Easy Rider: Circumstances of Production

The Berra chapter assigned for 4/7 describes in detail the production of Easy Rider, noting that some elements of the filmmaking process remain ambiguous due to competing stories from director Dennis Hopper, star Peter Fonda, and writer Terry Southern. Nevertheless, I wanted to offer an outline of the film’s circumstances of production and list stylistic features to watch for as you screen Easy Rider. You should also review the questions for Thursday’s electronic response before you view the film.

Production Timeline

Preproduction Post-Production (1967) (1968-1969) • Hopper produces •Peter Fonda Production (Feb- develops idea for various long edits Easy Rider after April 1968) of film (2.75-5 hrs) viewing MPAA exhibit • Mardi Gras scenes • Executive (and filmed prior to producer Bert drinking/smoking rest, with 16 mm Schneider forces pot) in Toronto while Hopper on promoting The Trip camera and on location in New vacation, then has •Fonda contacts editor Donn friend Dennis Hopper Orleans with and pair decides to actors Fonda, Cambern recut collaborate, with Hopper, Black and film to marketable Fonda as producer Basil length and Hopper as • Shoot unorganized • Raybert makes director and drug-fueled, distribution deal •Writer Terry with problems with Columbia Southern and developing • Easy Rider collaborates with between Hopper premieres 14 July Fonda on story and Fonda 1969 in New York treatment (later lawsuits between • Crew returns to City and earns Hopper and LA, where other $19,000,000 Southern) roles, including during first •Fonda receives Jack Nicholson's, theatrical run funding for $360,000 are cast and other • Easy Rider wins budget from Raybert scenes shot Best First Film at Productions, later Cannes in 1969 BBS (final budget and garners two variously estimated Academy Award at $375,000, nominations $400,000, $501,000, $555,000)

Elements of Style

o Narrative: How is the story told (chronologically, with flashbacks or flash-forwards, episodically)?

o Costumes/Props: How do the characters’ costumes and their primary props—motorcycles and drugs—mark their position within the film’s social world? What symbolic functions do costumes serve, particularly in combination with characters’ names?

o Cinematography: When does the camera move and what effects does such movement have? How does the use of close-up shots mirror or differ the style of Shadows and Faces?

o Lighting: What is the lighting scheme of particular scenes (high-key, low-key)? What is the implied source of light?

o Mise-en-scene: Would you characterize Easy Rider’s framing as open or closed (or a mixture of both)?