Hopper
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civil rights movement, 79
Clift, Montgomery, 23, 203
cocaine
and drug rehab of Hopper, 225
and Easy Rider, 131, 190
effect of, on the sixties, 190
extent of Hopper’s drug use, 241
Hopper’s use of, 141, 187
in Peru, 143
Cocteau, Jean, 78, 110, 253, 281
Coffin, Doug, 284
Cohn, Harry, 33–34
Colombo, Todd, 170–71, 178, 182–83
Colors (1988), 244–47
Columbia
and Easy Rider (1969), 34, 178
initial meeting with Cohn, 33–34
and release of The Last Movie (1971), 184
commercialism, 260
Conner, Bruce, 163, 274, 277
Cool Hand Luke (1967), 95
Cooper, Ron, 172–73
Coppola, Francis Ford, 203, 204–5, 209
Corman, Roger
and Easy Rider (1969), 119–120
and Edgar Allan Poe films, 87
The Glory Stompers (1967), 103
and The Wild Angels (1966), 96
cowboy hat of Hopper, 152, 153–54
cowboys
early cowboy films, 277–78
of Hopper’s childhood, 11, 14, 15
and The Last Movie (1971), 138
Cox, Alex, 264–65
Coyote, Peter, 103–4, 257
creativity
Cocteau on origins of, 110, 281
Hopper’s emphasis on, 78
of Hopper’s generation, 154
role of sex, drugs, and alcohol in, 52
critics, 184
Crosby, David, 79
The Cry Baby Killer (1958), 97
Cukor, George, 95
Dalí, Salvador, 89
D’Amore, Patsy, 39
Davis, Lonnie
Davis, Nellie Bly McInteer
Davis, Sammy, Jr., 34, 56
Dean, James
acting style of, 42–45, 55–56, 62–63
and Brando, 202–3, 206, 209
death of, 45
and Desiree, 196
documentary on, 42
Fonda’s interest in, 107
and Giant (1956), 54–55, 62–63
Hopper’s connection with, 209, 237–38
Hopper’s fascination with, 42–43, 57, 107, 115
imaginary line of, 54, 64
and “James Dean Replacement Sweepstakes,” 48–49, 52
and The Last Movie (1971), 145–46
and Manz, 216
mass dedicated to, 145–46
Mora’s vision of, in Hopper’s face, 201
mother’s death, 114–15
peeing incident, 54–55
post-death contact with, 45–47
and Rebel Without a Cause (1955), 37–38, 41, 42–44, 43
The Defenders (television series), 74
Dennis Hopper, 1971 (Warhol), 274, 276
Dennis Hopper One Man Show (Conner), 274
Dern, Bruce, 105
Desiree, 196–99, 217–18, 225, 274
D. H. Lawrence Ranch, 126–27
The Diary of Anne Frank (1959), 69
Diddley, Bo, 172
Diebenkorn, Richard, 30
Diggers, 103–4, 129, 257
Dill, Laddie John, 243
directing career
Catchfire (1990), 264–65
Colors (1988), 244–47
The Hot Spot (1990), 266
Out of the Blue (1980), 214–15
and reputation of Hopper, 32
Tod’s Pashmy Dream (promotional film), 267
The Yin(g) and the Yang (unmade), 88
See also Easy Rider (1969); The Last Movie (1971)
directors and Hopper
Anspaugh, in Hoosiers, 235–37
Coppola, in Apocalypse Now, 204–5, 209
Hathaway, in From Hell to Texas, 61–65
Jaglom, in Tracks, 193, 194–95
Lynch, in Blue Velvet, 226–230
Dodge City (1939), 8–11, 9
Dodge City, Kansas, 8–11, 9, 20
Dodge City Daily Globe, 16
dog pack encounter in the Philippines, 206–7
Donahue, Troy, 75
Doublecrossed (television movie), 257
Double Mona Lisa (Warhol), 76
Dracula (1931), 165
drugs
and acting, 45
amyl nitrate, 217–18, 228–29, 235
arrest for, 121–22
and Blue Velvet (1986), 228–29, 235
and creativity, 52
Dean’s use of, 45
as depicted in Life, 15
and Desiree, 198–99, 217–18
and drug rehab of Hopper, 225, 227
and Easy Rider (1969), 111, 127–28, 131, 190
