Wikipedia

Fear and Loathing in Las Vegas(film)

Fear and Loathing in Las Vegasis a 1998 Americanblack comedyadventure filmbased onHunter S. Thompson'snovel of the same name.It was co-written and directed byTerry Gilliamand starsJohnny DeppandBenicio del ToroasRaoul DukeandDr. Gonzo,respectively. The film details the duo's journey through Las Vegas as their initial journalistic intentions devolve into an exploration of the city under the influence of psychoactive substances.

Fear and Loathing in Las Vegas
Theatrical release poster
Directed byTerry Gilliam
Screenplay by
Based onFear and Loathing in Las Vegas
byHunter S. Thompson
Produced by
  • Laila Nabulsi
  • Patrick Cassavetti
  • Stephen Nemeth
Starring
CinematographyNicola Pecorini
Edited byLesley Walker
Music byRay Cooper
Production
companies
Distributed by
Release date
  • May 22, 1998(1998-05-22)
Running time
118 minutes
CountryUnited States
LanguageEnglish
Budget$18.5 million[2]
Box office$13.7 million[2]

Fear and Loathing in Las Vegaswas released on May 22, 1998, byUniversal Pictures.The film received mixed reviews from critics and was afinancial failure.

Plot

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In 1971,Raoul DukeandDr. Gonzospeed across theMojave Desert.Duke, under the influence ofmescaline,complains of a swarm of giant bats, and inventories their drug stash. They pick up a young hitchhiker and explain their mission: Duke has been assigned by a magazine to cover theMint 400motorcycle race inLas Vegas.They bought excessive drugs for the trip, and rented a redChevrolet Impalaconvertible. The hitchhiker flees on foot at their behavior. Trying to reach Vegas before the hitchhiker can go to the police, Gonzo gives Duke part of a sheet of "Sunshine Acid" (ultra-purifiedLSD), then informs him that there is little chance of making it before the drug kicks in. By the time they reach the strip, Duke is in the full throes of his trip and barely makes it through the hotel check-in, hallucinating that the clerk is amoray eeland that his fellow bar patrons are draconianslizards.

The next day, Duke arrives at the race and heads out with his photographer, Lacerda. Duke becomes irrational and believes that they are in the middle of a battlefield, so he fires Lacerda and returns to the hotel. After consuming more mescaline, as well as huffingdiethyl ether,Duke and Gonzo arrive at theBazooko Circuscasino but leave shortly afterwards, the chaotic atmosphere frightening Gonzo. Back in the hotel room, Duke leaves Gonzo unattended, and tries his luck atBig Six.When Duke returns he finds that Gonzo, high on LSD, has trashed the room, and is in the bathtub clothed, attempting to pull the tape player in with him as he wants to hear the song better. He pleads with Duke to throw the machine into the water when the song "White Rabbit"peaks. Duke agrees, but instead throws a grapefruit at Gonzo's head before running outside and locking Gonzo in the bathroom. Duke attempts to type his reminiscences on hippie culture, and flashes back toSan Franciscowhere a hippie licks spilled LSD off his sleeve.

The next morning, Duke awakens to an exorbitant room service bill and no sign of Gonzo (who has returned to Los Angeles while Duke slept), and attempts to leave town. As he nearsBaker, California,a patrolman stops him for speeding, and advises him to sleep at a nearby rest stop. Duke instead heads to a payphone and calls Gonzo, learning that he has a suite in his name at theFlamingo Las Vegasso he can cover a district attorney's convention on narcotics. Duke checks into his suite, only to be met by an LSD-tripping Gonzo and a young girl called Lucy, who Gonzo explains has come to Las Vegas to meetBarbra Streisand,and that this was her first LSD trip. Duke convinces Gonzo to ditch Lucy in another hotel before her trip wears off.

Gonzo accompanies Duke to the convention, and the pair discreetly snort cocaine as the guest speaker delivers a comically out-of-touch speech about "marijuana addicts" before showing a brief film. Unable to take it, Duke and Gonzo flee back to their room, only to discover that Lucy has called. Their trips mostly over, Gonzo deals with Lucy over the phone (pretending that he is being savagely beaten by thugs) as Duke attempts to mellow out by trying some of Gonzo's stash ofadrenochrome.Duke has a bad reaction to the drugs and is reduced to an incoherent mess before he blacks out.

