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1998 picture show directed by Terry Gilliam

Fear and Loathing in Las Vegas
FandlinLV.jpg

Theatrical release poster
Directed by Terry Gilliam
Screenplay by Terry Gilliam
Tony Grisoni
Alex Cox
Tod Davies
Based on Fear and Loathing in Las Vegas
by Hunter S. Thompson
Produced by Patrick Cassavetti
Laila Nabulsi
Stephen Nemeth
Starring
  • Johnny Depp
  • Benicio del Toro
Cinematography Nicola Pecorini
Edited past Lesley Walker
Music past Ray Cooper

Production
companies

Rhinoceros Films
Top Entertainment
Distributed by Universal Pictures

Release date
  • May 22, 1998 (1998-05-22)

Running time

 118 minutes
Country United States
Linguistic communication English language
Budget $xviii million
Box office $xiii.7 million

Fright and Loathing in Las Vegas is a 1998 American hazard blackness comedy film adapted from Hunter S. Thompson'southward 1971 novel of the same name. It was co-written and directed past Terry Gilliam, and stars Johnny Depp and Benicio del Toro equally Raoul Duke and Dr. Gonzo, respectively. The film details the duo's journey through Las Vegas as their initial journalistic intentions devolve into an exploration of the city nether the influence of psychoactive substances.

The motion picture received mixed reviews from critics and was a financial failure, but has since go a cult archetype among film fans.

Plot [edit]

In 1971, Raoul Duke and Dr. Gonzo speed beyond the Nevada desert. Knuckles, under the influence of mescaline, complains of a swarm of giant bats, and inventories their drug stash. They pick up a young hitchhiker and explicate their mission: Duke has been assigned by a mag to embrace the Mint 400 motorbike race in Las Vegas. They bought excessive drugs for the trip, and rented a red Chevrolet Impala convertible. The hitchhiker flees on foot at their behavior. Trying to accomplish Vegas earlier the hitchhiker can get to the police, Gonzo gives Duke function of a sheet of Sunshine Acrid, so informs him that there is fiddling chance of making it before the drug kicks in. By the fourth dimension they reach the strip, Duke is in the full throes of his trip and barely makes it through the hotel check-in, hallucinating that the clerk is a moray eel and that his fellow bar patrons are orgiastic lizards.

The next twenty-four hour period, Duke arrives at the race and heads out with his lensman, Lacerda. Duke becomes irrational and believes that they are in the middle of a battlefield, so he fires Lacerda and returns to the hotel. Later on consuming more mescaline, equally well as huffing diethyl ether, Duke and Gonzo arrive at the Bazooko Circus casino only leave before long subsequently, the chaotic temper frightening Gonzo. Back in the hotel room, Knuckles leaves Gonzo unattended, and tries his luck at Large Six. When Duke returns he finds that Gonzo, high on LSD, has trashed the room, and is in the bathtub clothed, attempting to pull the tape thespian in with him as he wants to hear the song ameliorate. He pleads with Knuckles to throw the machine into the water when the vocal "White Rabbit" peaks. Duke agrees, merely instead throws a grapefruit at Gonzo's head before running exterior and locking Gonzo in the bath. Duke attempts to blazon his reminisces on hippie culture, and flashes dorsum to San Francisco where a hippie licks spilled LSD off his sleeve.

The next morning, Duke awakens to an exorbitant room service bill and no sign of Gonzo (who has returned to Los Angeles while Duke slept), and attempts to leave town. As he nears Baker, California, a patrolman stops him for speeding, and advises him to slumber at a nearby rest stop. Duke instead heads to a payphone and calls Gonzo, learning that he has a suite in his proper name at the Flamingo Las Vegas so he can comprehend a district chaser's convention on narcotics. Knuckles checks into his suite, only to be met by an LSD-tripping Gonzo and a young girl called Lucy, who Gonzo explains has come to Las Vegas to meet Barbra Streisand, and that this was her kickoff LSD trip. Duke convinces Gonzo to ditch Lucy in another hotel earlier her trip wears off.

