Anne Marie here, reporting what's hot at the Turner Classic Movies Film Festival.
Opening night of TCM Film Festival was on fire--or at least we thought it was. Halfway through the first film, the fire alarm in the Chinese Theater multiplex went off, sending cinephiles scurrying for the exits. Fortunately, it seems to have been a false alarm. After a few minutes of patient waiting, fans were allowed to retake their seats so the movies could resume.
Fire alarms aside, TCM rolled out the red carpet for a brand new restoration for the 40th Anniversary of All the President's Men, courtesy of Warner Bros. Classics. Four decades after Woodward and Bernstein originally exposed the Watergate Scandal, the movie feels more prescient than ever, especially considering TCM host Ben Mankiewicz's recent revelation that his father Frank Mankiewicz was on Nixon's enemies list. Ben Mankiewicz and Alec Baldwin introduced the movie...
Opening night of TCM Film Festival was on fire--or at least we thought it was. Halfway through the first film, the fire alarm in the Chinese Theater multiplex went off, sending cinephiles scurrying for the exits. Fortunately, it seems to have been a false alarm. After a few minutes of patient waiting, fans were allowed to retake their seats so the movies could resume.
Fire alarms aside, TCM rolled out the red carpet for a brand new restoration for the 40th Anniversary of All the President's Men, courtesy of Warner Bros. Classics. Four decades after Woodward and Bernstein originally exposed the Watergate Scandal, the movie feels more prescient than ever, especially considering TCM host Ben Mankiewicz's recent revelation that his father Frank Mankiewicz was on Nixon's enemies list. Ben Mankiewicz and Alec Baldwin introduced the movie...
- 4/29/2016
- by Anne Marie
- FilmExperience
Part I.
In 1963, Film Quarterly published an essay entitled “Circles and Squares.” It addressed the French auteur theory, introduced to America by The Village Voice’s Andrew Sarris. Auteurism holds that a film’s primary creator is its director; Sarris’s “Notes on the Auteur Theory” further distinguished auteurs as filmmakers with distinct, recurring styles. Challenging him was a California-based writer named Pauline Kael.
Kael attacked Sarris’s obsession with trivial links between filmmaker’s movies, whether repeated shots or thematic preoccupations. This led critics to overpraise directors’ lesser films, as when Jacques Rivette declared Howard Hawks’ Monkey Business a masterpiece. “It is an insult to an artist to praise his bad work along with his good; it indicates that you are incapable of judging either,” Kael wrote.
She criticized auteurist preoccupation with Hawks and Alfred Hitchcock, claiming critics “work embarrassingly hard trying to give some semblance of intellectual respectability to mindless,...
In 1963, Film Quarterly published an essay entitled “Circles and Squares.” It addressed the French auteur theory, introduced to America by The Village Voice’s Andrew Sarris. Auteurism holds that a film’s primary creator is its director; Sarris’s “Notes on the Auteur Theory” further distinguished auteurs as filmmakers with distinct, recurring styles. Challenging him was a California-based writer named Pauline Kael.
Kael attacked Sarris’s obsession with trivial links between filmmaker’s movies, whether repeated shots or thematic preoccupations. This led critics to overpraise directors’ lesser films, as when Jacques Rivette declared Howard Hawks’ Monkey Business a masterpiece. “It is an insult to an artist to praise his bad work along with his good; it indicates that you are incapable of judging either,” Kael wrote.
She criticized auteurist preoccupation with Hawks and Alfred Hitchcock, claiming critics “work embarrassingly hard trying to give some semblance of intellectual respectability to mindless,...
- 5/10/2015
- by Christopher Saunders
- SoundOnSight
Frank Mankiewicz, who served as press secretary to Robert F. Kennedy during his presidential campaign and gained national fame when he had to announce the candidate's assassination, died from massive heart failure, his son Josh confirmed on Twitter. He was 90. After Kennedy died, Mankiewicz read this statement to the nation: “I have, uh, a short … I have a short announcement to read, which I will read, uh … at this time. Senator Robert Francis Kennedy died at 1:44 a.m. today, June 6, 1968. With Senator Kennedy at the time of his death were his wife Ethel, his sisters...