After an unspecified amount of time passes, Duke wakes up to a complete ruin of the once pristine suite. After discovering his tape recorder, he attempts to remember what has happened. As he listens, he has brief memories of the general mayhem that has taken place, including Gonzo threatening a waitress at a diner,[3]himself convincing a distraught cleaning woman that they are police officers investigating a drug ring, and attempting to buy anorangutan.

Duke drops Gonzo off at the airport, driving right up to the airplane, before returning to the hotel one last time to finish his article. He then speeds back to Los Angeles.

Cast

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Cameos

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Production

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Development

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In January 1976,Texas Monthlyannounced thatLarry McMurtryhad signed a contract to write a screenplay for a film adaptation.[4]Martin Scorsese,Ralph BakshiandOliver Stoneeach tried to get the film off the ground, but were unsuccessful and moved on.[5]

Rhino Filmsbegan work on a film version as early as 1992.[6]Head of Production and the film's producer Stephen Nemeth originally wantedLee Tamahorito direct, but he wasn't available until after the January 1997 start date.[6]Depp wantedBruce Robinsonto direct, but he was "unavailable... by choice".[7]Rhino appealed to Thompson for an extension on the film rights but the author and his lawyers denied the extension. Under pressure, Rhino countered by green-lighting the film and hiringAlex Coxto direct within a few days.[6]According to Nemeth, Cox could "do it for a price, could do it quickly and could get this movie going in four months."[6]

Rhino hiredTerry Gilliamand was granted an extension from Thompson but only with the stipulation that the director made the film. Rhino did not want to commit to Gilliam in case he didn't work out.[6]Thompson remembers, "They just kept asking for more [time]. I got kind of agitated about it because I thought they were trying to put off doing it. So I began to charge them more... I wanted to see the movie done, once it got started."[6]The studio threatened to make the film with Cox and without Depp and del Toro. The two actors were upset when producer Laila Nabulsi told them of Rhino's plans.[6]Universal Picturesstepped in to distribute the film. Depp and Gilliam were paid $500,000 each but the director still did not have a firm deal in place. In retaliation, Depp and Gilliam locked Rhino out of the set during filming.[6]

Casting

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During the initial development to get the film made,Jack NicholsonandMarlon Brandowere originally considered for the roles of Duke and Gonzo but they both grew too old.[8]Afterward,Dan AykroydandJohn Belushiwere considered for the duo, but that fell apart when Belushi died.John Malkovichwas later considered for the role of Duke, but he grew too old as well. At one pointJohn Cusackwas almost cast (Cusack had previously directed the play version ofFear and Loathing in Las Vegas,with his brother playing Duke).[9]After Hunter S. Thompson met with Johnny Depp he became convinced that no one else could play him. When Cox and Davies started writing the screenplay, Depp and del Toro committed to starring in the film.[6]

Gilliam said in an interview that his films are actor-led, and the performance of the two characters inFear and Loathingis hyper realistic but truthful: "I am interested in real people in bizarre, twisted environments that force them to act... to react against."[10]

Dr. Gonzo is based on Thompson's friendOscar Zeta Acosta,who disappeared sometime in 1974.[11]Thompson changed Acosta's ethnic identity to "Samoan" to deflect suspicion from Acosta, who was in trouble with the Los Angeles County Bar Association. He was the "Chicano lawyer" notorious for his party binges.

A red 1973 Chevrolet Caprice Convertible. Depp drove Thompson's red 1973 Caprice Convertible in preparation for the role

The lead actors undertook extraordinary preparations for their respective roles. Del Toro gained more than 45 pounds (18 kg) in nine weeks before filming began, eating 16 donuts a day,[12]and extensively researched Acosta's life.[11][13]In the spring of 1997, Depp moved into the basement of Thompson's Owl Farm home and lived there for four months, doing research for the role as well as studying Thompson's habits and mannerisms.[14]The actor went through Thompson's original manuscript, mementos and notebooks that he kept during the actual trip.[14]Depp remembers, "He saved it all. Not only is [the book] true, but there's more. And it was worse."[15]Depp even traded his car for Thompson's redChevrolet Capriceconvertible,known to fans as The Great Red Shark, and drove it aroundCaliforniaduring his preparation for the role.[16]Many of the costumes that Depp wears in the film are genuine articles of clothing that Depp borrowed from Thompson, and the writer himself shaved Depp's head to match his own naturalmale pattern baldness.[14]Other props, such as Duke'scigarette filter(a TarGard Permanent Filter System), Hawaiian shirts, hats, a patchwork jacket, a silver medallion (given to him by Oscar Acosta) and IDs, belonged to Thompson.[16]

Writing

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Cox started writing the screenplay withTod Davies,aUCLAThompson scholar. During pre-production, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose between her and Cox.[6]She had an arrangement with Thompson to produce the film and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script treatment is documented in the filmBreakfast with Hunter.