Gonzo accompanies Duke to the convention, and the pair discreetly snort cocaine as the guest speaker delivers a comically out-of-touch speech about "marijuana addicts" earlier showing a cursory film. Unable to take it, Duke and Gonzo flee back to their room, merely to find that Lucy has called. Their trips by and large over, Gonzo deals with Lucy over the phone (pretending that he is beingness savagely beaten by thugs) as Duke attempts to mellow out past trying some of Gonzo's stash of adrenochrome. However, the trip spirals out of control, and Duke is reduced to an incoherent mess earlier he blacks out.

Afterward an unspecified corporeality of time passes, Duke wakes up to a consummate ruin of the one time pristine suite. Afterward discovering his tape recorder, he attempts to call up what has happened. As he listens, he has cursory memories of the general mayhem that has taken place, including Gonzo threatening a waitress at a diner,[1] himself convincing a distraught cleaning woman that they are police officers investigating a drug band, and attempting to buy an orangutan.

Duke drops Gonzo off at the aerodrome, driving correct up to the airplane, before returning to the hotel one concluding fourth dimension to finish his commodity. He then speeds back to Los Angeles.

Cast [edit]

  • Johnny Depp equally Raoul Duke
  • Benicio del Toro as Dr. Gonzo
  • Tobey Maguire as The Hitchhiker
  • Christina Ricci equally Lucy
  • Ellen Barkin as The Waitress at North Star Buffet
  • Gary Busey as The Highway Patrolman
  • Marker Harmon as The Magazine Reporter at Mint 400
  • Cameron Diaz every bit The Blonde Tv Reporter
  • Katherine Helmond as The Desk Clerk at Mint Hotel
  • Michael Jeter as Dr. Elron Bumquist
  • Craig Bierko equally Lacerda
  • Lyle Lovett equally The Road Person
  • Flea as Hippie
  • Larry Cedar as Car Rental Agent - Los Angeles
  • Tim Thomerson as Hoodlum
  • Richard Riehle as Dune Buggy Driver
  • Richard Portnow every bit Wine Colored Tuxedo
  • Steve Schirripa as Goon
  • Larry Brandenburg as Cop in Back
  • Jennifer Elise Cox equally Shopper
  • Kim Flowers equally Lizard Performer
  • Tane McClure as Lizard Performer

Cameos [edit]

  • Christopher Meloni as Sven, Flamingo Hotel Clerk
  • Harry Dean Stanton every bit The Estimate
  • Troy Evans equally Police Chief
  • Debbie Reynolds every bit Herself (voice)
  • Jenette Goldstein every bit Alice the Maid
  • Verne Troyer as Wee Waiter
  • Gregory Itzin as Mint Hotel Clerk
  • Laraine Newman every bit Frog-Eyed Woman
  • Penn Jillette every bit Bazooko Circus Barker
  • Hunter Due south. Thompson equally Older Raoul Duke in Matrix flashback

Production [edit]

Development [edit]

In Jan 1976, Texas Monthly appear that Larry McMurtry had signed a contract to write a screenplay for a film adaptation.[2] Martin Scorsese and Oliver Stone each tried to become the moving-picture show off the ground, but were unsuccessful and moved on.[3]

Rhinoceros Films began piece of work on a motion-picture show version as early as 1992.[4] Caput of Production and the moving-picture show's producer Stephen Nemeth originally wanted Lee Tamahori to directly, only he wasn't available until after the Jan 1997 start date.[four] Depp wanted Bruce Robinson to direct, merely he was "unavailable... by choice".[5] Rhinoceros appealed to Thompson for an extension on the film rights but the author and his lawyers denied the extension. Under force per unit area, Rhino countered by greenish-lighting the moving-picture show and hiring Alex Cox to direct within a few days.[4] According to Nemeth, Cox could "do it for a price, could exercise it quickly and could get this movie going in four months."[4]

