Preproduction (1967) Production (Feb- April 1968) Post-Production

Total Page：16

File Type：pdf, Size：1020Kb

Preproduction (1967) Production (Feb- April 1968) Post-Production

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)? .

Copy Link

Recommended publications

Film Analysis Easy Rider - Focus on American Dream, Hippie Life Style and Soundtrack
Film Analysis Easy Rider - Focus on American Dream, Hippie Life Style and Soundtrack - Universität Augsburg Philologisch-Historische Fakultät Lehrstuhl für Amerikanistik PS: The 60s in Retrospect – A Magical History Tour Dozent: Udo Legner Sommersemester 2013 Referenten: Lisa Öxler, Marietta Braun, Tobias Berber Datum: 10.06.2013 Easy Rider – General Information ● Is a 1969 American road movie ● Written by Peter Fonda, Dennis Hopper, and Terry Southern ● Produced by Fonda and directed by Hopper ● Tells the story of two bikers (played by Fonda and Hopper) who travel through the American Southwest and South Easy Rider – General Information ● Success of Easy Rider helped spark the New Hollywood phase of filmmaking during the early 1970s ● Film was added to the Library of Congress National Registry in 1998 ● A landmark counterculture film, and a ”touchstone for a generation“ that ”captured the national imagination“ Easy Rider – General Information ● Easy Rider explores the societal landscape, issues, and tensions in the United States during the 1960s, such as the rise and fall of the hippie movement, drug use, and communal lifestyle ● Easy Rider is famous for its use of real drugs in its portrayal of marijuana and other substances Easy Rider - Plot ● Protagonists are two hippies in the USA of the 1970s: – Wyatt (Fonda), nicknamed "Captain America" dressed in American flag- adorned leather – Billy (Hopper) dressed in Native American-style buckskin pants and shirts and a bushman hat Easy Rider - Plot ● Character's names refer to Wyatt Earp and Billy the Kid ● The former is appreciative of help and of others, while the latter is often hostile and leery of outsiders.
[Show full text]
Cycle2 Playlist
Cycle_2 213 songs, 13.5 hours, 1.14 GB Name Time Album Artist Against The Wind 5:31 Harley-Davidson Cycles: Road Songs (Di... Bob Seger & The Silver Bullet Band All Or Nothin' At All 3:24 One Step Up/Two Steps Back: The Song... Marshall Crenshaw Another One Bites The Dust 3:37 Greatest Hits Queen Aragon Mill 4:02 A Water Over Stone Bok, Muir and Trickett Baby Driver 3:18 Bridge Over Troubled Water Simon & Garfunkel Bad Whiskey 3:29 Radio Chuck Brodsky The Ballad Of Eddie Klepp 3:39 Letters In The Dirt Chuck Brodsky The Band - The Weight 4:35 Original Soundtrack (Expanded Easy Rider Band From Tv - You Can't Alway 4:25 Original TV Soundtrack House, M.D. Barbie Doll 2:47 Peace, Love & Anarchy Todd Snider Beer Can Hill 3:18 1996 Merle Haggard Best For The Best 3:58 The Animal Years Josh Ritter Bill & Annie 3:40 Letters In The Dirt Chuck Brodsky Bits And Pieces 1:58 Greatest Hits Dave Clark Five Blow 'Em Away 3:44 Radio Chuck Brodsky Bonehead Merkle 4:35 Last Of The Old Time Chuck Brodsky The Boogie Man 3:52 Spend My Time Clint Black Boys In The Back Room 3:48 Last Of The Old Time Chuck Brodsky Broken Bed 4:57 Best Of The Sugar Hill Years James McMurtry Brown Sugar 3:50 Sticky Fingers The Rolling Stones Buffy's Quality Cafe 3:17 Going to the West Bill Staines Cheap Motels 2:04 Doublewide and Live Southern Culture On The Skids Choctaw Bingo 8:35 Best Of The Sugar Hill Years James McMurtry Circle 3:00 Radio Chuck Brodsky Claire & Johnny 6:16 Color Came One Day Chuck Brodsky Cocaine 2:50 Fahrenheit 9/11: Original Soundtrack J.J.
[Show full text]
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
[Show full text]
