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PHONING IT IN: An Evening With Dennis Hopper
Mar 16, 2007 | 4:48 AM
PST An
epidemic of "Why bother?" has broken out all over The Lot.
I've seen posts on the discussion boards that ask "Is this thing on?"
(Hi LisaMurray.) Meanwhile, some of our best bloggers (JessicaMarie,
thecatbywas) have been frankly phoning it in. We've seen
2 line blogs, a 5 word blog, a 3 word blog... Well, I've got the lot
of 'em beat. I
couldn't be arsed writing a single new word any more, let alone an
actual essay. Why take the trouble when I can just recycle an
old one? I don't even need to re-read it. Cut.
Paste. Done. Yell
out if you need anything. I'll be over in the next room, smokin' a joint... An Evening With Dennis Hopper Reported
by David Williams, November 2002 Fame
is deceptive. We look from the outside, and say "God, I'd love to be like
that." From inside, it's often quite different. In November 2002, Popcorn
Taxi, the people who bring Sydney's independent filmmaking community together,
introduced us to one of America's most famous maverick actor-directors: Dennis
Hopper. Here in Australia to play Frank Sinatra in a new biopic,
Hopper was quick to remind us he'd actually been here before. Thirty years ago,
work brought him down to perform in the film Mad Dog Morgan. His memories
consisted of drinking a lot of rum ("150 proof: whew!"), of liking
his co-star Jack Thompson, and becoming a bit of a partying hard-drinking
mentor to David Gulpilil. Thompson actually took Hopper aside before filming
commenced, warning him not to make fun of a national icon. (For those who don't
know, Mad Dog Morgan was one of our most famous bushranger outlaws.) The legendary substance abuse which both dogged his career and
established his wild reputation is now in the past: Dennis Hopper announced
that he's been clean of alcohol and hard narcotics for 20 years now. But the
memory's not gone, and when somebody asked if he still preferred some nonsense
word over some other nonsense word, Hopper enlightened us, saying with a smirk,
"I believe she's referring to 2 types of acid." We'd been asked to ask questions about Dennis's work as
director instead of his roles as an actor, but how could we not see the
middle-aged hippie from Flashback? Frank Booth from Blue Velvet? The
boiling-eyed Vietnam journalist out of Apocalypse Now? Sure, tonight he was
dressed in a suit and as old as our dads, but those crazy hand gestures, the
loose hippie phrasing, were all still the same, so we started to ask about all
of that acting. He didn't mind one little bit. At the age of 18, he went into the studio system with a
contract to Warner's, so really "grew up in the movies." He had some
luck early, with good roles in movies like Rebel Without A Cause, but in those
days, just 2% of actors ended up with careers lasting out beyond 3 years. After
their contracts had ended, they could still get the best tables in restaurants,
but paying would be another matter... His biggest disappointment was missing
out on Splendor In The Grass with Elia Kazan directing: the part went to Warren
Beatty instead, and it's something that Beatty still ribs him
about. After Giant, he studied with Lee Strasberg in New York for 5
years. This training said "be in the moment- react to the moment-to-moment
reality". Usually he doesn't even think about it: he works on the basis of
body memory, sense memory, likening acting to "playing the
instrument": something you turn on and turn off in front of a camera or
audience. "Be relaxed, clear your mind, find your tension areas..."
This is the method he's followed for 40 years. Playing Sinatra, however, defies
it, because he is having to perform a real figure to pre-existing songs, and it's
forced him to do lots of research. "The thing about Frank," he
continues, then stops with an "oops", since he wasn't supposed to
discuss that tonight, although clearly he'd like to. We laugh, and begin on
another Frank, this time the one from Blue Velvet. "I read that script and knew Frank Booth," smiles
Hopper." I know people like that! He's a BLEEP monster, man, but I just
knew him." The key to playing a villain is to not think like a villain.
"Villains think they're OK. You're BLEEPed up!" Script-wise,
Dennis says his only contribution to the character was the trademark gas he
snorts. David Lynch had written it as helium. But Dennis couldn't act through
that funny high helium voice, and suggested he use nitric oxide/amyl nitrate
instead (because it BLEEPs you up, disorientates and makes you crazy for a
moment). To which David Lynch said "What's that?" It's weird
that Lynch is such a boyscout, such an all-American cheerleader, that he'll end
a take by saying "Peachy keen!" or "Solid gold!"... and yet
his mind creates this sick world! "Whoa- where am I?" Dennis thinks.