effect of, on the sixties, 190
and energy levels of Hopper, 187
extent of Hopper’s drug use, 241
in Hollywood, 77
at Human Be-In (1967), 94
and Junkie (Burroughs), 251
and The Last Movie (1971), 141, 142–43
and paranoia of Hopper, 181
in Peru, 143
religious dimension of, 101–2
and reputation of Hopper, 224–25
and Saturday Night Live cast, 224–25
and shooting incidents, 187, 198, 274
Stern’s attitude toward, 99
Stockwell’s use of, 218–19
and The Trip (1967), 96
Walker’s use of, 99
Duchamp, Marcel, 75–76, 273–74
Duck Soup (1933), 80, 281
Duffy, Victoria, 273, 282
Duke, Doris, 94–95
Duquette, Tony, 94–95
Durango, Mexico, 81–83
Dust Bowl, 8–9, 13
Dyer, Bill, 24, 28, 36–37, 274
Dylan, Bob, 155, 172, 255, 264
Dynamite Death Chair Act, 220–21, 251
Eagles, 188–89
Earp, Wyatt, 8, 277
East of Eden (1955), 38, 44, 146, 202–3
East Village cultural scene, 78–79
Easy Rider (1969), 109
Academy Award nomination for, 152, 153, 275
Catholic Church’s reaction to, 147
cemetery scenes of, 116–18
and Columbia, 34, 178
concept for, 107
Digger legend about, 104
and drug use, 111, 127–28, 131, 190
Dylan’s reaction to ending of, 155
filming in Taos, 130
Hopper’s direction of, 108–13, 117, 121, 128
and Hopper’s marriage, 130–31, 164–65
influence of, on Hollywood, 181
Jaglom’s work on, 193
jail scene in, 127–28, 198
legal battles following, 153, 252–53
location scouting for, 122–23
Mardi Gras shoot for, 108–14, 115–16, 119, 121, 132
memorabilia from, 275
message of, 155
motorcycles of, 109, 259–260, 278
and New Buffalo Commune, 124, 129
Nicholson’s work in, 127–28, 198
producers behind, 119–123
and reputation of Hopper, 7, 141–42, 246
screenplay for, 110–11, 119–120, 153, 250–51, 253, 275
sequel to (proposed), 251–52, 266
Southern on significance of, 252
success of, 131–32, 153, 162
title of, 110, 119–120
“We blew it” line, 131, 279–280, 281–83
Ebbins, Gary, 262
El Cortez Theater
documentary footage in, 166, 168
and The Last Movie editing process, 160
screenings at, 160–61, 170–71, 176
Eliot, T. S., 208–9
Elliott, Wild Bill, 15, 20
El Topo (1970), 169
emotional memory exercises, 44, 61, 68
Ernie Smith School for Movie Dogs, 95
Esquire, 141, 142, 143
Euer Weg Führt durch die Hölle (1984), 222–23
Fanning, Dennis, 244–46
Fear and Loathing in Las Vegas (Thompson), 266
Federal Bureau of Investigation (FBI), 142, 143
Ferus Gallery, 73, 74, 188
Fishburne, Laurence, 262–63
Fisher, Carrie, 225
Fishing with John (series), 267
Flynn, Errol, 10–11, 51, 193
Flynt, Larry, 252
Fonda, Henry, 98, 153–54, 277
Fonda, Jane
and The Last Movie (1971), 93, 98
in Malibu Colony, 79
and marriage of Hayward and Hopper, 70
and Selznick’s productions, 72
as subject of Hopper’s photography, 79
Fonda, Peter
acting career of, 96
and Baja real estate, 99
and the Diggers, 104
directing aspirations of, 99
and Easy Rider’s concept, 107
and Easy Rider’s filming, 114, 117–18, 130, 278, 279–280
and Easy Rider’s producers, 120–21
and Easy Rider’s screenplay, 153, 250, 253
and Easy Rider’s success, 131, 132
and Hopper’s funeral, 282–83, 284
and Hopper’s party for Warhol, 75
Hopper’s relationship with, 80, 131, 279–281, 282–83
and knife-brandishing incident, 124–25
and The Last Movie (1971), 98
