By Nick Dawson
The mythical Dennis Hopper (1936-2010) had many identities. He first broke into Hollywood as a fresh-faced younger actor within the Fifties, redefined himself as a insurgent director with Easy Rider within the past due Nineteen Sixties, and have become a nasty boy outcast for far of the Nineteen Seventies. He lower back within the Eighties with standout performances in motion pictures like Blue Velvet and Hoosiers, used to be one of many nice blockbuster baddies of the Nineteen Nineties, and ended his profession as a ubiquitous actor in style movies.
Hopper, notwithstanding, was once even more than simply an actor and director: he was once additionally a photographer, a painter, and an artwork collector--not to say an established hedonist who kicked his dependancy to medicinal drugs and alcohol and have become a poster boy for sobriety.
Dennis Hopper: Interviews covers each decade of his profession, that includes conversations from 1957 via to 2009, and never basically captures him on the major issues of his tumultuous time in Hollywood but in addition makes a speciality of the lesser-known facets of the guy. during this attention-grabbing and hugely interesting volume--the first ever choice of Hopper's interviews--he talks extensive approximately movie, images, paintings, and his battles with substance abuse and, in a single example, even takes the position of interviewer as he talks with Quentin Tarantino.
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Additional resources for Dennis Hopper: Interviews
It was a classic mess. And there was this great question then whether I would go on directing the movie after that. Nobody understood what the hell I’d shot in 16mm. ” We shot as much film at Mardi Gras as we shot for the whole rest of the movie. Q: And this Mardi Gras footage convinced Columbia to give you the money for the movie? A: No, we had the money before. Got the money from a very complete story outline which we had dialogued with a tape recorder. Then after Mardi Gras, I drove back across country to California from New Orleans, spotting locations for the other sequences along the way.
He is thirty-four now, and his face is gaunt. “It’s really hard to raise the money for a project in Hollywood. The film distributors have you in their grip, and a lot of those people don’t know how to evaluate material. The only way you can get them involved is through a name they think is commercial. “One of the things that has bothered me for a long time is the violence in films. I feel very strongly about violence. I don’t mind sex. If someone wants to watch a sexy scene in a movie, that’s his business.
We blew it” means to me that they could have spent that energy in something other than smuggling cocaine, could have done something other than help the society destroy itself. Q: All right. But I wonder whether this disfavor you’ve just explained toward Captain America comes across in the movie. I’ve seen the movie four times, and only the last time did I begin to pick up some ambivalence toward Captain America in the commune sequence. I’m asking you as a filmmaker, could you have made it more clear how you wanted us to feel about Captain America—just done it in that one sequence which, I think, is very crucial?