The decision was made to not use the Cox/Davies script, which gave Gilliam only ten days to write another.[17]Gilliam has stated in an interview "When we were writing the script, we really tried not to invent anything. We sort of cannibalized the book."[10]The director enlisted the help ofTony Grisoniand they wrote the script at Gilliam's home in May 1997. Grisoni remembers, "I'd sit at the keyboard, and we'd talk and talk and I'd keep typing."[17]One of the most important scenes from the book that Gilliam wanted to put in the film was the confrontation between Duke and Dr. Gonzo and the waitress of the North Star Coffee Lounge. The director said, "This is two guys who have gone beyond the pale, this is unforgivable – that scene, it's ugly. My approach, rather than to throw it out, was to make that scene the low point."[18]

Initially, the studio wanted Gilliam to update the book for the 1990s, which he considered, "And then I looked at the film and said, 'No, that's apologizing. I don't want to apologize for this thing. It is what it is.' It's an artifact. If it's an accurate representation of that book, which I thought was an accurate representation of a particular time and place and people."[19]Gilliam, while speaking toSight & Soundmagazine, highlighted if he had updated the movie to the 1990s it would just "be a story about two people going to excess". Keeping it set in the 70's, using the backdrop of theVietnam Warand a perceived loss of theAmerican dream,offers reasoning to the characters actions.[20]

Writers credit dispute with WGA

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When the film approached release, Gilliam learned that theWriters Guild of America(WGA) would not allow Cox and Davies to be removed from the credits even though none of their material was used in the production of the film. According to WGA rules, Gilliam and Grisoni had to prove that they wrote 60% of their script. The director said, "But there have been at least five previous attempts at adapting the book, and they all come from the book. They all use the same scenes."[21]Gilliam remarked in an interview, "The end result was we didn't exist. As a director, I was automatically deemed a 'production executive' by the guild and, by definition, discriminated against. But for Tony to go without any credit would be really unfair."[22]David Kanter, agent for Cox and Davies, argued, "About 60 percent of the decisions they made on what stays in from the book are in the film – as well as their attitude of wide-eyed anarchy."[22]According to the audio commentary by Gilliam on the Criterion Collection DVD, during the period where it appeared that only Cox and Davies would be credited for the screenplay, the film was to begin with a short scene in which it is explained that no matter what is said in the credits, no writers were involved in the making of the film. When this changed in early May 1998 after the WGA revised its decision and gave credit to Gilliam and Grisoni first and Cox and Davies second, the short was not needed.[18]Angered over having to share credit, Gilliam publicly burned his WGA card at a 22 May book signing onBroadway.[23][18]

Filming

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According to Gilliam, there was no firm budget in place when filming started.[24]He felt that it was not a well-organized film and said, "Certain people didn't... I'm not going to name names but it was a strange film, like one leg was shorter than the other. There was all sorts of chaos."[17]While Depp was on location inLos Angeles,he got a phone call from comedianBill Murraywho had played Thompson inWhere the Buffalo Roam.He warned Depp, "Be careful or you'll find yourself ten years from now still doing him… Make sure your next role is some drastically different guy."[25]

Shooting on location in Las Vegas began on 3 August 1997 and lasted 56 days. The production ran into problems when they wanted to shoot in a casino. They were only allowed to film between two and six in the morning, given only six tables to put extras around and insisted that the extras really gamble.[17]Exterior shots of the Bazooko Casino were filmed in front of theStardusthotel/casino with the interiors constructed with aWarner Bros.Hollywood soundstage.[26]To get the period look of Vegas in the 1970s, Gilliam and Pecorini usedrear-projectionfootage from the old television show,Vega$.According to the cinematographer, this footage heightened the film's "already otherworldly tone an extra notch."[26]