legal conflicts with Hopper, 153, 252–53
in Malibu Colony, 79–80
and marriage of Hayward and Hopper, 70
music venture of, 105–6
and Pando Productions, 87–91, 119
and Rolling Stones concert, 180
and Taos, New Mexico, 130
and The Trip (1967), 105
“We blew it” line, 279–283
and The Yin(g) and the Yang (proposed), 87–91
Ford, John, 58, 98, 159–160, 277
Ford, Pat, 58
foreign films, 80
Forrest, Frederic, 202–3, 204–5, 209
Forster, E. M., 126
Found Object: Dennis Hopper (original art of Hopper), 83–84
Fowler, Leonard, 11
Frankenberger, Mary Jean, 10
From Hell to Texas (1958), 60–65
Frost, David, 131
Fuller, Sam, 144
funeral for Hopper, 282–83, 284–86
Gehry, Frank, 243, 247
Giant (1956)
premiere of, 56–57
publicity shots for, 69
Stevens as director of, 61, 63
and Taylor, 54–55
Gibson, Hoot, 10
Ginsberg, Allen, 78
The Glory Stompers (1967), 103
Gnostic Gospel, 2–3, 101–2, 162–63
Gold Star Studios, 92–93
golf, 254–56
Gomez, Little Joe, 124
Googie’s, 38–39
Gordon, Don
on artistry of Hopper, 213
and The Last Movie (1971), 214
and Out of the Blue (1980), 213–15
Gorilla Theater, 129
“Grasshopper” nickname, 103
Grateful Dead, 94
The Great Train Robbery (1903), 277–78
Grogan, Emmett, 103–4, 185
Gruskoff, Michael
on comeback of Hopper, 242
on editing of The Last Movie, 180–82, 183
on partying of Hopper, 224–25
Guardian Angels, 247
Guggenheim Museum, 259–260, 261
Gulpilil, David, 201
Gunfight at the O.K. Corral (1957), 49–50
gun-related incidents of Hopper
in Taos, 156–58, 187–88
and Warhol’s Mao, 187, 274
Halprin, Daria, 191–92
Hal Roach Studios, 28
Haring, Keith, 263
Harley-Davidson motorcycles, 131, 285
Harlow, Jean, 102
Harrington, Curtis, 68
Hartford, George Huntington, II, 89
Harvey (1950), 27
Hathaway, Henry
blackballing of Hopper, 65
and Desiree, 218
directing From Hell to Texas (1958), 60–65
directing The Sons of Katie Elder (1964), 81–82
directing True Grit (1969), 144
early career of, 277
and Hopper’s comeback, 242
and The Last Movie (1971), 144
Havilland, Olivia de, 11, 27
Hayward, Brooke
children of, 76, 131
divorce from Hopper, 130–31, 164–65
fear of Hopper, 102–3, 165
and Hopper’s violent outbursts, 130
marriage of, 69–70, 76, 102–3, 124
and photography of Hopper, 72
Hayward, Leland, 70
Hells Angels, 104
heroin, 251
Hitchcock, Billy, 89
Hitchcock, Peggy, 89
Holliday, Doc, 8
“The Hollow Men” (Eliot), 208
Hollywood
and art films, 93
blackballing of Hopper, 65, 66–67
casual atmosphere of, 77
and childhood of Hopper, 13
clashes with, 32–33, 34
and comeback of Hopper, 242
early career of Hopper in, 28–31
effect of Easy Rider on, 181
effect of The Last Movie on, 189
gamesmanship of Hopper in, 224, 242
and independent divisions of studios, 181
old guard of, 95
reputation of Hopper in, 57, 82, 236
and Sharon Tate murders, 163–64, 165
Hollywood Walk of Fame star ceremony, 274
Hoosiers (1986), 235–37, 242
Hopkins, Anthony, 242, 257
Hopper, Bertie Bell, 16
Hopper, Blackgrove, 239–240
Hopper, David, 12, 156
Hopper, Dennis Lee
birth of, 17
cancer diagnosis of, 272
as child (see childhood and youth of Hopper)
funeral for, 282–83, 284–86
parents of, 12, 16–20, 21 (see also Hopper, Jay; Hopper, Marjorie Mae Davis)
