil völlig ausufernden Dreharbeiten in den 70er Jahren auf den Philippinen erfährt er aus Gerretsens Fotos und kurzen Begleittexten auch die ein oder andere neue Anekdote des Set-Wahnsinns: etwa von Shopping-Ausflügen in die örtliche Leichenhalle, oder von Marlon Brando, dem aus Hongkong seine Lieblingsschlafanzüge eingeflogen werden mussten. Interessant findet Steinitz die Fotografien vor allem auch als Zeugnisse eines noch etwas weniger profitdominierten Hollywood und einer "merkwürdigen Form des Kolonialismus", die er im Einfall des Filmteams auf die Philippinen sieht.
© Perlentaucher Medien GmbH
© Perlentaucher Medien GmbH
»Chas Gerretsen, des Krieges müder Kriegsreporter (...) träumte vom Frieden als Setfotograf. Dann fotografierte der in Coppolas Herz der Finsternis - den Film als Krieg.« Welt am Sonntag