- 10/24/2014
- by Jason Hughes
- The Wrap
Ben Mankiewicz is a man of many talents -- weekend host on TCM (Turner Classic Movies), regular co-host of liberal YouTube show “The Young Turks” and its spin-offs “What The Flick?! Show” and “Tyt Sports,” and he played a sportscaster on “Party Down.” And while it may seem like Mankiewicz plays to a particularly older audience, as a TCM host, Mankiewicz has an expanding flock of classic film fans and they’re not all blue-hairs -- just check out the twitter hashtag #TCMParty. And by the way, yes, Ben is one of those Mankiewiczes, sharing a Hollywood lineage that includes Frank Mankiewicz, Tom Mankiewicz, Herman Mankiewicz, and Joseph L. Mankiewicz. But he's definitely carved out a notable career in the industry all on his own, and at the 2013 TCM Classic Film Festival we got to sit down with Ben Mankiewicz and discuss working at TCM, why he doesn’t like “Some Like It Hot,...
- 5/14/2013
- by Diana Drumm
- The Playlist
This month, Turner Classic Movies is putting a spotlight on politically themed films. A mere coincidence as the presidential election season reaches its peak? Not a chance.
In the TCM special "A Night at the Movies: Hollywood Goes to Washington," debuting Friday (Oct. 5), writer-producer-director Laurent Bouzereau -- whose documentaries about the making of films appear on the home-video releases of many classics, from "Lawrence of Arabia" to "Jaws" -- compiles scenes from numerous movies with political bents, from James Stewart in "Mr. Smith Goes to Washington" to Robert Redford and Dustin Hoffman in "All the President's Men."
"It's not so much to make a statement, but to really tie in with the political season, absolutely," Bouzereau confirms to Zap2it of the program's timing. "Some of the people I've interviewed say, 'Everything is political.' Costa-Gavras, the great director of movies like 'Z' and 'State of Siege,'...
In the TCM special "A Night at the Movies: Hollywood Goes to Washington," debuting Friday (Oct. 5), writer-producer-director Laurent Bouzereau -- whose documentaries about the making of films appear on the home-video releases of many classics, from "Lawrence of Arabia" to "Jaws" -- compiles scenes from numerous movies with political bents, from James Stewart in "Mr. Smith Goes to Washington" to Robert Redford and Dustin Hoffman in "All the President's Men."
"It's not so much to make a statement, but to really tie in with the political season, absolutely," Bouzereau confirms to Zap2it of the program's timing. "Some of the people I've interviewed say, 'Everything is political.' Costa-Gavras, the great director of movies like 'Z' and 'State of Siege,'...
- 10/5/2012
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Ben Mankiewicz hails from a famous film-making family, but that didn't make him a shoo-in as one of Turner Classic Movies' two hosts.
The channel's weekend-afternoon guide also appears often in short pieces between the feature attractions daily -- visiting iconic Hollywood sites or locations where legendary movies were filmed, among other activities -- and he's enjoying his steadily increasing TCM presence. By no means was he sure at the start, though, that he would land the coveted job.
"I had worked in local news, and I didn't want to anymore," Mankiewicz explains to Zap2it. "I auditioned for what seemed like a thousand shows, and I did the TCM audition and thought, 'I know I did well, but I know I won't get it, because it's the greatest thing I've ever auditioned for.' And as it turned out, I found the one place where they liked that my last name was Mankiewicz.
The channel's weekend-afternoon guide also appears often in short pieces between the feature attractions daily -- visiting iconic Hollywood sites or locations where legendary movies were filmed, among other activities -- and he's enjoying his steadily increasing TCM presence. By no means was he sure at the start, though, that he would land the coveted job.
"I had worked in local news, and I didn't want to anymore," Mankiewicz explains to Zap2it. "I auditioned for what seemed like a thousand shows, and I did the TCM audition and thought, 'I know I did well, but I know I won't get it, because it's the greatest thing I've ever auditioned for.' And as it turned out, I found the one place where they liked that my last name was Mankiewicz.
- 7/5/2012
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Des Moines, Ia -- Every Presidential election year since 1824 has produced a biography of a candidate who has set his or her sights on the White House. The 2011 election is no different. But a combination of fewer print journalists on the trail, a heavy reliance up to the minute information provided via social media, particularly Twitter, and an overall sense of disillusionment with government and politicians could perhaps signal an end to this tradition.
"The books I am selling the most of these days have to do more with government corruption and budgetary restraint," said John Heitzman on Tuesday.
Heitzman, who spoke by phone from his business, is the owner of The Book Store, a small independent book store just yards from most of the hotels that candidates, campaign staff and media members call home when they make the quadrennial pilgrimage to the state in the lead up to the first-in-the-nation Iowa caucuses.