See also children of Hopper; marriages and divorces of Hopper
Hopper, Hedda (gossip columnist), 34
Hopper, Henry, 249, 273
Hopper, Jay
character of, 16–17
“death” of, 19, 20
marriage of, 17
move to California, 21
service of, in World War II, 12, 17–18, 19, 20, 21
Hopper, J. C., 16
Hopper, Marin, 76, 188, 272
Hopper, Marjorie Mae Davis
character of, 17
and “death” of husband, 19, 20
and drug rehab of Hopper, 225
genealogical pursuits of, 17, 239–240
high dive incident, 20
marriage of, 17
work at the pool, 12, 16, 18–19
Hopper, Ruthanna, 192
Hopper, Thomas, 240
Hopps, Walter, 90
Hotel Green Duchamp/Hopper collaboration piece, 76, 273–74
The Hot Spot (1990), 266
Houseman, John, 75
House of Wax (1953), 29, 30
Houston, Texas, 220–21
Hudson, Rock, 46, 76
Hugo Boss Fifth Avenue flagship store, 260
Human Be-In (1967), 94
Hunter, Tab (formerly Arthur Kelm), 34, 48
Hurkos, Peter, 163–64
Hustler magazine, 252
Huston, John, 159–160
Hutton, Lauren, 259–260
Ice T, 246
“If” (Kipling), 24, 142, 209
Ifugao tribe, 207
im
aginary line in acting, 54, 64, 83
Indiana, 235–38
“In Dreams” (Orbison), 230
Inside the Actors Studio, 64–65
Internal Revenue Service (IRS), 197
Jaglom, Henry, 193–95, 225
James, Rick, 246
jazz music, 57
Jefferson Airplane, 79
Jimmy Kimmel Live! 271
Jimmy’s Place, 6, 8
Jodorowsky, Alejandro, 169–170
Johnson, Don, 266
Jones, Brian, 79
Jones, Buck, 10
Jones, Jennifer, 71–72, 93, 98, 269
Jungle Fever (1991), 222–23
Junkie (Burroughs), 251
Kael, Pauline, 184
Kansas, 138, 226. See also childhood and youth of Hopper
Kansas City, Missouri, 240–41
Kazan, Elia, 38, 63
Kelm, Arthur (later Tab Hunter), 34, 48
Key Witness (1960), 67
Kid Blue (1973), 185
Kienholz, Ed, 76
Kilmer, Val, 284
Kimmel, Jimmy, 271
King, Martin Luther, Jr., 79
King of the Mountain (1981), 236
Kipling, Rudyard, 209
Kiss (Warhol), 165
Klein, Rick, 129, 189–190
knife-related incidents
in Manhattan, 125, 128, 249–250, 252
in Mexico, 212
Kong, Stefani, 206
Kovács, László, 144, 278, 281
Krens, Thomas, 261
Kristofferson, Kris, 154, 156, 196, 197
Lady Gay Saloon, 10
L’Age d’Or (1930), 9
La Jolla Playhouse, 25–27, 26
LaNasa, Katherine, 272–73
The Last Movie (1971)
audience for, 176, 183
budget of, 142, 145
concept of, 133–35
and conditions in Peru, 141, 144, 193–94
critical response to, 184
documentary coverage of, 166, 168
drug use during making of, 141, 142–43
editing of, 160–62, 169–173, 182–84, 267
effect on Hopper’s career, 256
ending of, 162, 173, 176–77, 178, 179
fantasy/reality overlap in, 147–48, 149, 161–62
film footage for, 150, 154, 162
film-within-a-film aspect of, 144–45
final-cut agreement for, 142, 181–82
financial backing for, 93–95
Fonda’s commitment to, 98
Gordon’s work on, 214
graveyard scene in, 137
Hopper’s comeback from, 242
Hopper’s direction of, 142, 144–45, 148, 180
and Hopper’s state of mind, 135
Jaglom’s work on, 193–94
Jimmy’s Place, 6, 8
and local priest issue, 145–47
myth around, 170
producers behind, 181
promotion of, in Mexico, 211
religious dimension of, 134–35, 146–48
remake proposal, 268
scouting locations for, 135–37
screenings of, 160–61, 169, 170–71
screenplay for, 160, 161
set of, 6, 7–8
still from, of Hopper, 274
studio’s reaction to, 174–79, 180–85