- Fear and loathing in las vegas ralph steadman movie#
- Fear and loathing in las vegas ralph steadman professional#
"The problem is there are no Nixons around at the moment," Steadman says. He shakes his head regretfully at the lack of grist for the satirical mill in the 2012 race. The illustrator also contributed to Thompson'sįear and Loathing: On the Campaign Trail, about the 1972 U.S.
In person, Steadman has twinkling eyes and a kindly manner - it seems that all his rage is channeled through his art. "Somehow, Ralph reaches the whole, kind of, creative world, on all spectrums," she says. Producer Lucy Paul says even the youngest, hottest musicians instantly signed on when they heard the film was about Steadman. "He was most certainly going to dictate the way he left."įor No Good Reason was held in an enclosed, jungle-themed courtyard - complete with a rushing stream and the occasional bird squawk issuing from unseen speakers - at London's Barbican Center.
"The way I came to terms with it was that this is a man who dictated the way he was going to live his life," Depp says in the film.
Fear and loathing in las vegas ralph steadman movie#
Depp, who was a friend of both men, starred in the movie based on Thompson'sįor No Good Reason, both Depp and Steadman try to make sense of Thompson's suicide. The actor Johnny Depp serves as a guide in the film. Still, Thompson's suicide hit Steadman hard. Thompson never met a substance - or politician - he couldn't abuse in pursuit of his brand of journalism, and his relationship with Steadman was difficult. Steadman says he could keep up with Thompson's drinking, but never had much use for the drugs. "The thing about Ralph's work - it was just the energy, the anger, the venom that was just spewed out," he says. Rolling Stone's co-founder Jann Wenner explains why he felt Steadman's art illustrated Thompson's caustic, stream-of-altered-consciousness reportage better than any photograph could. Courtesy of Itch Film Ralph Steadman displays his signature style in this 1970 drawing of a New York homeless man. Then there's the title, which was pulled from something Thompson said whenever Steadman asked why they were going on a particular errand, chase or quest: "No good reason at all, Ralph." The film's recurring telephone ring marks how most of Thompson and Steadman's collaborative jaunts began - with a call from the writer.
Fear and loathing in las vegas ralph steadman professional#
The Right 'Venom' For Professional Chemistryįor No Good Reason. "He believes that by taking it to a point of no return at the very beginning, he has nothing to lose," Paul says. It's not so much "creative destruction" as "destructive creativity." The film's director, Charlie Paul, agrees. Burroughs using Steadman's drawings for target practice. Thompson killed himself in 2005, but at 76, Steadman continues to work and his ink-splattered, anarchic drawings, paintings and caricatures continue to inspire artists and musicians on both sides of the Atlantic.įor No Good Reason, a new documentary that's been 15 years in the making, takes a close and personal look at Steadman's life, rise to prominence and irreverent approach to art.Ĭase in point: One scene in the film shows Steadman and beat writer William S. Beginning in 1970, the duo produced books, includingįear and Loathing in Las Vegas, and several articles for Thompson, a collaboration that would come to be known as "gonzo journalism," where the tale-teller becomes the tale. Steadman is known, in part, for his work with writer Hunter S. Thompson (left) and Ralph Steadman's first collaboration was on a story about the Kentucky Derby.
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