"The books I am selling the most of these days have to do more with government corruption and budgetary restraint," said John Heitzman on Tuesday.
Heitzman, who spoke by phone from his business, is the owner of The Book Store, a small independent book store just yards from most of the hotels that candidates, campaign staff and media members call home when they make the quadrennial pilgrimage to the state in the lead up to the first-in-the-nation Iowa caucuses.
- 1/4/2012
- by Michael J. Hunt
- Aol TV.
Screened
CineVegas Film Festival, Las Vegas
Eighteen years in the making, Wayne Ewing's "Breakfast With Hunter" is an intimate verite portrait that honors its subject with fierce affection and respect.
Eschewing a talking-heads bio approach, the film assumes knowledge of Hunter S. Thompson's work but nevertheless serves as an incisive intro for the uninitiated. Among a cavalcade of luminaries, Johnny Depp, Benicio Del Toro and John Cusack make notable, decidedly non-glam appearances, clearly thrilled to be hanging out with the inventor and eminence grise of gonzo journalism.
As a friend, neighbor and colleague of Thompson, Ewing, whose television helming and DP credits include "Bill Moyers' Journal", "Frontline" and "Homicide", was afforded remarkable access.
The film- and DV-shot documentary had its world premiere June 21 as the closing-night selection of the CineVegas festival (with Thompson in attendance). It deserves further fest exposure and is a natural for docu-themed cable slots. The right distributor could parlay the writer's iconoclastic appeal into limited theatrical play for art house and college crowds.
Ewing centers on 1996-97, when Thompson was busy on three fronts: battling what he considered a political arrest in Aspen, Colo., on bogus DUI charges; making appearances at 25th anniversary celebrations of his 1971 book "Fear and Loathing in Las Vegas"; and, in the film's most compelling sequence, confronting creative obstacles to big-screen plans for that book, in the form of a profoundly misguided director and screenwriter.
During the round of 25th-anniversary tributes, those offering praise cover the political spectrum from P.J. O'Rourke to George McGovern, and Thompson's son, Juan, delivers a moving appreciation of his integrity and his place in American letters.
Reading Thompson's work to audiences, an amused Cusack, the gum-chewing, deadpan Depp and an exultant Roxanne Pulitzer present ample evidence of the author's moral clarity and the caustic humor and diamond-sharp prose with which he's raged against hypocrisy for more than three decades.
Here the soundtrack to those decades is replete with songs by Warren Zevon and the clink of ice in a tall glass of Chivas. The film's title refers to the prodigious all-nighters the director and other valiant stony warriors shared with Thompson, especially at Owl Farm, his "heavily fortified," peacock-friendly ranch near Aspen. There's a revealing glimpse of the friendship between Thompson and longtime collaborator Ralph Steadman when the artist visits the compound with an offering of rare Scotches and a startling revisionist assessment of his role in the author's work.
But the incident Ewing rightly puts center stage is the astounding meeting between Thompson and the team initially assigned to the film adaptation of "Fear and Loathing in Las Vegas" -- scripter Tod Davies and helmer Alex Cox, whose outlaw sympathies ("Sid and Nancy", "Straight to Hell") might have made him seem the right choice for the project. (They both received screenwriting credit, along with others, on the Terry Gilliam-directed 1998 film.) The would-be collaboration implodes when the duo earnestly present a ham-fisted visual concept for a key section of the book, a passage that Thompson accurately calls "one of the best things I've ever written."
Second only to Cox and Davies' mind-boggling literalness is the obduracy with which they cling to their dumb idea in the face of Thompson's reasonable objections and rising anger. Their self-destruction is fascinating to behold; later, watching tape of the incident in Thompson's Chateau Marmont suite, Del Toro can only marvel at their unwillingness to bend, or at least shut up.
The scene that unfolds recalls another memorable cinema verite moment: Donovan's humiliation at Dylan's hands in "Don't Look Back". But this exchange draws its power not from any casually sadistic streak on Thompson's part but from his clearheaded defense of his work against clueless marauders. "Breakfast With Hunter" is a convincing exploration of why that work matters.