Rhino hired Terry Gilliam and was granted an extension from Thompson just only with the stipulation that the director made the picture show. Rhinoceros did not want to commit to Gilliam in case he didn't work out.[4] Thompson remembers, "They but kept asking for more [time]. I got kind of agitated virtually information technology because I idea they were trying to put off doing it. So I began to charge them more than... I wanted to see the motion-picture show done, once it got started."[4] The studio threatened to brand the flick with Cox and without Depp and del Toro. The two actors were upset when producer Laila Nabulsi told them of Rhinoceros'southward plans.[4] Universal Pictures stepped in to distribute the film. Depp and Gilliam were paid $500,000 each but the director yet did not have a firm deal in place. In retaliation, Depp and Gilliam locked Rhino out of the set during filming.[iv]

Casting [edit]

During the initial evolution to get the film made, Jack Nicholson and Marlon Brando were originally considered for the roles of Duke and Gonzo merely they both grew as well old.[vi] Afterwards, Dan Aykroyd and John Belushi were considered for the duo, but that fell apart when Belushi died. John Malkovich was later considered for the part of Duke, but he grew too erstwhile as well. At i point John Cusack was nigh cast (Cusack had previously directed the play version of Fear and Loathing in Las Vegas, with his brother playing Duke).[7] However, later Hunter S. Thompson met with Johnny Depp he became convinced that no one else could play him. When Cox and Davies started writing the screenplay, Depp and del Toro committed to starring in the film.[4]

Gilliam said in an interview that his films are player-led, the performance of the 2 characters in Fear and Loathing is hyper realistic just truthful: "I am interested in real people in baroque, twisted environments that force them to act... to react against."[8]

Dr. Gonzo is based on Thompson's friend Oscar Zeta Acosta, who disappeared quondam in 1974.[9] Thompson changed Acosta's ethnic identity to "Samoan" to deflect suspicion from Acosta, who was in trouble with the Los Angeles County Bar Association. He was the "Chicano lawyer" notorious for his party binges.

The lead actors undertook extraordinary preparations for their respective roles. Del Toro gained more than 45 pounds (18 kg) in nine weeks before filming began, eating xvi donuts a day,[x] and extensively researched Acosta'south life.[9] [11] In the spring of 1997, Depp moved into the basement of Thompson'due south Owl Farm home and lived in that location for four months, doing research for the role as well as studying Thompson's habits and mannerisms.[12] The thespian went through Thompson'southward original manuscript, mementos and notebooks that he kept during the bodily trip.[12] Depp remembers, "He saved it all. Not just is [the book] true, but at that place's more. And it was worse."[13] Depp even traded his car for Thompson's red Chevrolet Caprice convertible, known to fans as The Great Cherry-red Shark, and drove it around California during his preparation for the role.[14] Many of the costumes that Depp wears in the film are genuine manufactures of clothing that Depp borrowed from Thompson, and the writer himself shaved Depp'south head to match his own natural male pattern alopecia.[12] Other props, such as Duke's cigarette filter (a TarGard Permanent Filter System), Hawaiian shirts, hats, a patchwork jacket, a silver medallion (given to him by Oscar Acosta) and IDs, belonged to Thompson.[xiv]

Writing [edit]

Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-production, Cox and producer Laila Nabulsi had "artistic differences" and she forced Rhino to choose between her and Cox.[iv] She had an organisation with Thompson to produce the pic and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script handling is documented in the film Breakfast with Hunter.

