The concept of pastiche has received a lot of attention from representatives of postmodernism. The concern for reproducing previous texts being at the heart of adaptation, it is appropriate to consider adapted films as a pastiche where various texts merge. Francis Ford Coppola's Apocalypse Now can be considered a pastiche due to its intertextual meanings which are primarily taken from Joseph Conrad's Heart of Darkness. In this essay, I will discuss the statement “What a film takes from a book matters; but what it brings to a book too. by analyzing Heart of Darkness by Joseph Conrad in relation to Apocalypse Now by Francis Ford Coppola. The film debuts Captain Willard (Martin Sheen), who early in the film is shown as relaxing in his hotel room in Saigon. But the first images presented depict the captain's waking nightmares followed by a panoramic view of the jungle crossed again and again by helicopters shown in extreme close-up. The hallucinatory nature of the images presented at the beginning attempts to provide a brief but complete description of the Vietnam War. It is unclear whether the perspective is coming from inside his head or from inside his room looking into his head. To the viewer's amazement, the voice of Willard's mind seems numb and skeptical, similar to that of a detective. The narrator of Heart of Darkness by Joseph Conrad was named Harlow but Francis Ford Coppola changed his narrator's name to Philip Marlowe, who is a private detective. In the film and the novel, the narrator's point of view is very important to the reader. respectively to the perception that the spectator has of him. Joseph Conrad constructs his novel as a story that is the...... middle of paper ...... literary task that involves bringing Kurtz to an end. Reviewing Kurtz's personnel file, he attempts to find more details about his next victim. From Conrad's point of view, he believes that the truth behind the heart of darkness can never be found, giving Kurtz as an example. But Francis Ford Coppola takes a different approach and portrays Willard as a man who became obsessed with knowing the truth about his victim. He believes that to kill Kurtz, he must first understand what type of man he was, but as soon as he discovers the mystery behind the Heart of Darkness, he finds himself unable to resist its power. Willard begins to feel the connection to the wild nature of the jungle and its inhabitants, as Marlow did. A military assassin uses a reasonable, civilized form of killing, but as he moved deeper into the jungle, those boundaries began to blur..