FEAR AND LOATHING IN LAS VEGAS
The Last Wrap-Up
In the end, everyone involved had their own interpretation of
the 50odd shooting days that resulted in this film adaptation
of Fear and Loathing in Las Vegas, days that occasionally
and appropriately matched Thompson's Gonzo Journalism with its
Comments Cassavetti, "Although the spirit of Fear and
Loathing is Gonzo moviemaking, the production, despite the
very moderate budget, was actually well organized. I mean, it's
not General Patton's campaign into the Ardennes, but we embarked
in the spirit of doing something fast and dangerous, and we never
suffered any major setbacks."
"Fear and Loathing is finally about the American Spirit,"
says Nabulsi. "We are adventurers and outlaws, forging new
territory all the time in a free country. There's been a lot of
clamping down on such creativity in recent years, and this movie
offers an antidote to that state of mind. I would like audiences
to have a lot of fun and a good laugh, but take away with them
a sense that we have a tradition in this country of not being
afraid to say whatever the truth is of that time or moment in
spite of what's going on."
"I think Terry is a dreamer," offers Del Toro, "and
his movies are about dreamers. He's a visionary and it was quite
amazing to see him take everything to another level. That motivates
us as actors and everybody around him to do the best they can.
I worked very hard on this film because Terry was right there
with a big stick. He's definitely the captain."
Adds Depp, "Terry came in, grabbed it, shook it around and
did it right. He's one of the best directors I've ever worked
with, one of the most inventive, pure, organic experiences that
I've had. He'll give you a piece of direction, it sparks something
in you, and boom. There's a huge explosion or flurry of creativity.
"No one has enough money to pay for the experience I've had
on this movie," concludes the actor. "To be able to
spend the amount of time I did with Hunter, and then to work with
Terry, Benicio and the incredible company of actors and crew.
Going into the project, I knew that this would be our one time-and
one time only-to make it happen right. I think the whole crew
felt that, so every day was like a kind of odd celebration."
Gilliam has his own typically unorthodox take of what he hoped
to accomplish with Fear and Loathing in Las Vegas. "My
guess is that today's audience wants this film desperately. I
think they need it. That's why I've been referring to Fear
and Loathing as a cinematic enema for the '90s-just clean
out the system."
"There's a lot of shame attached to this movie, and we're
all very sorry," concludes Gilliam with a characteristic
Cheshire Cat grin. "We want to apologize in advance for whatever
it is that we've done..."
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