Imperialism and Exploration in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off The Road: Imperialism And Exploration in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off The Road: Imperialism And Exploration in the American Road Movie" (2016). Pitzer Senior Theses. Paper 75. http://scholarship.claremont.edu/pitzer_theses/75 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Imperialism And Exploration In The American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “‘Imperialism’ means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; ‘colonialism’, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” –Edward Said, Culture and Imperialism (9) “I am still a little bit scared of flying, but I am definitely far more scared of all the disgusting trash in between places” -Cy Amundson, This Is Not Happening “This is gonna be exactly like Eurotrip, except it’s not gonna suck” -Kumar Patel, Harold and Kumar Escape From Guantanamo Bay Wright 2 Off The Road Abstract: This essay explores the imperialist nature of the American road movie as it is defined by the film’s era of release, specifically through the lens of how road movies abuse the lands that are travelled through.
[Show full text]
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to The
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to the CD-2 “No Direction Home”, Michael Bloomfield plays the guitar intro and a solo later and Dylan plays the opening solo (his one and only recorded electric solo?) 1. “Leopard-skin Pill-box Hat” (6.24) (take 1) slow 2. “Leopard-skin Pill-box Hat” (3.58) Bloomfield solo 3. “Leopard-skin Pill-box Hat” (3.58) Dylan & Bloomfield guitar solo 4. “Leopard-skin Pill-box Hat” (6.23) extra verse On track (2) there is very fine playing from MB and no guitar solo from Uncle Bob, but a harmonica solo. 1966 3 – LP-2 “BLONDE ON BLONDE” COLUMBIA 1966? 3 – EP “BOB DYLAN” CBS EP 6345 (Portugal) 1987? 3 – CD “BLONDE ON BLONDE” CBS CDCBS 66012 (UK) 546 1992? 3 – CD “BOB DYLAN’S GREATEST HITS 2” COLUMBIA 471243 2 (AUT) 109 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 - COLUMBIA C2K 93937 (US) 529 Alternate take 1 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 – COL 520358-2 (UK) 562 Alternate take 1 ***** Febr. 4.-11, 1966 – The Paul Butterfield Blues Band at Whiskey a Go Go, LA, CA Feb. 25, 1966 – Butterfield Blues Band -- Fillmore ***** THE CHICAGO LOOP 1966 Prod. Bob Crewe and Al Kasha 1,3,4 - Al Kasha 2 Judy Novy, vocals, percussion - Bob Slawson, vocals, rhythm guitar - Barry Goldberg, organ, piano - Carmine Riale, bass - John Siomos, drums - Michael Bloomfield, guitar 1 - John Savanno, guitar, 2-4 1. "(When She Wants Good Lovin') She Comes To Me" (2.49) 1a.
[Show full text]
National Film Registry Titles Listed by Release Date
National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
[Show full text]
EASY RIDER Stars and Stripes Teardrop Tank, Fifty Years After the ‘Pullquote, Gleaming in the Californian Sun, I Was Austin on My Imaginary “Chopper” with Him
6 *** Sunday 24 November 2019 The Sunday Telegraph USA ‘Along the Loop Road, I felt the pure joy of biking’ EASY RIDER stars and stripes teardrop tank, Fifty years after the ‘Pullquote, gleaming in the Californian sun, I was Austin on my imaginary “chopper” with him. release of the classic Technically, the movie starts in Los deck light Angeles, as our banditos head for Mardi Gras in New Orleans, 2,000 film,Chris Coplans 16pt on miles (3,200km) away. However, the 16pt. movie kick-starts 300 miles (480km) jumps on to a Harley further east in Needles, California Pullquote, where the credits roll to the driving and hits Route 66 beat of Steppenwolf ’s classic Born To Austin Be Wild. I headed to Needles on my didn’t do no drug deal, modern Harley Davidson Sportster smoke weed or drop deck light from Las Vegas, a much shorter and acid. Nor did I visit a 16pt on easier ride than from LA. Those brothel. But I did ride a pulsating opening credits were filmed Harley Davidson from 16pt’ along Route 66 between Needles and the Californian desert to Flagstaff, a rip-roaring 200-mile the bayous of southern (320km) ride to the east. I gunned my I Louisiana. When Easy Harley into action and with a twist of Rider burst onto our screens 50 years the throttle and a rumble of the 1200cc ALLSTAR/COLUMBIA ago, the super cool “Captain V-twin engine, followed in their America” Peter Fonda (Wyatt) and counterculture tyre tracks. the crazed Denis Hopper (Billy) did Route 66 climbs, winds and snakes THE BIKES all of the above and, according to its way through canyons and valleys, legend, much more.