BREAKFAST WITH HUNTER
Wayne Ewing Films Inc and Gonzo International
Credits:
Director/writer/producer/director of photograpy/editor: Wayne Ewing
Executive producer: Andrew Ewing With: Hunter S. Thompson, Johnny Depp, Benicio Del Toro, John Cusack, Ralph Steadman, Juan Thompson, Jann Wenner, George Plimpton, Alex Cox, Tod Davies, Laila Nabulsi, Warren Zevon, Roxanne Pulitzer, George McGovern, Frank Mankiewicz, Douglas Brinkley, PJ O'Rourke, Lyle Lovett, Matt Dillon
Running time -- 92 minutes
No MPAA rating...
CineVegas Film Festival, Las Vegas
Eighteen years in the making, Wayne Ewing's "Breakfast With Hunter" is an intimate verite portrait that honors its subject with fierce affection and respect.
Eschewing a talking-heads bio approach, the film assumes knowledge of Hunter S. Thompson's work but nevertheless serves as an incisive intro for the uninitiated. Among a cavalcade of luminaries, Johnny Depp, Benicio Del Toro and John Cusack make notable, decidedly non-glam appearances, clearly thrilled to be hanging out with the inventor and eminence grise of gonzo journalism.
As a friend, neighbor and colleague of Thompson, Ewing, whose television helming and DP credits include "Bill Moyers' Journal", "Frontline" and "Homicide", was afforded remarkable access.
The film- and DV-shot documentary had its world premiere June 21 as the closing-night selection of the CineVegas festival (with Thompson in attendance). It deserves further fest exposure and is a natural for docu-themed cable slots. The right distributor could parlay the writer's iconoclastic appeal into limited theatrical play for art house and college crowds.
Ewing centers on 1996-97, when Thompson was busy on three fronts: battling what he considered a political arrest in Aspen, Colo., on bogus DUI charges; making appearances at 25th anniversary celebrations of his 1971 book "Fear and Loathing in Las Vegas"; and, in the film's most compelling sequence, confronting creative obstacles to big-screen plans for that book, in the form of a profoundly misguided director and screenwriter.
During the round of 25th-anniversary tributes, those offering praise cover the political spectrum from P.J. O'Rourke to George McGovern, and Thompson's son, Juan, delivers a moving appreciation of his integrity and his place in American letters.
Reading Thompson's work to audiences, an amused Cusack, the gum-chewing, deadpan Depp and an exultant Roxanne Pulitzer present ample evidence of the author's moral clarity and the caustic humor and diamond-sharp prose with which he's raged against hypocrisy for more than three decades.
Here the soundtrack to those decades is replete with songs by Warren Zevon and the clink of ice in a tall glass of Chivas. The film's title refers to the prodigious all-nighters the director and other valiant stony warriors shared with Thompson, especially at Owl Farm, his "heavily fortified," peacock-friendly ranch near Aspen. There's a revealing glimpse of the friendship between Thompson and longtime collaborator Ralph Steadman when the artist visits the compound with an offering of rare Scotches and a startling revisionist assessment of his role in the author's work.
But the incident Ewing rightly puts center stage is the astounding meeting between Thompson and the team initially assigned to the film adaptation of "Fear and Loathing in Las Vegas" -- scripter Tod Davies and helmer Alex Cox, whose outlaw sympathies ("Sid and Nancy", "Straight to Hell") might have made him seem the right choice for the project. (They both received screenwriting credit, along with others, on the Terry Gilliam-directed 1998 film.) The would-be collaboration implodes when the duo earnestly present a ham-fisted visual concept for a key section of the book, a passage that Thompson accurately calls "one of the best things I've ever written."
Second only to Cox and Davies' mind-boggling literalness is the obduracy with which they cling to their dumb idea in the face of Thompson's reasonable objections and rising anger. Their self-destruction is fascinating to behold; later, watching tape of the incident in Thompson's Chateau Marmont suite, Del Toro can only marvel at their unwillingness to bend, or at least shut up.
The scene that unfolds recalls another memorable cinema verite moment: Donovan's humiliation at Dylan's hands in "Don't Look Back". But this exchange draws its power not from any casually sadistic streak on Thompson's part but from his clearheaded defense of his work against clueless marauders. "Breakfast With Hunter" is a convincing exploration of why that work matters.
BREAKFAST WITH HUNTER
Wayne Ewing Films Inc and Gonzo International
Credits:
Director/writer/producer/director of photograpy/editor: Wayne Ewing
Executive producer: Andrew Ewing With: Hunter S. Thompson, Johnny Depp, Benicio Del Toro, John Cusack, Ralph Steadman, Juan Thompson, Jann Wenner, George Plimpton, Alex Cox, Tod Davies, Laila Nabulsi, Warren Zevon, Roxanne Pulitzer, George McGovern, Frank Mankiewicz, Douglas Brinkley, PJ O'Rourke, Lyle Lovett, Matt Dillon
Running time -- 92 minutes
No MPAA rating...
