Director

Francis Ford Coppola

14 prints

The Godfather's amber darkness, shadowed faces and ochre walls, was a deliberate rejection of the bright Hollywood aesthetic of the era. Apocalypse Now moved the other direction into hallucinogenic overload: napalm sunsets, green jungle murk, the violet-lit horror of Kurtz's compound. Coppola understood that color could signal the collapse of a moral world as precisely as any script.