[Show full text]
Movie in Search of America: the Rhetoric of Myth in Easy Rider
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2005 Movie in search of America: The rhetoric of myth in Easy Rider Hayley Susan Raynes Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the American Film Studies Commons, and the Rhetoric Commons Recommended Citation Raynes, Hayley Susan, "Movie in search of America: The rhetoric of myth in Easy Rider" (2005). Theses Digitization Project. 2804. https://scholarworks.lib.csusb.edu/etd-project/2804 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Hayley Susan Raynes March 2005 MOVIE IN SEARCH OF AMERICA: THE RHETORIC OF MYTH IN EASY RIDER A Thesis Presented to the Faculty of California State University, San Bernardino' by Hayley Susan Raynes March 2005 © 2005 Hayley Susan Raynes ABSTRACT Chronicling the cross-country journey of two hippies on motorcycles, Easy Rider is an historical fiction embodying the ideals, naivete, politics and hypocrisies of 1960's America. This thesis is a rhetorical analysis of Easy Rider exploring how auteurs Peter Fonda, Dennis Hopper and Terry Southern's use of road, regional and cowboy mythology creates a text that simultaneously exposes and is dominated by the ironies inherent in American culture while breathing new life into the cowboy myth and reaffirming his place as one of America's most enduring cultural icons.
[Show full text]
Nobody Had Ever Seen Themselves Portrayed in a Movie
1 “Nobody had ever seen themselves portrayed in a movie. At every love-in across the country people were smoking grass and dropping LSD, while audiences were still watching Doris Day and Rock Hudson!” -Dennis Hopper1 “So the doobs and the Heinie kicked right in and I fell into the photograph and thought, that’s it! I know what to do for my next sex, motorcycle and drugs movie!” -Peter Fonda2 Three major events in the summer of 1969 changed America; the Woodstock music festival, the Manson family murders, and Easy Rider. Woodstock captured the feeling of free love, drugs and music the youth culture espoused at the time. The Manson murders were a stark reminder of the dangerous level societal tensions had reached, and what could happen when they boil over. Easy Rider is the generation's expression of these two disparate realities colliding. The movie creates a dichotomy of freedom and violence and rides the jagged line between them. As Pauline Kael put it, the viewer of “Easy Rider may still be caught by something edgy and ominous in it – the acceptance of the constant danger of sudden violence.”3 Motorcycle movies had become popular and ‘cool’ in the mid 1950s with The Wild One and remained so for a few years before petering out. The genre had resurfaced in 1966 with The Wild Angels, also starring Peter Fonda and Hells Angels on Wheels, starring Jack Nicholson. Fonda and Dennis Hopper were in the party scene of young Hollywood and were growing tired of the formulaic ‘motorcycle pictures’ that were being rehashed.
[Show full text]
Whats Purple and Goes Buzz Buzz?: a Conversation with the Electric Prunes’ James Lowe
A Quinn Martin Production Subscribe to feed ABOUT Whats Purple and Goes Buzz Buzz?: A Conversation with The Electric Prunes’ James Lowe Sam Tweedle: The Electric Prunes are one of the great 60’s groups that sat on the fringes of SAM TWEEDLE – THE POP CULTURE ADDICT the rock n’ roll scene. Sam Tweedle is a writer and pop James Lowe: Well, I was culture addict who has been surprised that anybody knew entertaining and educating fans of about us when we came back the pop culture journey for a decade. and started playing again. His writing has been featured in The National Post, CNN.com, and Sam: Really? Why is that? Filmfax magazine. James: I think essentially THE POP CULTURE ADDICT AND because the people that we were FRIENDS! involved with made us feel that what we did, when we did it, was Visit the gallery to see more photos a failure. So I never admitted that of Sam Tweedle and his close I was in The Electric Prunes for a encounters! lot of years. [The label] expected us to be like The Beatles and sell a lot of records, but we didn’t do “I was surprised that anybody knew about us when we came that. I’m kind of surprised that we back and started playing again…. I never admitted that I was have fans. in The Electric Prunes for a lot of years.” Sam: Well I always put The Electric Prunes in the same league with some of the era’s cult favourites, like The Velvet Underground or The New Colony Six.