The decision was made to not use the Cox/Davies script, which gave Gilliam just ten days to write some other.[15] Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. We sort of cannibalized the book."[16] The director enlisted the help of Tony Grisoni and they wrote the script at Gilliam's home in May 1997. Grisoni remembers, "I'd sit at the keyboard, and we'd talk and talk and I'd keep typing."[15] One of the most of import scenes from the book that Gilliam wanted to put in the motion picture was the confrontation between Duke and Dr. Gonzo and the waitress of the N Star Coffee Lounge. The director said, "This is two guys who have gone beyond the stake, this is unforgivable – that scene, information technology's ugly. My approach, rather than to throw it out, was to brand that scene the low point."[17]

Initially, the studio wanted Gilliam to update the volume for the 1990s, which he considered, "And then I looked at the film and said, 'No, that'south apologizing. I don't desire to apologize for this matter. It is what it is.' It's an artifact. If information technology's an accurate representation of that book, which I thought was an accurate representation of a detail time and place and people."[eighteen] Gilliam, while speaking to Sight & Sound mag, highlighted if he had updated the movie to the 1990s it would merely "exist a story about two people going to excess". Keeping it ready in the 70's, using the backdrop of the Vietnam War and a perceived loss of the American dream, offers reasoning to the characters deportment.[19]

Writers credit dispute with WGA [edit]

When the film approached release, Gilliam learned that the Writers Society of America (WGA) would not let Cox and Davies to be removed from the credits even though none of their material was used in the production of the film. According to WGA rules, Gilliam and Grisoni had to prove that they wrote 60% of their script. The director said, "Merely there have been at least v previous attempts at adapting the book, and they all come from the book. They all use the same scenes."[xx] Gilliam remarked in an interview, "The finish result was we didn't exist. As a manager, I was automatically deemed a 'production executive' by the social club and, by definition, discriminated against. Only for Tony to go without any credit would be really unfair."[21] David Kanter, agent for Cox and Davies, argued, "About 60 percent of the decisions they made on what stays in from the volume are in the film – as well as their mental attitude of wide-eyed anarchy."[21] According to the audio commentary past Gilliam on the Benchmark Collection DVD, during the period where information technology appeared that only Cox and Davies would be credited for the screenplay, the film was to begin with a short scene in which it is explained that no matter what is said in the credits, no writers were involved in the making of the film. When this inverse in early on May 1998 after the WGA revised its decision and gave credit to Gilliam and Grisoni starting time and Cox and Davies second, the short was not needed.[17] Angered over having to share credit, Gilliam publicly burned his WGA card at a 22 May book signing on Broadway.[22] [17]

Filming [edit]

According to Gilliam, there was no firm budget in identify when filming started.[23] He felt that information technology was not a well-organized film and said, "Certain people didn't... I'm not going to name names simply it was a strange film, like one leg was shorter than the other. There was all sorts of chaos."[fifteen] While Depp was on location in Los Angeles, he got a phone call from comedian Bill Murray who had played Thompson in Where the Buffalo Roam. He warned Depp, "Be careful or you'll find yourself ten years from now nevertheless doing him… Make sure your next office is some drastically different guy."[24]

Shooting on location in Las Vegas began on 3 August 1997 and lasted 56 days. The production ran into issues when they wanted to shoot in a casino. They were simply allowed to film between two and half dozen in the morning, given only vi tables to put extras effectually and insisted that the extras really gamble.[15] Exterior shots of the Bazooko Casino were filmed in front end of the Stardust hotel/casino with the interiors synthetic with a Warner Bros. Hollywood soundstage.[25] To get the period look of Vegas in the 1970s, Gilliam and Pecorini used rear-projection footage from the quondam television prove, Vega$. According to the cinematographer, this footage heightened the flick'due south "already otherworldly tone an extra notch."[25]

Cinematography [edit]

Nicola Pecorini was hired based on an audience reel he sent Gilliam that made fun of the fact that he had only one eye (he lost the other to retinal cancer).[25] According to Pecorini, the await of the moving picture was influenced by the paintings of Robert Yarber that are "very hallucinatory: the paintings utilize all kinds of neon colors, and the low-cal sources don't necessarily brand sense."[25] According to Gilliam, they used him as a guide "While mixing our palette of deeply disturbing fluorescent colors."[26]

