The platform included promoting the decriminalization of drugs for personal use only, not trafficking, as he disapproved of profiteeringtearing up the streets and turning them into grassy pedestrian mallsbanning any building so tall as to obscure the view of the mountains, disarming all police forces, and renaming Aspen "Fat City" to deter investors. Thompson Candidate for Sheriff.
Thompson's Fear and Loathing in Las Vegas. Terry Gilliam who had replaced the film's original director Alex Cox had adapted the book with co-screenwriter Tony Grisoni, disregarding the version of the script by Cox and Tod Davies that was originally going to go before the cameras. When the WGA announced that Cox and Davies were to receive sole screen credit, Gilliam protested that his and Grisoni's work had not been validated, and made a rather public demonstration of his antipathy for the credit arbitration process.
This information was provided to Gilliam at his request during his arbitration process. Structural Choices Which story elements of the source material basic plot, characters and dialogue were chosen to be included in the screenplay, and which ignored?
Adaptation How were selected elements changed to suit the demands of film? This would include translating prose to dialogue or voice-over, or giving a book character's lines to a different character in the script; combining scenes and characters to compress time; or altering the order of scenes to change the timeline of the book's plot.
There were surprising differences between the two scripts as to how the book's disjointed, mostly interior viewpoint was dramatically depicted. Original New material scenes, locations, characters, dialogue created by the screenwriters.
Both teams of writers created new material, for different purposes; how much of the first team's new material was used by the second, and to what end? There was much greater divergence when ancillary characters or sub-plots were involved. The following scenes from the book were used in the Cox script and not in Gilliam's: The cocaine blowing away from Gonzo on the highway "Battle Hymn of Lt.
Both adaptors translated the book's newspaper accounts of tragedies and war reports into background radio as a dramatic device, although each script selected different news reports. What is of greater distinction is how emphasis was different within the same scenes.
Under this first criteria I would say that there was little in common between the two scripts that would not have been found by comparing any other two or more screenwriters' adaptations of this same book.
The non-linearity of the book which incorporated flashbacks and recalled memories of Duke, "recorded" events, news reports and "found" transcripts of conversations was a primary factor to be judged- there was also a shifting of events from within the book's "true" chronological timeline in order to facilitate a preferred dramatic order, or to suit one adaptor's vision of a character.
The Cox script was much more interested in presenting a straight time-line to the story whereas no such linearity existed in the book. In this regard the Gilliam version is a more honest retelling of the book.
There were changes made by Cox which were not carried over into the Gilliam script; these include: Reporter's phoned-in story on road race was moved before Debbie Reynolds stage show Flashback of Gonzo's encounter with blonde reporter in elevator changed to a real-time account After Gonzo's "White Rabbit" episode, Duke decides to flee it was Gonzo who left Vegas in the book Duke's talk with Gonzo re: Lucy takes place on their hotel suite patio, not in the hotel corridor towards the elevator as in the book Duke's fantasy of mimeographed bulletin board notice about drug fiends changed to a slide show Duke and Gonzo describe L.
Of changes from the book made by Gilliam which did not appear in Cox there were the following: We see the bloody carnage of the killed pedestrian mentioned offhandedly in book and virtually ignored by Cox Dialogue with divorced guy at Gun Club shifted to after start of race We see "Bazooka" carnival barker scenes, described by Duke in the book, acted out When Gonzo leaves hotel and goes to the airport following White Rabbit episode, he does it without Duke's prior knowledge and assistance therefore, the race to the airport by driving across runway marks Gonzo leaving Vegas a second time ; this leaves Duke alone.
His desire to get away is now not a desire to escape a threatening Gonzo but a fear of being left alone with a huge room service bill Phone message to Duke from Lucy and chat with desk clerk moved later Some of Duke's encounters were recreated as "found" memories via a tape recorder Gonzo vomited while boarding the plane Both adaptors' changes shifted the focus of characters 'in their respective scripts, revealing how different the emphasis was in each script's story.
In Cox, Duke was a central victim in a swirling vortex of insane, bizarre and often threatening scenes. His experiences, even his own drug episodes, were to be depicted from an omniscient objective outside P.
His voice-over served as ironic counterpoint to events that the audience saw for themselves. In Gilliam, the audience's P. His interior monologues voice-over was less a visceral or ironic reaction to events and more an exploration of what these events meant in a changing society.
Of changes in book elements made by Cox which were incorporated in the Gilliam script, there were six: Duke missed the check-in of the bikes for the Mintso Lacerda the enthusiastic photographer fills Duke and Gonzo in on events When Duke receives the telegram from the bellhop re:Raoul Duke is with one exception a passive observer in Gonzo's behavior and at the restaurant scene when Gonzo threatens the waitress I just lost all respect for the character (Duke) and by extension the source material of Hunter S.
Thompson. Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is a novel by Hunter S. Thompson, illustrated by Ralph urbanagricultureinitiative.com book is a roman à clef, rooted in autobiographical urbanagricultureinitiative.com story follows its protagonist, Raoul Duke, and his attorney, Dr.
Gonzo, as they descend on Las Vegas to chase the American Dream through a drug-induced haze, all the while.
Fear and Loathing in Las Vegas is a American dark comedy road film adapted from Hunter S. Thompson's novel of the same name. It was co-written and directed by Terry Gilliam, starring Johnny Depp as Raoul Duke and Benicio del Toro as Dr.
Gonzo. Terry Gilliam's adaptation of Hunter S. Thompson's Fear and Loathing in Las Vegas is a fascinating look at the end of the counterculture hippie movement, Gonzo journalism, and even at Las Vegas itself.
The main characters, Raoul Duke and Dr. Gonzo definitely put the "sin" in Sin City, and the Gonzo journalist thing to do would be to experience .
With consistently quotable dialog, excruciating moments of depravity, and some of the most outrageous production design in any film, Fear and Loathing in Las Vegas is an unlikely cult classic, and in its own delirious fashion a possible definitive work from the director alongside Brazil.
In early the Writers Guild of America deliberated upon the official credits which would be featured on the film adaptation of Hunter S.
Thompson's Fear and Loathing in Las Vegas. Terry Gilliam (who had replaced the film's original director Alex Cox) had adapted the book with co-screenwriter Tony Grisoni, disregarding the version of the.