Exceptional and eclectic archive of documentation surrounding the production and subsequent promotion of Francis Ford Coppola’s epic Vietnam War-inspired classic, Apocalypse Now. Comprised of a waiver signed by Harry Dean Stanton, including an ALS at the conclusion of the document addressed to Francis Ford Coppola stating, in part: “Francis, I didn’t sign the first waiver you sent me because I’m not in the film, Right? My sequence was cut because of Harvey Keitel—or—is there a technicality involved with SAG because I was, in fact, paid for working on the film?”; two identical documents regarding soundtrack rights and royalties between American Zoetrope and Elektra/Asylum Records, one copy signed by John Dinsmore and Robert Krieger, the other signed by Ray Manzarek; two identical waivers between Coppola Cinema Seven, Flash and the Kids, Inc., and The Great American Amusement Co.; a contract between Flash and the Kids, Inc. and The Great American Amusement Co. regarding “Apocalypse Now—Flash Cadillac Appearance”; a Screen Actors Guild contract for the use of Coleen Camp on the role of “Playmate”; an ALS addressed to Coppola in an unidentified hand, and the monster centerpiece: Marlon Brando’s 32-page, million dollar contract
DS, 8.5 x 11, March 1, 1976. Agreement between Coppola Cinema Seven and Colony Productions, Inc., concerning the production of Apocalypse Now. Coppola Cinema Seven confirms that “You hereby agree to lend to us and we hereby borrow from you, upon the terms and conditions herein specified, the services of Marlon Brando (herein called the ‘Artist’) in connection with the portrayal of the role of Colonel Tyler in the production of the motion picture now entitled ‘Apocalypse, Now’ (herein called the ‘Photoplay’)…The term of Artist’s services with respect to principal photography shall commence within the period September 1–8, 1976, on such date as we may advise on not less than two weeks notice, and shall continue consecutively from the date of commencement for the period during which we may require the Artist’s services in connection with the production of the Photoplay.”
The contract then outlines the terms of “Compensation and Guaranty,” stating “We shall pay you the sum of One Million Dollars ($1,000,000) (‘the guaranteed compensation’)…In addition to all other compensation to be paid hereunder, we shall pay or cause to be paid to you an amount equal to 11.3% of the ‘Gross Receipts’ in excess of $8,849,857.50, from the exploitation and/or exhibition of the Photoplay and/or rights therein or with respect thereto in any manner or form (including, but not limited to, television and theatrical exploitation) throughout the world.” Coppola Cinema Seven acknowledges that “The services to be rendered hereunder are of a special, unique, unusual, extra-ordinary and intellectual character and of great peculiar value to us, and we could not, in an action at law, be reasonable or adequately compensated in damages for the loss thereof. You hereby grant to us the exclusive right and property in and to the Artist’s services rendered hereunder and the product thereof, the right to photograph, record and/or otherwise reproduce all or any part of Artist’s performances in connection with the Photoplay and to perpetually exhibit, transmit and reproduce in any and all media and gauges…any reproductions of the same in connection with the Photoplay throughout the universe…” The production company requires that they “may produce or call to be produced a documentary film about the production of the Photoplay which may be exploited in any and all media by us (and you and Artist agree to cooperate fully with us in obtaining any necessary waiver or consent from the Screen Actors Guild with respect to said documentary)…We agree that the documentary shall not contain any candid shots of Artist which will hold him up to public ridicule.” In terms of transportation, the production company agrees to allot the Artist a sum of $1,000 per week to cover travel expenses when “Artist’s services are required to be performed elsewhere than within a radius of fifteen (15) miles from Los Angeles…We shall also furnish Artist…and two (2) other persons with transportation (which shall be by air, if available) from Los Angeles to each place whereat Artist is required to report for the rendition of his services hereunder and return to Los Angeles, which transportation shall be of the first-class nature…We shall also make available to Artist a first class car and driver during the period of Artist’s services during principal photography of the Photoplay…”
Coppola Cinema Seven states that they “may secure, in our own name or otherwise, and at our own expense, life, accident, health, cast, preproduction and other insurance covering the artist…and neither you nor the Artist shall have any right, title, and interest in and to such insurance.” They further “agree to purchase an accidental death policy in the amount of $2,000,000 to remain in effect during the period of your services hereunder.” Regarding the artistic production of the film, Brando and Colony Productions, Inc., are requested to “use reasonable efforts to provide…old still photographs of Artist when he was approximately 30 years of age for our use as part of the ‘Tyler Dossier’ in connection with the Photoplay.” Brando’s professional staff are then listed, including Phillip Rhodes “as make-up man,” Marie Squires “as stand-in and dialogue coach,” and Alice Marchak “as secretary.” Brando and Colony Productions, Inc., approve “Francis Ford Coppola as the director of the Photoplay,” extending Brando the option, if Coppola fails to perform, of choosing his replacement out of a pool of three which will be provided by Coppola Seven Cinema.
In conclusion, Robert Duvall is approved as co-star, receiving “billing above the title and equal in all respect to Artist’s billing except Mr. Duvall’s billing shall be in second position to that of Artist’s,” going on to confirm that “The Artist’s name is to be displayed in the first position of the entire cast of the Photoplay and in size of type 100% of the largest size of type used to display the ‘regular’ title of the Photoplay,” and that “The only names which may precede the name of the Artist are the names of the Distributor(s) and of Coppola Cinema Seven as the ‘presenter’ of the Photoplay,” signed at the conclusion in full by Brando, his signature being the only one on the page.
In fine condition, with light toning and creasing, and two punch holes to the top edge of each page.
In what is arguably one of the most legendary American war films to date, some would say the filming of Apocalypse Now was, in its own right, a war of epic proportions. Aptly presented through the eerie, mind-bending sounds of The Doors’ ‘The End,’ this creative endeavor stretched from six weeks of filming to 17 months in the tumultuous conditions of the Philippines. Cast and crew battled heat, exotic maladies, and typhoons leading to the destruction of countless sets. Harvey Keitel was replaced during the first week of shooting after Coppola decided he was unhappy with his take on the character Willard, bringing Martin Sheen in as a replacement. Soon after, Sheen suffered a heart attack; Dennis Hopper was feeding narcotic-driven demons just to make it through filming; and perhaps the biggest—and most unforeseen—challenge of all came when Brando, the heavyweight who would bring the film’s deranged antagonist, Colonel Kurtz, to life, arrived on the set completely unprepared and morbidly overweight.
The lengthy contract between Brando and Coppola Cinema Seven, which guaranteed the star a “sum of One Million Dollars” before filming even began, should have been enough to at least motivate the now almost 300-pound actor to read the script before arriving on set. Coppola spent days reading the script to Brando, literally halting production while Brando tore apart his script, refusing to read anything unless he could improvise his lines, and demanding that he be shot in the shadows due to his excessive weight gain. Coppola conceded to Brando’s garish demands, and in 1979, three years after Brando signed this contract, the landmark film to which all war movies from then on would be compared, made unparalleled cinematic history. Pre-certified PSA/DNA and RR Auction COA.
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