For the desert scenes, Pecorini wanted a specific, undefined quality without a existent horizon to convey the notion that the mural never ended and to emphasize "a sure kind of unreality outside the characters' car, because everything that matters to them is inside the Cherry Shark."[25] For the scene where Duke hallucinates a lounge total of lizards, the production was supposed to have 25 animatronic reptiles merely they but received 7 or eight.[25] The production used motion-command techniques to make it look like they had a whole room of them and made multiple passes with the cameras outfitting the lizards with dissimilar costumes each time.[25]

During production, it was Gilliam's intention that it should feel similar a drug trip from beginning to cease. He said in an interview, "We showtime out at full speed and information technology'south WOOOO! The drug kicks in and y'all're on speed! Whoah! Yous get the buzz – it'due south crazy, it's outrageous, the carpet's moving and everybody's laughing and having a cracking time. Just then, e'er then slowly, the walls outset closing in and it's like you're never going to get out of this fucking place. Information technology's an ugly nightmare and there'southward no escape."[fourteen] To convey the effects of the diverse drugs, Gilliam and Pecorini assembled a list of "phases" that detailed the "cinematic qualities" of each drug consumed.[25] For ether, Pecorini said they used a "loose depth of field; everything becomes non-defined"; for adrenochrome, "everything gets narrow and claustrophobic, motility closer with lens"; mescaline was false past having "colors melt into each other, flares with no sources, play with color temperatures"; for amyl nitrite, the "perception of light gets very uneven, calorie-free levels increase and decrease during the shots"; and for LSD, "everything extremely broad, hallucinations via morphs, shapes, colors, and sound."[25]

Pecorini and Gilliam decided they wanted the moving picture to be shot wide-bending but because of the small budget they couldn't afford the downfalls of anamorphic lenses so they paired the Arriflex 535, Arri BL-4S and the Arri 35-iii with a set of Zeiss Standard Primes and Kodak's 250D Vision 5246 filmstock in order to achieve the saturated expect the film has.[27]

Soundtrack [edit]

Professional ratings
Review scores
Source Rating
AllMusic link

The music belongs to the psychedelic rock and classic rock genre. The soundtrack contains songs used in the film with sound bites of the film before each song. Most of the music is present in the soundtrack with a few exceptions: the Lennon Sisters' version of "My Favorite Things" from The Sound of Music which plays at the beginning of the moving-picture show, Jefferson Aeroplane'due south "Somebody to Love" which is heard during a flashback, Debbie Reynolds' "Tammy", Perry Como's "Magic Moments", Brook, Bogert & Appice's "Lady", Tom Jones' "It's Not Unusual", Frank Sinatra'south "Y'all're Getting to Exist a Habit with Me", Combustible Edison's "Spy vs Spy", the Out-Islanders' "Moon Mist" from Polynesian Fantasy, Robert Goulet's "My Honey, Forgive Me", and a recording of "Ball and Concatenation" by Janis Joplin.

The Rolling Stones song "Jumping Jack Flash" is heard at the decision of the film every bit Thompson drives out of Las Vegas. Gilliam could non pay $300,000 (half of the soundtrack upkeep) for the rights to "Sympathy for the Devil" by the Rolling Stones, which plays a prominent role in the book.[iv]

The Dead Kennedys rendition of "Viva Las Vegas" is heard at the very end of the closing credits.

Rail listing [edit]

