Shots in Apocalypse Now

This may be a controversial statement, but I'm going to make it anyway: Apocalypse Now and The Diving Bell and The Butterfly are very different movies. No where is this more apparent than in the choices in shots. Whereas the 'Bell dealt in medium, close, and extreme close shots, Apocalypse Now is almost exclusively medium and long shots. It's obvious the audience isn't supposed to relate as intensely with Willard as they did with Jean. When we do get up close and personal with Willard, it's because he's showing his more animal qualities.

Of course, not all of the shots are about our intrepid captain. Many of the shots create a surreal feeling of the environment. One of the best examples of this is in Willard's final stop before heading deep into the jungle. In this chaotic military base, we see Willard and his quite mad surfer friend walking in front of a fiery mess of lights and explosions while distorted carnival-like music plays in the background. It really captures the feel of the place as an alien landscape of terror. When the boat finally arrives at Kurtz' camp, we are treated to haunting shots of deteriorating stone faces and exotic ruins. It demonstrates the disjointed thinking of Kurtz and the possible outcome for Willard.