Cinematography

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Nicola Pecoriniwas hired based on an audition reel he sent Gilliam that made fun of the fact that he had only one eye (he lost the other to retinal cancer).[26]According to Pecorini, the look of the film was influenced by the paintings ofRobert Yarberthat are "very hallucinatory: the paintings use all kinds of neon colors, and the light sources don't necessarily make sense."[26]According to Gilliam, they used him as a guide "While mi xing our palette of deeply disturbing fluorescent colors."[27]

For the desert scenes, Pecorini wanted a specific, undefined quality without a real horizon to convey the notion that the landscape never ended and to emphasize "a certain kind of unreality outside the characters' car, because everything that matters to them is within the Red Shark."[26]For the scene where Duke hallucinates a lounge full of lizards, the production was supposed to have 25 animatronic reptiles but they only received seven or eight.[26]The production usedmotion-controltechniques to make it look like they had a whole room of them and made multiple passes with the cameras outfitting the lizards with different costumes each time.[26]

During production, it was Gilliam's intention that it should feel like a drug trip from beginning to end. He said in an interview, "We start out at full speed and it's WOOOO! The drug kicks in and you're on speed! Whoah! You get the buzz – it's crazy, it's outrageous, the carpet's moving and everybody's laughing and having a great time. But then, ever so slowly, the walls start closing in and it's like you're never going to get out of this fucking place. It's an ugly nightmare and there's no escape."[16]To convey the effects of the various drugs, Gilliam and Pecorini assembled a list of "phases" that detailed the "cinematic qualities" of each drug consumed.[26]Forether,Pecorini said they used a "loose depth of field; everything becomes non-defined"; foradrenochrome,"everything gets narrow and claustrophobic, move closer with lens";mescalinewas simulated by having "colors melt into each other, flares with no sources, play with color temperatures"; foramyl nitrite,the "perception of light gets very uneven, light levels increase and decrease during the shots"; and forLSD,"everything extremely wide, hallucinations via morphs, shapes, colors, and sound."[26]

Pecorini and Gilliam decided they wanted the film to be shot wide-angle but because of the small budget they couldn't afford the downfalls of anamorphic lenses so they paired theArriflex 535,[28]and the Arri 35-iii with a set of Zeiss Standard Primes and Kodak's 250D Vision 5246 filmstock in order to achieve the saturated look the film has.[29]

Soundtrack

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Professional ratings
Review scores
SourceRating
AllMusiclink

The music belongs to the psychedelic rock and classic rock genre. Thesoundtrackcontains songs used in the film withsound bitesof the film before each song. Most of the music is present in the soundtrack with a few exceptions:the Lennon Sisters' version of "My Favorite Things"fromThe Sound of Musicwhich plays at the beginning of the picture,Jefferson Airplane's "Somebody to Love"which is heard during a flashback,Beck, Bogert & Appice's "Lady",Tom Jones' "It's Not Unusual",Frank Sinatra's "You're Getting to Be a Habit with Me",Combustible Edison's "Spy vs Spy", the Out-Islanders' "Moon Mist"fromPolynesian Fantasy,Robert Goulet's "My Love, Forgive Me", and a recording of "Ball and Chain"byJanis Joplin.

The Rolling Stonessong "Jumping Jack Flash"is heard at the conclusion of the film as Thompson drives out of Las Vegas. Gilliam could not pay $300,000 (half of the soundtrack budget) for the rights to"Sympathy for the Devil"by the Rolling Stones, which plays a prominent role in the book.[6]

TheDead Kennedysrendition of "Viva Las Vegas"is heard at the very end of the closing credits.

Track listing
No.TitlePerformed byLength
1."Combination of the Two"Big Brother and the Holding Company5:47
2."One Toke Over the Line"Brewer & Shipley3:43
3."She's a Lady"Tom Jones2:53
4."For Your Love"The Yardbirds2:36
5."White Rabbit"Jefferson Airplane3:13
6."A Drug Score – Part 1 (Acid Spill)"Tomoyasu Hotei&Ray Cooper0:52
7."Get Together"The Youngbloods5:41
8."Mama Told Me Not to Come"Three Dog Night3:51
9."Stuck Inside of Mobile with the Memphis Blues Again"Bob Dylan7:27
10."Time Is Tight"Booker T. & the MG's3:29
11."Magic Moments"Perry Como3:04
12."A Drug Score – Part 2 (Adrenochrome, the Devil's Dance)"Tomoyasu Hotei & Ray Cooper2:27
13."Tammy"Debbie Reynolds3:03
14."A Drug Score – Part 3 (Flashbacks)"Tomoyasu Hotei & Ray Cooper2:26
15."Expecting to Fly"Buffalo Springfield4:17
16."Viva Las Vegas"Dead Kennedys3:23
Total length:61:00

