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Film adaptation of the Zonke-Hunter S. Thompson, Gonzo 1971 The autobiography "Fear and Waving in Las Vegas" began in reinforcement since 1976. The story says that Larry McMurthree ("Lonesome Dove", "Hood", "The Last Show of Pictures") was signed in the script. Several important directors flirted with the idea of ​​making a movie "Fear and Wintering", including Martin Scorsese, Oliver Stone, and even the famous Animator Ralph Fibs (whose "fear and weakening" would have no doubt spectacular).

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The film did not bring it to the big screen until 1998, when the audience was treated on an ultra-haotic version directed by Terry Gilliam. The 1998 version of the version began six years earlier, in 1992, when Rino Films (!) Tried to produce a version directed by Lee Tamahori. However, Tamahori could not do so, as he was busy shooting or the wandering noir "Mulolland falling" or the survival thriller The Edge. Nyoni Depp, the film's executive producer, was already closed to play analogue Hunter Thompson, Raul Duke, and was looking forward to seeing the project gel. He pointed out that Bruce Robinson ("Withnail & i") directly, but Robinson had no interest. The years were producing hell, and Rino was supposed to lose the rights to shoot Thompson's book, so they quickly approached Alex Cox ("Repo man", "Sid and Nancy") to write the script and get straight. Fortunately, Cox was available, and he started on the project within a few months.

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The real production of "fear and weight loss" at one point, but we must pause and describe Cox's head with the studio before the subsequent employment of Terry Gilliam in his place. Thanks to very bad blood, chaotic development and general confusion, four writers are credited with "fear and blurring in Las Vegas", although the script was written by only two. Making "weight loss" is almost as chaotic as the film itself.

The story of the chaos behind the movie "Fear and Weight Loss" was detailed The 1998 article in the magazine premieresSo the audience knew about how wild he was, even at the time. Posted and Illiam His version of the "fear and brazen" script (which he wrote with Tony Grizzoni) in 2000, and in his flagship, he explained the terrible blend between his version and the version Cox was hired to write.

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The story says that Alex Cox pigeons in adapting Thompson's book, leading to another writer, Todd Davis, to serve as a co -author. However, it seems that Cox immediately began to argue with one of Rino's producers, a woman named Laila Nabules, on creative themes. Cox tried to overcome Nabules' head, forcing the higher windows in Rino to choose to keep or bite the project. Rino immediately fired Cox over the ultimatum. Thanks to the provision in his deal, however, Cox still received $ 60,000.

It also turns out that Nabules wasn't the only one who didn't like Cox's script. Obviously, Thompson hated the same. Script Cox/Davis You can find easy enough online.

Somewhere in this chaos, Terry Gilliam was hired to direct it, and Universal withdrew to distribute the film so that the project was moving forward. However, when Cox was fired, the studio had to rush to find a new script. Illiliam and Grizon rushed to draft for 10 days. The studio decided to go with the Illiam/Grison script, and the recording finally began in the summer of 1997. There was still no final budget, but the shooting started anyway. It was notorious chaotic shoots, marked with occasional mundane. And, to add to the chaos (as Illiam said in the published preface), there was a debate on whether he was using the proper scenario. Should he use the Cox script that was kicked?

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This is where the WGA debate began.

It seems that the writers of America had a provision that a screenwriter should be credited if more than 40% of the material used in the filming. The Cox/Davis script was kicked, of course, and technically, 0% of it was used, but a problem arose about adaptation. Both Illiam/Gryson and Cox/Davis quotes Thompson's original work, and even predicted certain scenes exactly the same. The WGA dispute was discussed in The 1998 Yorkyorc Times article in 1998 where Illiam was given a test. He had to prove that more than 60% of the script was his before the name of Cox would be taken out of the film. Of course, when more screenwriters adapt the same book, there should be similarities, which means that Illiam could not claim to have written most of his own script.

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Then, he demanded a moment that Cox/Davis was supposed to be the only credit screenwriter for "fear and raging", although Illiam claims he does not use their material at all. Illiam was once joking (on DVD -song "Fear and Lathing" DVD) that he wanted to add an introduction to the film, saying that no screenwriter worked on it at all. In the end, WGA found it around ... on both sides. Illiliam/Grizon was allowed to be credited first, and Cox/Davis second. Illiliam hated to share a loan.

And how does Cox feel about all this? Quite bad. Cox actually tried to take Illiam to court on the matter, saying that Illiam tore parts of his scenario. He used the idea that he and Illiam "just adapted the same material." Cox thought that Illiam simply repeated much of his writing and claims it as his own. Cox finally got a loan and a huge salary. Illiam had to make one of the most famous films that cause a headache of all time. Hunter Thompson was in it. Maybe we all win. Maybe.

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