Screened
CineVegas Film Festival, Las Vegas
Eighteen years in the making, Wayne Ewing's "Breakfast With Hunter" is an intimate verite portrait that honors its subject with fierce affection and respect.
Eschewing a talking-heads bio approach, the film assumes knowledge of Hunter S. Thompson's work but nevertheless serves as an incisive intro for the uninitiated. Among a cavalcade of luminaries, Johnny Depp, Benicio Del Toro and John Cusack make notable, decidedly non-glam appearances, clearly thrilled to be hanging out with the inventor and eminence grise of gonzo journalism.
As a friend, neighbor and colleague of Thompson, Ewing, whose television helming and DP credits include "Bill Moyers' Journal", "Frontline" and "Homicide", was afforded remarkable access.
The film- and DV-shot documentary had its world premiere June 21 as the closing-night selection of the CineVegas festival (with Thompson in attendance). It deserves further fest exposure and is a natural for docu-themed cable slots. The right distributor could parlay the writer's iconoclastic appeal into limited theatrical play for art house and college crowds.
Ewing centers on 1996-97, when Thompson was busy on three fronts: battling what he considered a political arrest in Aspen, Colo., on bogus DUI charges; making appearances at 25th anniversary celebrations of his 1971 book "Fear and Loathing in Las Vegas"; and, in the film's most compelling sequence, confronting creative obstacles to big-screen plans for that book, in the form of a profoundly misguided director and screenwriter.
During the round of 25th-anniversary tributes, those offering praise cover the political spectrum from P.J. O'Rourke to George McGovern, and Thompson's son, Juan, delivers a moving appreciation of his integrity and his place in American letters.
Reading Thompson's work to audiences, an amused Cusack, the gum-chewing, deadpan Depp and an exultant Roxanne Pulitzer present ample evidence of the author's moral clarity and the caustic humor and diamond-sharp prose with which he's raged against hypocrisy for more than three decades.
Here the soundtrack to those decades is replete with songs by Warren Zevon and the clink of ice in a tall glass of Chivas. The film's title refers to the prodigious all-nighters the director and other valiant stony warriors shared with Thompson, especially at Owl Farm, his "heavily fortified," peacock-friendly ranch near Aspen. There's a revealing glimpse of the friendship between Thompson and longtime collaborator Ralph Steadman when the artist visits the compound with an offering of rare Scotches and a startling revisionist assessment of his role in the author's work.
But the incident Ewing rightly puts center stage is the astounding meeting between Thompson and the team initially assigned to the film adaptation of "Fear and Loathing in Las Vegas" -- scripter Tod Davies and helmer Alex Cox, whose outlaw sympathies ("Sid and Nancy", "Straight to Hell") might have made him seem the right choice for the project. (They both received screenwriting credit, along with others, on the Terry Gilliam-directed 1998 film.) The would-be collaboration implodes when the duo earnestly present a ham-fisted visual concept for a key section of the book, a passage that Thompson accurately calls "one of the best things I've ever written."
Second only to Cox and Davies' mind-boggling literalness is the obduracy with which they cling to their dumb idea in the face of Thompson's reasonable objections and rising anger. Their self-destruction is fascinating to behold; later, watching tape of the incident in Thompson's Chateau Marmont suite, Del Toro can only marvel at their unwillingness to bend, or at least shut up.
The scene that unfolds recalls another memorable cinema verite moment: Donovan's humiliation at Dylan's hands in "Don't Look Back". But this exchange draws its power not from any casually sadistic streak on Thompson's part but from his clearheaded defense of his work against clueless marauders. "Breakfast With Hunter" is a convincing exploration of why that work matters.
BREAKFAST WITH HUNTER
Wayne Ewing Films Inc and Gonzo International
Credits:
Director/writer/producer/director of photograpy/editor: Wayne Ewing
Executive producer: Andrew Ewing With: Hunter S. Thompson, Johnny Depp, Benicio Del Toro, John Cusack, Ralph Steadman, Juan Thompson, Jann Wenner, George Plimpton, Alex Cox, Tod Davies, Laila Nabulsi, Warren Zevon, Roxanne Pulitzer, George McGovern, Frank Mankiewicz, Douglas Brinkley, PJ O'Rourke, Lyle Lovett, Matt Dillon
Running time -- 92 minutes
No MPAA rating...