Release

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Fear and Loathing in Las Vegasunderwent previewtest screenings– a process that Gilliam does not enjoy. "I always get very tense in those (test screenings), because I'm ready to fight. I know the pressure from the studio is, 'somebody didn't like that, change it!'"[15]The filmmaker said that it was important to him that Thompson like the film and recalls the writer's reaction at a screening, "Hunter watched it for the first time at the premiere and he was making all this fucking noise! Apparently it all came flooding back to him, he was reliving the whole trip! He was yelling out and jumping on his seat like it was a roller coaster, ducking and diving, shouting 'SHIT! LOOK OUT! GODDAMN BATS!' That was fantastic – if he thought we'd captured it, then we must have done it!"[16]Thompson himself stated, "Yeah, I liked it. It's not my show, but I appreciated it. Depp did a hell of a job. His narration is what really held the film together, I think. If you hadn't had that, it would have just been a series of wild scenes."[30]

Fear and Loathing in Las Vegasdebuted at the1998 Cannes Film Festival[31]and Gilliam said, "I'm curious about the reaction... If I'm going to be disappointed, it's because it doesn't make any waves, that people are not outraged."[32]

Home media

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By the timeFear and Loathingwas released as aCriterion CollectionDVDin 2003, Thompson showed his approval of the Gilliam version by recording a full-lengthaudio commentaryfor the film and participating in several DVD special features.[33]

On anaudio commentarytrack in the Criterion edition of the DVD, Gilliam expresses great pride in the film and says it was one of the few times where he did not have to fight extensively with the studio during the filming.[34]Gilliam chalks this up to the fact that many of the studio executives read Thompson's book in their youth and understood it could not be made into a conventional Hollywood film. He expresses frustration with the advertising campaign used during its initial release, which he says tried to sell it as wacky comedy.[34]The film was released byUniversal StudiosonHD DVDandBlu-ray;Criterion released the film on Blu-ray on 26 April 2011, and onUltra HD Blu-rayon 4 June 2024.[35]

Reception

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Box office

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The film opened inwide releaseon 22 May 1998 and grossed $3.3 million in 1,126 theaters on its first weekend. The film went on to gross $10.6 million, well below its budget of $18.5 million.[2]The movie reignited interest in Thompson's novel.Vintage Pressreported an initial reprint of 100,000 copies to tie in with the film's release, but demand was higher than expected and forced the novel to go back to print a further five times.[36]

Critical response

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Gilliam wanted to provoke strong reactions to his film as he said in an interview, "I want it to be seen as one of the great movies of all time, and one of the most hated movies of all time."[15]Fear and Loathing in Las Vegaspolarized critics; onreview aggregatorRotten Tomatoes,the film holds an approval rating of 50% based on 70 reviews, with an average score of 5.90/10. The website's critical consensus reads, "Visually creative, but also aimless, repetitive, and devoid of character development."[37]OnMetacritic,the film received a score of 41 based 19 reviews, indicating "mixed or average reviews".[38]Audiences polled byCinemaScoregave the film an average grade of "C+" on an A+ to F scale.[39]

InThe New York Times,Stephen Holdenwrote, "Even the most precise cinematic realizations of Mr. Thompson's images don't begin to match the surreal ferocity of the author's language."[40]Stephen Hunter,in his review forThe Washington Post,wrote, "It tells no story at all. Little episodes of no particular import come and go...But the movie is too grotesque to be entered emotionally."[41]Mike Clark, ofUSA Today,found the film "simply unwatchable."[42]InThe Guardian,Gaby Woodwrote: "After a while, though, the ups and downs don't come frequently enough even for the audience, and there's an element of the tedium usually found in someone else's druggy experiences."[43]Roger Ebertfound the film disgraceful, giving it one star out of four and calling it:

a horrible mess of a movie, without shape, trajectory or purpose–a one joke movie, if it had one joke. The two characters wander witlessly past the bizarre backdrops of Las Vegas (some real, some hallucinated, all interchangeable) while zonked out of their minds. Humor depends on attitude. Beyond a certain point, you don't have an attitude, you simply inhabit a state.[44]