[Show full text]
PALERMO SHOOTING a WIM WENDERS Film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER
HanWay Films presents PALERMO SHOOTING A WIM WENDERS film Starring CAMPINO GIOVANNA MEZZOGIORNO and DENNIS HOPPER A Neue Road Movies production in coproduction with P.O.R. Sicilia – REGIONE SICILIANA, AAPIT - Provincia Regionale di Palermo ARTE France Cinéma, ZDF/ARTE in association with Pictorion Pictures, Rectangle, Reverse Angle and Deutscher Filmförderfonds, German Federal Film Board, Filmstiftung Nordrhein-Westfalen, Medienboard Berlin-Brandenburg, MEDIA Program Cast Finn Campino Flavia Giovanna Mezzogiorno Frank Dennis Hopper (in order of apperance) Carla Inga Busch Student Jana Pallaske Hans Axel Sichrovsky Gerhard Gerhard Gutberlet Manager Sebastian Blomberg Erwin Wolfgang Michael Lou Reed lui-même Banker Udo Samel Giovanni Sollima Giovanni Sollima Doctor Alessandro Dieli Crew Written, directed and Wim Wenders produced by Producer Gian-Piero Ringel Executive Producers Jeremy Thomas Peter Schwartzkopff Line Producers Marco Mehlitz Gianfranco Barbagallo Director of Photography Franz Lustig Production Designer Sebastian Soukup Editors Peter Przygodda Oli Weiss Costume Designer Sabina Maglia Original Filmscore by Irmin Schmidt Music Supervisors Milena Fessmann & Beckmann Screenplay co-written by Norman Ohler PALERMO SHOOTING is Wim Wenders most personal film for a long time. Intimate, adventurous and full of surprises. A road movie starring Campino, Giovanna Mezzogiorno and Dennis Hopper. A roman- tic thriller dealing with life and death and the ultimate salvation through love. After 12 years in which Wim Wenders made all his feature
[Show full text]
Exploring Postcolonial Themes in the American Road Movie Andy Wright Pitzer College
Claremont Colleges Scholarship @ Claremont Pitzer Senior Theses Pitzer Student Scholarship 2016 Off the Road: Exploring Postcolonial Themes in the American Road Movie Andy Wright Pitzer College Recommended Citation Wright, Andy, "Off the Road: Exploring Postcolonial Themes in the American Road Movie" (2016). Pitzer Senior Theses. Paper 67. http://scholarship.claremont.edu/pitzer_theses/67 This Open Access Senior Thesis is brought to you for free and open access by the Pitzer Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pitzer Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Wright 1 OFF THE ROAD Exploring Postcolonial Themes in the American Road Movie “Road movies are too cool to address serious socio-political issues. Instead, they express the fury and suffering at the extremities of a civilized life, and give their restless protagonists the false hope of a one-way ticket to nowhere.” –Michael Atkinson, quoted in “The Road Movie Book” (1). “This is gonna be exactly like Eurotrip, except it’s not gonna suck.” –Kumar Patel, “Harold and Kumar Escape from Guantanamo Bay” Wright 2 Off the Road: Exploring Postcolonial Themes in the American Road Movie Abstract: This essay explores the colonial nature of the American road movie, specifically through the lens of how road movies treat the South according to Stuart Hall’s concepts of identity and Edward Said’s on Othering and the colonial gaze. To accomplish this, the essay analyzes the classic 1969 road movie, “Easy Rider”, and the more contemporary parody from 2008, “Harold and Kumar Escape from Guantanamo Bay.” The thrust of this paper becomes: if a progressive parody of road movies cannot escape the trappings of colonialism “Easy Rider” displays, perhaps the road movie itself is flawed.
[Show full text]