Nevertheless, "it's a very rich experience when you work with someone who
wrote the script they're directing." Dennis did feel Blue Velvet and Apocalypse Now and Rebel
Without A Cause would be successful while they were being made. And while he
has given a few bad performances, due to trying too hard or to limited
material, he wouldn't claim to have been thwarted creatively in any of his
roles. "I took over my creative life a long time ago. That's why I haven't
progressed so far. I don't think I've ever had a great part. I'm working on
independent films almost all the time." In the past decade, Waterworld and Speed were his only 2
studio pictures. Jan De Bont, as an ex-cinematographer, directed the latter
from right behind the camera. Of his role as the bomber of the bus, which was
so comic-book it could hardly have needed those Strasberg techniques, Dennis
quips "I wish I had a loftier reason, Jack, but I did it for the
money." What excites Dennis Hopper about acting or directing a
particular script? Simple answer: "An offer!" However, he seldom gets
offers to direct. "The opportunities to act and direct in film have been
so limited... It's very difficult to get financing, I find, to direct films...
and I've had some powerful enemies in high places." Nevertheless, he has
managed to pull it together on several occasions. He reckons his filmmaking aesthetic is probably "cheap
novels", and likes to use guns, gangsters, criminals and nymphomaniacs for
telling his stories: "the fringe area of society is usually more
interesting than the upper area." He saw this America back in his youth,
going from Dodge City, Kansas, where he was raised on a farm, to Kansas City to
San Diego and finally L.A, where he got into movies. Dennis's favourite directors are all European, and Luis Bunuel
tops the list. He especially loves Bunuel's funky films, made down in Mexico,
such as "El Bruto". Others who've influenced him include Satyajit
Ray, Bergman and Truffaut, but not Godard: "I don't like his movies,
though I do find his theories interesting." Easy Rider, the Summer-of-'69 road movie that made Hopper's
name, is the closest to his heart. It was shot in just four and a half weeks,
and they crossed the country doing it. As an artist, and especially when
directing, it all starts visually for him. He will see a place and say
"Hey! Such-n-such would look great here!" So when in Flagstaff,
Arizona, he saw a statue of a big guy with an axe, he decided this is where
he'd film the opening credits to this film about two bikers who get blown away
by rednecks. Then there came a year of editing, and this is when he chose the
songs that helped to pull it all together. He still loves 'em, and can sing 'em
word for word. Asked would he be embarrassed to talk about The Last Movie
(his follow-up to Easy Rider, which was accused of making no sense and costing
a fortune), he said "I love The Last Movie! The Last Movie gets better and
better with each passing year. It may never be distributed, never be shown, but
I'm very proud of it." The Last Movie wasn't distributed, despite winning the main
award at the Venice Film Festival. (Later asked what the best and worst moments
of his life were, he laughs, and names these two events: The Last Movie's
award, followed by no distribution.) 10 years passed until "Out Of The
Blue", which was being done in Canada: Dennis went up there to act as the
dad in a dysfunctional family, but spent 2 weeks waiting to work. The director
didn't know what he was doing. His friend Paul was working on it as Producer-
and finally, when it was obvious there was no useable footage, Dennis was given
the chance, in 4 weeks, to pick up the pieces and finish it, which he did. "I kinda improvised my way to a new movie and script,
though within a structure. You've gotta know where it's going and who's in the
scene, then do disciplined improv within that." How is acting and
directing at the same time? "For me it's much easier" because he can
incorporate ideas instantly, without having to go through other actors. Out Of The Blue (1980) was entered in the Cannes Film
Festival, but never released or distributed. Canada refused to claim the film,
so it was entered as coming from the nation of Dennis Hopper. Then, in November
2002, it was shown again, here at the Valhalla Cinema, to us. Gritty and funny
and kind of repellent by turn, it was certainly, as its director remarked,
"A tough movie." Obviously getting a kick out of seeing it shown,
Dennis thanked us: "I came in and watched it myself... that projector
you've got set up, seeing it all on the big screen... that's really
cool!" Asked how you'd get a script to him, he said "Same as
with anyone else. Send it to an agency. Mine is I.C.M. That's as complicated as
it is, man." These days he's living in Venice in L.A (down by Santa
Monica) and has this cool idea of showing the society he sees every day through
the eyes of a Mexican hot dog vendor and his love for a girl flower-seller,
plus some other plot twists he'll bring in. He's been thinking about this for
10 years. He's had some lean times- "up to 10 years at a time,
which is crazy"- when he wanted to create but was blocked from doing so.
He did some other stuff (paintings, photography) when he couldn't make films,
and that was exhibited recently. Nevertheless, "making film combines all
the arts that I'm aware of." In spite of the down times, there's no
bitterness: "I've had a wonderful life and career... I've been lucky to be
able to have a career as an artist of sorts." Overall, we had just met a humbler man with a lower opinion of
his life's work than you'd ever expect from a Hollywood star. He thinks of
himself as an independent artist who's had limited success (which I guess is
the reason he seemed so gracious and grateful for our attention): an
independent filmmaker, who has only occasionally worked in the Hollywood
mainstream. Yet we all know his name. Fame is fickle like that. But hey, don't
sweat it, man. It's cool... Member Comments: 18 Delete
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