Gene Siskel's "thumbs-up" review at the time also noted the film successfully captured the book's themes into film, adding "What the film is about and what the book is about is using Las Vegas as a metaphor for – or a location for – the worst of America, the extremes of America, the money obsession, the visual vulgarity of America."[45]Michael O'Sullivan gave the film a positive review inThe Washington Post,writing "What elevates the tale from being a mere drug chronicle is the same thing that lifted the book into the realm of literature. It's the sense that Gilliam, like Thompson, is always totally in command of the medium, while abandoning himself utterly to unpredictable forces beyond his control."[46]Empiremagazine voted the film the 469th greatest film in their "500 Greatest Movies of All Time" list.[47]

Andrew Johnston,writing inTime Out New York,observed: "Fearis really a Rorschach test of a movie – some people will see a godawful mess, rendered inaccessible by the stumbling handheld camera and Depp's nearly incomprehensible narration. Others will see a freewheeling comedy, a thinking person'sCheech and Chongfilm. It all depends on your mood, expectations and state of mind (for the record, I was stone sober and basically enjoyed myself). "[48]

Status

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The film has been re-screened at various cinemas such as The Prince Charles Cinema inLeicester Square,London, and a special screening from original VHS tape at Swordtail Studio London in 2016.[49]

The increased attention for the film has also led some news outlets to reconsider the mixed original reception of the film; Scott Tobias ofThe A.V. Clubargued in his more recent review of the film that it "would have had a greater impact had it been produced at the time, whenBrewster McCloudproved that anything was possible, but short of a time machine, Gilliam does what he can to bring the era back to life. "[50]

Awards

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The film was nominated for a variety of awards that both praised and condemned it. Terry Gilliam was nominated for thePalme d'Orat the 1998Cannes Film Festival[31]while Johnny Depp won the Best Foreign Actor award from the Russian Guild of Film Critics in 1998.

However, Depp and Del Toro were also nominated by theStinkers Bad Movie Awardsfor Worst On-Screen Couple, and during the same awards Del Toro's portrayal of Dr. Gonzo was also nominated for the Worst Supporting Actor.[51]

