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Dennis Hopper
The legendary Dennis Hopper (1936-2010) had many identities. He first broke into Hollywood as a fresh-faced young actor in the 1950s, redefined himself as a rebel director withEasy Riderin the late 1960s, and became a bad boy outcast for much of the 1970s. He returned in the 1980s with standout performances in films likeBlue VelvetandHoosiers, was one of the great blockbuster baddies of the 1990s, and ended his career as a ubiquitous actor in genre movies.
Hopper, however, was much more than just an actor and director: he was also a photographer, a painter, and an art collector--not to mention a longtime hedonist who kicked his addiction to drugs and alcohol and became a poster boy for sobriety.Dennis Hopper: Interviewscovers every decade of his career, featuring conversations from 1957 through to 2009, and not only captures him at the significant points of his tumultuous time in Hollywood but also focuses on the lesser-known aspects of the man. In this fascinating and highly entertaining volume--the first ever collection of Hopper's interviews--he talks in depth about film, photography, art, and his battles with substance abuse and, in one instance, even takes the role of interviewer as he talks with Quentin Tarantino.
eBook
In dreams : scenes from the archive
In Dreams : Scenes from the archive adds to our understanding of Dennis Hopper's personal vision as an artist by tracing the threads of Hopper's life through photography, and connecting his roles as an actor, husband, father, and photographer. In Dreams eschews Hopper's iconic stand-alone images and instead looks to distill the archive into a connected set of photographs that offer new impressions and stories. Themes emerge, visual rhymes are made, and characters come and go while the reader is invited along for the journey. Hopper's photographic output was especially concentrated in the '60s, a period in which his film career had cooled off. During these years Hopper's primary creative outlet was his photography. The Nikon camera his wife Brooke Hayward gifted him hung so prominently around his neck that friends jokingly called him `the tourist.' While In Dreams, which references Roy Orbison's song by the same name made famous in Blue Velvet, includes appearances by famous faces, they are intimately intertwined with Hopper's peripatetic life and his everyday use of the camera. Hopper was very much an insider - at ease with celebrities and artists of his day - but this new conversation with his archive shows that, like many photographers, Hopper was also distinctly an outsider. Famous himself, but also an observer: it's this unique duality that allowed Hopper to view the world in his unique way.
Book
Dennis Hopper : colors, the polaroids
After losing himself in Taos, New Mexico, for 15 years, Dennis Hopper (1936--2010) returned to Los Angeles in the mid-'80s. In 1987, on the verge of directing Colors, Hopper made use of a Polaroid camera to document gang graffiti in Los Angeles. He was particularly drawn to the abstract shapes of overlapping paint that appeared when graffiti had been covered up or written over, reminding him, he said, \"that art is everywhere in every corner that you choose to frame and not just ignore and walk by.\" The Polaroids presented for the first time in this book are proof of that observation. Hopper firmly considered himself an \"abstract expressionist and action painter by nature, and a Duchampian finger pointer by choice,\" subscribing wholeheartedly to the idea that \"the artist of the future will merely point his finger and say it's art--and it will be art.\" In turning the instantaneous, disposable nature of the medium of Polaroid film into pictures as deliberate and final as an image achieved by an artist painting on canvas, these images represent the first part of Hopper's journey back to the world of photography, picking up where he had left off so many years before. This book is in many ways a companion to Drugstore Camera (2015), also edited and designed by Michael Schmelling, which presented Hopper's personal photographs taken in Taos, New Mexico. -- Provided by publisher.
Book
Blood Lust Snicker Snicker in Wide Screen
Dennis Hopper: I heard one story, I don’t know how true it is, that you started out in a video store.
Quentin Tarantino: Yeah, uh huh. Well, it’s funny. Actually I started out as an actor. I studied acting for six years—for three years with the actor James Best, then for three years with Alan Garfield. That’s been my only formal training. I never went to film school or anything like that. And then—I was right at the point, after studying acting for years and years and years, when it comes time to actually go out and start
Book Chapter
Dennis Hopper : photographs, 1961-1967
During the 1960s, Dennis Hopper carried a camera everywhere-on film sets and locations, at parties, in diners, bars and galleries, driving on freeways and walking on political marches. He photographed movie idols, pop stars, writers, artists, girlfriends, and complete strangers. Along the way he captured some of the most intriguing moments of his generation with a keen and intuitive eye.
Dennis Hopper with Tony Shafrazi
Most people know Dennis Hopper for the indelible characters he’s invented over more than forty years. His career spans from classics likeRebel Without a Causein the mid-fifties andEasy Riderin the sixties,Apocalypse Nowin the late seventies, cult hitsBlue VelvetandRiver’s Edgein the eighties, to the nineties mega-blockbusterSpeed. Once you’ve seen him in these movies, it’s impossible to imagine anyone else playing those parts. And when you look back on many of the films that he’s directed—Easy Rider, The Last Movie, Out of the Blue, Colors—they have an uncanny way
Book Chapter
An Interview with Dennis Hopper
“My daughter, my twenty-year-old daughter, told me a couple of weeks ago: ‘Dad, if you’re never remembered for anything else, you’ll be remembered for saying ‘Man’ more times than any other actor in films.”
Dennis Hopper laughs lightly at the thought—it’s not the high snicker he and so many other young actors of the fifties perfected when they were playing Sweet Sixteen psychos or teenage killers aching to go up against Rock Hudson or Alan Ladd—but a rueful sound.
It’s hard to think of Dennis Hopper, the anti-Establishment kid, the hippie extraordinaire, the creator ofEasy Riderand
Book Chapter