No. Title Performed by Length
1. "Combination of the Ii" Big Blood brother and the Holding Company 5:47
2. "One Toke Over the Line" Brewer & Shipley 3:43
3. "She's a Lady" Tom Jones 2:53
4. "For Your Honey" The Yardbirds 2:36
5. "White Rabbit" Jefferson Airplane 3:xiii
6. "A Drug Score – Function ane (Acrid Spill)" Tomoyasu Hotei & Ray Cooper 0:52
vii. "Become Together" The Youngbloods five:41
8. "Mama Told Me Not to Come" Iii Canis familiaris Night 3:51
9. "Stuck Inside of Mobile with the Memphis Blues Again" Bob Dylan seven:27
10. "Fourth dimension Is Tight" Booker T. & the MG'southward iii:29
11. "Magic Moments" Perry Como 3:04
12. "A Drug Score – Part 2 (Adrenochrome, the Devil'southward Dance)" Tomoyasu Hotei & Ray Cooper ii:27
13. "Tammy" Debbie Reynolds iii:03
14. "A Drug Score – Part 3 (Flashbacks)" Tomoyasu Hotei & Ray Cooper two:26
15. "Expecting to Fly" Buffalo Springfield iv:17
16. "Viva Las Vegas" Dead Kennedys 3:23
Full length: 61:00

Release [edit]

Fear and Loathing in Las Vegas underwent preview exam screenings – a process that Gilliam does not savor. "I always get very tense in those (examination screenings), considering I'm ready to fight. I know the force per unit area from the studio is, 'somebody didn't similar that, modify it!'"[thirteen] The filmmaker said that it was of import to him that Thompson like the picture show and recalls the author'southward reaction at a screening, "Hunter watched it for the first time at the premiere and he was making all this fucking noise! Evidently it all came flooding back to him, he was reliving the whole trip! He was yelling out and jumping on his seat similar information technology was a roller coaster, ducking and diving, shouting 'SHIT! Look OUT! GODDAMN BATS!' That was fantastic – if he thought we'd captured it, so we must have done it!"[xiv] Thompson himself stated, "Aye, I liked information technology. It'southward not my prove, but I appreciated information technology. Depp did a hell of a job. His narration is what really held the film together, I think. If you lot hadn't had that, information technology would have just been a series of wild scenes."[28]

Fear and Loathing in Las Vegas debuted at the 1998 Cannes Film Festival[29] and Gilliam said, "I'grand curious about the reaction... If I'm going to exist disappointed, it's because it doesn't brand any waves, that people are not outraged."[thirty]

Home media [edit]

Past the fourth dimension Fear and Loathing was released as a Criterion Collection DVD in 2003, Thompson showed his approval of the Gilliam version past recording a total-length sound commentary for the film and participating in several DVD special features.[31]

On an audio commentary runway in the Benchmark edition of the DVD, Gilliam expresses great pride in the film and says it was ane of the few times where he did not have to fight extensively with the studio during the filming. Gilliam chalks this up to the fact that many of the studio executives read Thompson'south book in their youth and understood it could not exist made into a conventional Hollywood movie. However, he does express frustration with the advertising campaign used during its initial release, which he says tried to sell information technology equally wacky comedy. The film was later released by Universal Studios on Hard disk DVD and, afterward, Blu-ray; Criterion released the film on Blu-ray on 26 Apr 2011.[33]

Reception [edit]

Box role [edit]

The film opened in wide release on 22 May 1998 and grossed $iii.3 million in 1,126 theaters on its commencement weekend. The moving-picture show went on to gross $ten.half dozen million, well below its budget of $18.5 meg.[34] However, the movie reignited interest in Thompson'south novel. Vintage Press reported an initial reprint of 100,000 copies to tie in with the film's release, just demand was college than expected and forced the novel to go back to print a further five times.[35]

Critical response [edit]

Gilliam wanted to provoke strong reactions to his film as he said in an interview, "I desire information technology to exist seen as one of the great movies of all time, and i of the most hated movies of all fourth dimension."[13] Fright and Loathing in Las Vegas polarized critics; it currently has a fifty% approval rating on Rotten Tomatoes based on 70 reviews, with an average rating of 5.93/10. The site'due south critical consensus calls the film "visually creative, just besides bumming, repetitive, and devoid of grapheme development."[36] Metacritic calculated an average score of 41 out of 100 based on 19 reviews, indicating "mixed or average reviews".[37] Audiences polled past CinemaScore gave the movie an boilerplate grade of "C+" on an A+ to F scale.[38]

