£295.00
Film
Apocalypse Now: Final Cut – Signed by Martin Sheen
1979, 2019 – 40th Anniversary Restored & Remastered ‘Final Cut’ Release
UK Quad (30" x 40") Double Sided
British / UK
Near Mint minus -Very Fine plus; originally rolled (as issued), Autographed by Martin Sheen
Francis Ford Coppola
Albert Hall, Dennis Hopper, Frederic Forrest, Larry Fishburne, Marlon Brando, Martin Sheen, Robert Duvall, Sam Bottoms
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“They train young men to drop fire on people. But their commanders won’t allow them to write ‘fuck’ on their airplanes because it is obscene.”
Autographed by Martin Sheen – A personal favourite and quite simply a beautiful film poster for the 40th Anniversary remastered & restored release of Francis Ford Coppola’s multi award winning Vietnam war epic “Apocalypse Now”. There is no doubting the influence and impact of Coppola’s masterpiece with any paper hugely desirable and the 2019 Laurent Durieux designed UK quad film poster offered here is no exception with its desirability further enhanced by the added signature of Martin Sheen – signed in 2019 ate the London Film and Comic Con, which Sheen attended as a guest. The imagery truly captures the cloying atmosphere and dark tone of the movie with a close up shot of army assassin Benjamin Willard (Martin Sheen) emerging from the river with his target Colonel Kurtz (Marlon Brando) a reflected mirror image. The red and green colour palette only enhances the whole look; absolutely stunning poster (the photo just doesn’t do this poster justice, it needs to be seen to be appreciated) with truly memorable imagery for Coppola’s voyage into the ‘Heart of Darkness’. Originally rolled (as issued) this totally unrestored example autographed by Martin Sheen presents and displays to excellent effect with only minimal handling wear that represents an incredible piece of original movie memorabilia from one of the finest film’s ever made…“Napalm, son. Nothing else in the world smells like that”
Trivia: While in pre-production, Francis Ford Coppola consulted his friend and mentor Roger Corman for advice about shooting in the Phillipines. Corman’s advice: “Don’t go.” Shooting, originally scheduled for six weeks, took 16 months.
…more detailVintage Movie Posters Grading Criteria... read more +
“At the height of the Vietnam war, experienced soldier and covert operative Captain Benjamin Willard withdraws from a drunken and disheveled state to accept his most daring and secretive mission yet. His objective is to travel down the Nyung river by boat and assassinate a Green Beret Colonel named Kurtz who has gone insane deep within the Jungle, and leads his men and a local tribe as a god on illegal guerrilla missions into enemy territory. As Willard and the crew of a Navy PR boat unaware of his objective embark on their journey from the security of civilization into the untamed depths of the jungle, Willard confronts not only the same horrors and hypocrisy that pushed the level headed Colonel Kurtz over the edge into an abyss of insanity, but the primal violence of human nature and the darkness of his own heart.”
Francis Ford Coppola’s Apocalypse Now is a pure example of method filmmaking. It is the true craftmanship of an essential filmmaker. The art direction, editing and sound effects are partially a small fragment which makes this film classical and memorable. What drives the integrity and semblance of the film is the storyline, acting and inner message. The inner message evidently enough is that war is hell, or in other words, hell is war. Not many directors have the ambition or the true courage to establish such a well-defined piece of art. European filmmakers wouldn’t have the slightest problem of directing the film or throw in their personal feelings about the war. What is most interesting is that an American filmmaker spoke his style and the style of the film’s collaborators through the continuance of the film…This film has its famous moment, some better to be kept quiet about until they come through the screen. It doesn’t require any intellectual understanding, although the film is intellectually remarkable. The American soldiers in the Vietnam War jumped into the land of a fresh governmental country, aiming to protect themselves and in the end only received death and chaos for their troops and for the majority of the country they were fighting against. It was a war gone mad, like all other wars, without purpose or dignity. It was a pure act of humanity: to destroy and restore their own greedy needs. This is a film in which there is no saviour, where it is hardly possible to find hope in the gloomiest corners and where all surroundings are plagued with the infatuations of greed, anger, foolishness and egoism. As Francis Ford Coppola once said about the film: ‘This film isn’t about Vietnam. This film IS Vietnam’. He was right to the date. During the current situations of the world, where they are trying to protect their own skin, the world should try to analyse this film as much as possible and wonder about what it is trying to represent. It is a film which does not ask for applause or damnation. It asks for realism.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.