Apocalypse Wow!

Writer and director Francis Ford Coppola had millions of dollars of his own money on the line. He had a great screenplay to work with from writer John Milius, as well as Joseph Conrad's classic novel, Heart of Darkness, to use as a guide for the film. However, many thought the project he was embarking on was a tragedy waiting to happen, or at least a bloated art-project from a self-absorbed young director about to embarrass himself. This was a distinct possibility. After all, he wasn't even sure how he wanted to end the movie as the crew and cast assembled in the Philippines to start filming. But Coppola had a vision for something great, and believed that with the right cast, he could pull it off. And then...

Marlon Brando showed up massively overweight. Dennis Hopper was perpetually drunk, stoned, or both. Young Martin Sheen was desperately out of shape and managing a range of personal demons.

In Apocalypse Now, Colonel Kurtz, was supposed to be a rugged combat-hardened green beret gone rogue and living as a near god-like figure to his native-born troops in the jungles of Vietnam. Brando showed up looking more like a latter-day Orson Wells, and didn't seem interested in shedding pounds anytime soon. Dennis Hopper was so spaced-out on booze and drugs, he was nearly incapable (or just uninterested) in learning his lines. Martin Sheen's character, Captain Willard, was supposed to be a special forces super-assassin - while Martin the actor was smoking three packs a day and didn't even know how to swim - for a movie that takes place on, in, or near water for 90% of the plot.

Coppola could have railed against the titanic (and fragile) egos of his actors, trying whip them into shape or otherwise coerce them into becoming what he had envisioned they should be. He also could have just thrown in the towel. Nice try. Good idea. Let's all take a vacation in the Philippines and return home in shame to L.A. Instead, he did something great leaders know how to do.

He made the best of the people present. He found in each one of them, something that could be great.

Brando is fat, and sits in his houseboat all day eating and reading poetry? Ok, maybe Colonel Kurtz, has become a kind of dark, mad, philosopher king - his appetite for destruction in part symbolized by his earthly appetites and degeneration. Hopper is whacked out all day and doesn't know his lines? Well, just let him take in the scene and say whatever he thinks the character would say. Roll the camera and we'll see what happens. Sheen is timid and uncertain? Maybe his character can be a stand-in for the audience. Through Sheen's eyes, the audience will see and feel the whole foreboding weight of the story - vulnerable and on the edge of collapse.

Instead of forcing the actors into the fictional characters of the script, Coppola let the reality of the actors as people shape the characters and the story. The rest is movie history.

As director, Coppola didn't just give up and let the actors do whatever they wanted. He was described by the cast as incredibly demanding. If the actors were going to play themselves, then Coppola would expect them to be the highest and most honest versions of themselves possible - not perfect, but certainly real. He'd join them on an altered journey, but he would expect a far more demanding type of raw authenticity.

For instance, early in the movie Sheen's character has a PTSD-induced nervous breakdown while isolated and awaiting orders in a hotel room. It would have been a brilliant piece of acting - if it was just acting. Much of the brilliance of the scene came from Sheen being asked to get in touch with all of the personal fears he'd brought to the set. When the camera's stopped rolling, Sheen would be cared for by a Philippine nurse, holding and reassuring him that, "Jesus loves you, Marty. Jesus loves you."

Brando was allowed to help rewrite the role of Kurtz, as well as the ending of the movie as a whole - turning what was supposed to be a typical climactic battle scene, into a much more symbolic metaphor of sacrifice in the battle between light and dark.

And as it turned out, they were far better off just letting Dennis Hopper be Dennis Hopper. Nearly all of his lines were ad-libbed on the spot. And wow, no screenwriter could have written what came out.

Coppola was willing to build the project around the assets he had. He found something to love and treasure, even in the weaknesses, of his people. In doing so, he gave them an opportunity to be great.

The story of the making of Apocalypse Now is nearly as famous as the film itself. Every actor described the experience as transformative and pivotal in their lives - not because it made them money or made them famous. It was transformative because they were invited to bring their whole selves to the work. That's perhaps the greatest thing a leader can invite people to do.

Check out my latest book: Leading Conflict: How To Fight at Work.

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