In The New York Times, Stephen Holden wrote, "Even the virtually precise cinematic realizations of Mr. Thompson'due south images don't begin to match the surreal ferocity of the author's language."[39] Stephen Hunter, in his review for the Washington Postal service, wrote, "It tells no story at all. Petty episodes of no particular import come and go...But the moving-picture show is too grotesque to be entered emotionally."[40] Mike Clark, of USA Today, found the film "merely unwatchable."[41] In The Guardian, Gaby Wood wrote: "After a while, though, the ups and downs don't come frequently enough even for the audition, and there's an element of the tedium usually found in someone else'southward druggy experiences."[42] Roger Ebert institute the moving-picture show disgraceful, giving information technology i star out of iv and calling it:

a horrible mess of a pic, without shape, trajectory or purpose–a one joke movie, if it had ane joke. The two characters wander witlessly by the bizarre backdrops of Las Vegas (some existent, some hallucinated, all interchangeable) while zonked out of their minds. Sense of humor depends on attitude. Across a certain bespeak, y'all don't have an mental attitude, you simply inhabit a state.[43]

Cistron Siskel's "thumbs-up" review at the time too noted the picture show successfully captured the book's themes into film, adding "What the moving picture is virtually and what the book is near is using Las Vegas equally a metaphor for – or a location for – the worst of America, the extremes of America, the money obsession, the visual vulgarity of America."[44] Michael O'Sullivan gave the film a positive review in the Washington Post. "What elevates the tale from being a mere drug chronicle is the same matter that lifted the book into the realm of literature. It's the sense that Gilliam, similar Thompson, is ever totally in command of the medium, while abandoning himself utterly to unpredictable forces beyond his control."[45] Empire mag voted the motion picture the 469th greatest film in their "500 Greatest Movies of All Time" list.[46]

Andrew Johnston, writing in Fourth dimension Out New York, observed: "Fear is actually a Rorschach examination of a film – some people will run into a godawful mess, rendered inaccessible by the stumbling handheld camera and Depp's nearly incomprehensible narration. Others will run across a freewheeling comedy, a thinking person's Cheech and Chong film. Information technology all depends on your mood, expectations and state of mind (for the record, I was stone sober and basically enjoyed myself)."[47]

Condition [edit]

The movie has been re-screened at diverse cinemas such every bit The Prince Charles Movie theatre in Leicester Foursquare, London and a special screening from original VHS tape at Swordtail Studio London in 2016.[48]

The increased attention for the film has too led some news outlets to reconsider the mixed original reception of the motion-picture show; Scott Tobias of The A.V. Lodge argued in his more than recent review of the motion-picture show that "the moving picture would accept had a greater impact had it been produced at the time, when Brewster McCloud proved that anything was possible, but short of a time motorcar, Gilliam does what he can to bring the era back to life."[49]

Awards [edit]

The movie was nominated for a variety of awards that both praised and condemned it. Terry Gilliam was nominated for the Palme d'Or at the 1998 Cannes Picture show Festival while Johnny Depp won the Best Foreign Actor laurels from the Russian Gild of Film Critics in 1998.

Even so, Depp and Del Toro were too nominated past the Stinkers Bad Moving-picture show Awards for Worst On-Screen Couple, and during the same awards Del Toro's portrayal of Dr. Gonzo was also nominated for the Worst Supporting Actor.

