Fear and Loathing in Las Vegas (Harper Perennial Modern Classics)

Product Information

He walked around the desk and sat down in his chair, propping his feet up on the middle drawer. I half-expected him to ask me why a girl had been arrested in my hotel room, but it was clear from the look on his face that his mind had already moved on to whatever might come next. McGovern is a very private person – which might be part of the reason why not even his friends call him “George”– and you get the feeling, after being around him for a while, that he becomes uncomfortable when people start getting personal. HST: He disagreed with both McGovern and Mankiewicz, and tended to agree more with Gary Hart. There is a definite split in the McGovern camp over the explanation for the loss. Another possible influence is Fear and Trembling, a philosophical work by existentialist Søren Kierkegaard published in 1843. The title is a reference to a line from a Bible verse, Philippians 2:12. HST: Every hotel in the country, it looked like. And I think on the last day of the campaign, one of the CBS cameramen put them all in a huge bag. He was going to take them to one mailbox in Washington and dump them all in there… Then they were going to film the behavior of the postman when he opened the box and found 5000 hotel keys… it must have weighed 200 pounds… that was the kind of twisted humor that prevailed on the Zoo Plane. Rivera, Joshua (November 8, 2015). "How Do You Channel the Fear and Loathing of Hunter S. Thompson's Craziest Road Trip Into a Comic?". GQ.

Ebert, Roger (May 22, 1998). "Fear and Loathing in Las Vegas". RogerEbert.com . Retrieved February 18, 2017.Stubbs, Philip. "The conflict over Fear and Loathing's script credit". gilliamdreams.com . Retrieved February 17, 2017. The film 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 Film Festival [30] while Johnny Depp won the Best Foreign Actor award from the Russian Guild of Film Critics in 1998. The film has been re-screened at various cinemas such as The Prince Charles Cinema in Leicester Square, London, and a special screening from original VHS tape at Swordtail Studio London in 2016. [49]

When the film approached release, Gilliam learned that the Writers Guild of America (WGA) would not allow 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, "But there have been at least five previous attempts at adapting the book, and they all come from the book. They all use the same scenes." [20] Gilliam remarked in an interview, "The end result was we didn't exist. As a director, I was automatically deemed a 'production executive' by the guild and, by definition, discriminated against. But 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 book are in the film – as well as their attitude of wide-eyed anarchy." [21] According to the audio commentary by Gilliam on the Criterion Collection DVD, during the period where it 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 changed in early May 1998 after the WGA revised its decision and gave credit to Gilliam and Grisoni first 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 ] In the rear was a bar and a sort of mini press room where there were about five typewriters, a few phones – you could call from the plane to headquarters in Washington – you could call anywhere from the plane. But the atmosphere on the Dakota Queen was very… ah… very… reserved is the word. I hit the brakes and aimed the Great Red Shark toward the shoulder of the highway. No point mentioning those bats, I thought. The poor bastard will see them soon enough.”

Journalism

And no, Fear and Loathing isn’t the first plotless novel or the first to feature the author as main character. It’s not the first to have a road trip or hallucinations feature prominently - I don’t mean it’s original in that sense. But there had never been a voice like Thompson’s before in literature - he’s the only reason this book is so much fun and so famous - and he would set a style that would be oft imitated for decades to come. McGovern: I’m not sure how much different we really were. I think we were pretty much hitting the same issues. What did you perceive as the difference? Maybe I can answer your question better if I …