He’s a man who cannot stop thinking about sex, talking about sex, and having sex on camera, most explicitly in a threesome with two women in a bathtub, and in some weird group-massage scenario with a softball team’s worth of naked and nearly naked beauties. He’s a heavily bearded, cowboy-hat-wearing outlaw who is half guru, half artist, and 100 percent debauched libertine. The Hopper that emerges in front of Carson and co-director Lawrence Schiller’s camera is an untamed, rampaging id without a filter or even the faintest hint of self-consciousness-the artist as a drugged-up, sex-crazed, liquor-swilling maniac. But one of the film’s many unfathomable perversities is that it probably contains about 10 times as much footage of Hopper talking about his sexual fantasies, acting out his sexual fantasies, pontificating about the nature of sexuality, and jabbering on and on about being a cunnilingus-obsessed male lesbian as it does Hopper actually working on or talking about The Last Movie.ĭespite the deeply personal nature of The Last Movie (and projects don’t get much more personal, for better or worse, than The Last Movie, whose colossal failure led Hopper to flee Hollywood for close to a decade), it appears that the film was damn near the last thing on Hopper’s mind when The American Dream was being filmed. 1971’s The American Dreamer is ostensibly about Dennis Hopper making The Last Movie, his long-gestating and ill-fated dream project. Jason-style crossover sequel The Third Chainsaw Massacre In Paris, Texas), mentoring the Wilson brothers and Wes Anderson, and co-producing Bottle Rocket.īut Carson only co-directed a single film, one that’s largely gone unseen, despite its monomaniacal focus on one of the most magnetic and infuriating figures of the New Hollywood of the late 1960s and early 1970s. Kit Carson, who died on Monday at 73, had a fascinatingly eclectic career that included starring in the seminal faux-documentary David Holzman’ s Diary, writing a Breathless remake starring Richard Gere, penning the screenplay for both Texas Chainsaw Massacre 2 and Paris, Texas (as well as the little-loved Freddy Vs. Schiller on it.Scenes From The Departed is an ongoing feature that revisits a film from the career of the recently deceased to explore what it says about the artist’s life and work. We’re incredibly proud of the project and couldn’t be more honored to work with Mr. Our dear friend and artisan printer Dan Black assumed those duties for us. We decided to create a four color process screen print to pay homage to the analog nature of the film and posters of the era. Schiller graciously collaborated with us in turning one of his photos into the poster for the film. It’s a moment you imagine Dennis would want to bask in if he could. There’s an optimism and naiveté in that image I just love. One photo in particular stood out: Dennis sitting in the middle of a group of devotees smiling toward the viewer. When I saw these wonderful photos I realized there was nothing we’d be able to illustrate that would capture the essence of this film in the same way. Lawrence Schiller, the film’s director and acclaimed photojournalist, sent a collection of photographs he’d taken during production back in 1971. It’s a candid and endearing portrait of Dennis Hopper’s maniacal creative process. I’ve seen the film several times and absolutely love it. For the film’s theatrical screenings at the Alamo Drafthouse in San Francisco and Austin, Mondo creative director Jay Shaw designed a new poster for the film: When we were asked to create a poster for The American Dreamer I was instantly overwhelmed.
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