CineVegas Film Festival, Las Vegas
Eighteen years in the making, Wayne Ewing's "Breakfast With Hunter" is an intimate verite portrait that honors its subject with fierce affection and respect.
Eschewing a talking-heads bio approach, the film assumes knowledge of Hunter S. Thompson's work but nevertheless serves as an incisive intro for the uninitiated. Among a cavalcade of luminaries, Johnny Depp, Benicio Del Toro and John Cusack make notable, decidedly non-glam appearances, clearly thrilled to be hanging out with the inventor and eminence grise of gonzo journalism.
As a friend, neighbor and colleague of Thompson, Ewing, whose television helming and DP credits include "Bill Moyers' Journal", "Frontline" and "Homicide", was afforded remarkable access.
The film- and DV-shot documentary had its world premiere June 21 as the closing-night selection of the CineVegas festival (with Thompson in attendance). It deserves further fest exposure and is a natural for docu-themed cable slots. The right distributor could parlay the writer's iconoclastic appeal into limited theatrical play for art house and college crowds.
Ewing centers on 1996-97, when Thompson was busy on three fronts: battling what he considered a political arrest in Aspen, Colo., on bogus DUI charges; making appearances at 25th anniversary celebrations of his 1971 book "Fear and Loathing in Las Vegas"; and, in the film's most compelling sequence, confronting creative obstacles to big-screen plans for that book, in the form of a profoundly misguided director and screenwriter.
During the round of 25th-anniversary tributes, those offering praise cover the political spectrum from P.J. O'Rourke to George McGovern, and Thompson's son, Juan, delivers a moving appreciation of his integrity and his place in American letters.
Reading Thompson's work to audiences, an amused Cusack, the gum-chewing, deadpan Depp and an exultant Roxanne Pulitzer present ample evidence of the author's moral clarity and the caustic humor and diamond-sharp prose with which he's raged against hypocrisy for more than three decades.
Here the soundtrack to those decades is replete with songs by Warren Zevon and the clink of ice in a tall glass of Chivas. The film's title refers to the prodigious all-nighters the director and other valiant stony warriors shared with Thompson, especially at Owl Farm, his "heavily fortified," peacock-friendly ranch near Aspen. There's a revealing glimpse of the friendship between Thompson and longtime collaborator Ralph Steadman when the artist visits the compound with an offering of rare Scotches and a startling revisionist assessment of his role in the author's work.
But the incident Ewing rightly puts center stage is the astounding meeting between Thompson and the team initially assigned to the film adaptation of "Fear and Loathing in Las Vegas" -- scripter Tod Davies and helmer Alex Cox, whose outlaw sympathies ("Sid and Nancy", "Straight to Hell") might have made him seem the right choice for the project. (They both received screenwriting credit, along with others, on the Terry Gilliam-directed 1998 film.) The would-be collaboration implodes when the duo earnestly present a ham-fisted visual concept for a key section of the book, a passage that Thompson accurately calls "one of the best things I've ever written."
Second only to Cox and Davies' mind-boggling literalness is the obduracy with which they cling to their dumb idea in the face of Thompson's reasonable objections and rising anger. Their self-destruction is fascinating to behold; later, watching tape of the incident in Thompson's Chateau Marmont suite, Del Toro can only marvel at their unwillingness to bend, or at least shut up.
The scene that unfolds recalls another memorable cinema verite moment: Donovan's humiliation at Dylan's hands in "Don't Look Back". But this exchange draws its power not from any casually sadistic streak on Thompson's part but from his clearheaded defense of his work against clueless marauders. "Breakfast With Hunter" is a convincing exploration of why that work matters.
BREAKFAST WITH HUNTER
Wayne Ewing Films Inc and Gonzo International
Credits:
Director/writer/producer/director of photograpy/editor: Wayne Ewing
Executive producer: Andrew Ewing With: Hunter S. Thompson, Johnny Depp, Benicio Del Toro, John Cusack, Ralph Steadman, Juan Thompson, Jann Wenner, George Plimpton, Alex Cox, Tod Davies, Laila Nabulsi, Warren Zevon, Roxanne Pulitzer, George McGovern, Frank Mankiewicz, Douglas Brinkley, PJ O'Rourke, Lyle Lovett, Matt Dillon
Running time -- 92 minutes
No MPAA rating...
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