See also

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References

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  1. ^abcde"Fear and Loathing in Las Vegas".FilmAffinity.
  2. ^abc"Fear and Loathing in Las Vegas".Box Office Mojo.RetrievedJanuary 24,2008.
  3. ^"Fear And Loathing In Las Vegas: 5 Things The Movie Changed From The Book (And 5 Things Kept The Same)".ScreenRant.June 20, 2019.RetrievedSeptember 14,2020.
  4. ^West, Richard (January 1976)."Low Talk".Texas Monthly.p. 10.RetrievedAugust 29,2011.
  5. ^Morgan, David (1999)."A Savage Journey: The Making ofFear and Loathing in Las Vegas".Wide Angle/Closeup.RetrievedDecember 15,2006.
  6. ^abcdefghijkEbner, Mark (January 1998)."Fear and Bleating in Las Vegas: Hunter Thompson Goes Hollywood".Premiere.pp. 33–34.RetrievedJune 13,2023.
  7. ^"Johnny Depp and Director Bruce Robinson THE RUM DIARY Interview".Collider.October 26, 2011.RetrievedJuly 10,2017.
  8. ^Lee, Nathan (May 12, 2006)."Fear and Loathing in Las Vegas".The New York Times.RetrievedJanuary 4,2007.(registration required)
  9. ^Nabulsi, Laila.Fear and Loathing in Las Vegas audio commentary(DVD).
  10. ^ab"Terry Gilliam Interview - Fear & Loathing".September 21, 2008.RetrievedFebruary 19,2017– via YouTube.
  11. ^abDoss, Yvette C. (June 5, 1998)."The Lost Legend of the Real Dr. Gonzo".Los Angeles Times.RetrievedMay 18,2023.
  12. ^"'Melania knew what she was putting on': Benicio Del Toro on drugs, Sicario and Trump's border war ".The Guardian.June 29, 2018.RetrievedNovember 22,2018.
  13. ^Elias, Justine (June 1998). "Behind the Scenes: Terry Gilliam".Us Weekly.
  14. ^abcBrinkley, Douglas (June 1998). "Johnny, Get Your Gun".George.pp. 96–100, 109–110.
  15. ^abcMcCracken, Elizabeth (June 1998). "Depp Charge".ELLE.
  16. ^abcdHolden, Michael John Perry, Bill Borrows (December 1998). "Fear and Loathing".Loaded.{{cite news}}:CS1 maint: multiple names: authors list (link)
  17. ^abcdGale, David (June 1998). "Cardboard Castles and Chaos". Icon. pp. 102–105.
  18. ^abcSmith, Giles (May 25, 1998)."War Games".The New Yorker.pp. 74–79.
  19. ^Rowe, Douglas J. (May 29, 1998). "Terry Gilliam Can Fly Without Acid". Associated Press.
  20. ^McCabe, Bob (1998). "Chemical Warfare".Sight and Sound.8:6–8 – via Sight and Sound digital archive.
  21. ^McCabe, Bob (December 1998). "One on One".Empire.pp. 120–123.
  22. ^abWillens, Michele (May 17, 1998)."How Many Writers Does it Take...?".The New York Times.RetrievedMay 18,2023.
  23. ^Stubbs, Philip."The conflict over Fear and Loathing's script credit".gilliamdreams.RetrievedFebruary 17,2017.
  24. ^Houpt, Simon (May 21, 1998). "Going Gonzo withFear and Loathing".The Globe and Mail.pp. D1–D2.
  25. ^Brinkley, Douglas (July 26, 1998). "Road to Ruin".Sunday Mail.
  26. ^abcdefghiPizzello 1998,pp. 30–41.
  27. ^Pizzello 1998,pp. 42–47.
  28. ^"Arri BL-4S".panavision.fr(in French). Archived fromthe originalon February 18, 2017.
  29. ^Pizzello 1998,p. 33.
  30. ^Johnston, Ian (December 1998). "Just Say No".Neon.pp. 44–49.
  31. ^ab"Festival de Cannes: Fear and Loathing in Las Vegas".festival-cannes.Archived fromthe originalon July 28, 2011.RetrievedSeptember 29,2009.
  32. ^Kirkland, Bruce (May 17, 1998). "The Gonzo Dream: The Long, Strange Trip of Filming Hunter S. Thompson'sFear and Loathing in Las Vegas".Toronto Sun.
  33. ^"Fear and Loathing in Las Vegas".Criterion Collection.Archived fromthe originalon October 23, 2007.RetrievedJanuary 24,2008.
  34. ^abGilliam, Terry. "Fear and Loathing in Las VegasDVD audio commentary ".Criterion Collection.
  35. ^"Fear and Loathing in Las Vegas (Blu-ray)".The Criterion Collection.RetrievedFebruary 18,2017.
  36. ^Maryles, Daisy (1998)."A second helping for fear and loathing".The Publishers Weekly.245:24.
  37. ^Fear and Loathing in Las VegasatRotten Tomatoes
  38. ^"Fear and Loathing in Las Vegas Reviews".Metacritic.CBS Interactive.RetrievedFebruary 28,2022.
  39. ^"FEAR AND LOATHING IN LAS VEGAS (1998) C+".CinemaScore.Archived fromthe originalon December 20, 2018.
  40. ^Holden, Stephen (May 22, 1998)."'Fear and Loathing in Las Vegas': The Attitude Is Missing ".The New York Times.RetrievedJune 13,2023.
  41. ^Hunter, Stephen (May 22, 1998)."Thompson's Worst Trip".The Washington Post.RetrievedMay 18,2023.
  42. ^Clark, Mike (May 22, 1998). "Fearis a Bad Trip for the '90s ".USA Today.
  43. ^Wood, Gaby (November 13, 1998). "Night of the Hunter".The Guardian.
  44. ^Ebert, Roger (May 22, 1998)."Fear and Loathing in Las Vegas".RogerEbert.RetrievedFebruary 18,2017.
  45. ^Siskel, Gene; Ebert, Roger (May 30, 1998)."Fear and Loathing in Las Vegas".Siskel & Ebert.Season 12. Episode 37.RetrievedMay 18,2023.
  46. ^O'Sullivan, Michael (May 22, 1998)."Fear:Worth the Trip ".The Washington Post.RetrievedMay 18,2023.
  47. ^"500 Greatest Movies of All Time".Empire.Archived fromthe originalon January 6, 2009.RetrievedSeptember 29,2009.
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