See likewise [edit]

  • Gonzo journalism
  • The Rum Diary
  • Where the Buffalo Roam
  • List of films featuring hallucinogens

References [edit]

  1. ^ "Fear And Loathing In Las Vegas: v Things The Film Changed From The Book (And five Things Kept The Aforementioned)". ScreenRant. twenty June 2019. Retrieved 14 September 2020.
  2. ^ West, Richard (January 1976). "Texas Monthly Reporter". Texas Monthly . Retrieved 29 Baronial 2011.
  3. ^ David Morgan (1999). "The Making of Fear and Loathing in Las Vegas". Retrieved 15 December 2006.
  4. ^ a b c d e f chiliad h i j k Ebner, Mark (January 1998). "Fear and Bleating in Las Vegas: Hunter Thompson Goes Hollywood". Premiere.
  5. ^ "Johnny Depp and Director Bruce Robinson THE RUM DIARY Interview". 26 October 2011. Retrieved ten July 2017.
  6. ^ Nathan Lee (12 May 2006). "Fear and Loathing in Las Vegas". The New York Times . Retrieved 4 Jan 2007. (registration required)
  7. ^ Laila Nabulsi. Fear and Loathing in Las Vegas sound commentary (DVD).
  8. ^ clamenza33 (21 September 2008), Terry Gilliam Interview - Fright & Loathing , retrieved 19 Feb 2017
  9. ^ a b Doss, Yvette C (5 June 1998). "The Lost Legend of the Real Dr. Gonzo". Los Angeles Times.
  10. ^ "'Melania knew what she was putting on': Benicio Del Toro on drugs, Sicario and Trump's edge war". The Guardian. 29 June 2018. Retrieved 22 November 2018.
  11. ^ Elias, Justine (June 1998). "Behind the Scenes: Terry Gilliam". Usa Weekly.
  12. ^ a b c Brinkley, Douglas (June 1998). "Johnny, Get Your Gun". George. pp. 96–100, 109–110.
  13. ^ a b c McCracken, Elizabeth (June 1998). "Depp Charge". ELLE.
  14. ^ a b c d Holden, Michael John Perry, Bill Borrows (Dec 1998). "Fear and Loathing". Loaded.
  15. ^ a b c d Gale, David (June 1998). "Cardboard Castles and Chaos". Icon. pp. 102–105.
  16. ^ clamenza 33 (21 September 2008).'Terry Gilliam Interview - Fear & Loathing'.Youtube. Real to Reel interview. Retrieved from:https://world wide web.youtube.com/sentinel?five=e4QOU8wS7jI
  17. ^ a b c Smith, Giles (25 May 1998). "State of war Games". The New Yorker. pp. 74–79.
  18. ^ Rowe, Douglas J (29 May 1998). "Terry Gilliam Can Fly Without Acrid". Associated Press.
  19. ^ Macabe, Bob (1998). "Chemical Warfare". Sight and Audio. 8: 6–8 – via Sight and Sound digital annal.
  20. ^ McCabe, Bob (December 1998). "One on One". Empire. pp. 120–123.
  21. ^ a b Willens, Michele (17 May 1998). "How Many Writers Does it Take...?". The New York Times.
  22. ^ "Dreams: Gilliam burns his WGA card - Pictures!". Smart.co.uk. Retrieved 17 February 2017.
  23. ^ Houpt, Simon (21 May 1998). "Going Gonzo with Fear and Loathing". The Globe and Mail. pp. D1–D2.
  24. ^ Brinkley, Douglas (26 July 1998). "Road to Ruin". Sunday Mail service.
  25. ^ a b c d e f g h i Pizzello, Stephen (May 1998). "Gonzo Filmmaking". American Cinematographer. pp. 30–41.
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External links [edit]

  • Fear and Loathing in Las Vegas at IMDb
  • Fear and Loathing in Las Vegas at AllMovie
  • Fear and Loathing in Las Vegas at Box Role Mojo
  • Fearfulness and Loathing in Las Vegas at Rotten Tomatoes
  • Fear and Loathing in Las Vegas at Metacritic Edit this at Wikidata
  • Fear and Loathing in Las Vegas: A Pint of Raw Ether and Three Reels of Pic an essay past J. Hoberman at the Criterion Collection
  • Wide Angle/Closeup: Fear and Loathing script analysis – Compares Gilliam/Grisoni and Cox/Davies screenplays

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Source: https://en.wikipedia.org/wiki/Fear_and_Loathing_in_Las_Vegas_(film)

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