Dennis Hopper quotes:

Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.

Easy Rider' was never a motorcycle movie to me. A lot of it was about politically what was going on in the country.

You want to hear about insanity? I was found running naked through the jungles in Mexico. At the Mexico City airport, I decided I was in the middle of a movie and walked out on the wing on takeoff. My body... my liver... okay, my brain... went.

I am just a middle-class farm boy from Dodge City and my grandparents were wheat farmers. I thought painting, acting, directing and photography were all part of being an artist. I have made my money that way. And I have had some fun. It's not been a bad life.

[After Easy Rider] I couldn't get another movie, so I lived in Mexico City for a couple of years. I lived in Paris for a couple of years. I didn't take any photographs, and then I went to Japan and saw a Nikon used. I bought it, and I just started, like an alcoholic. I shot 300 rolls of film. That was the beginning of me starting again...

'Easy Rider' was never a motorcycle movie to me. A lot of it was about politically what was going on in the country.

Seven of those days were pretty good. The eighth day was the bad one.

It takes more than going down to the video store and renting "Easy Rider" to be a rebel.

Well, it's not just money. I consider myself establishment right now. I'm borderline establishment, I'm hanging on by my toenails - but I'm establishment.

People keep asking me, 'What evil lurks in you to play such bad characters?' There is no evil in me, I just wear tight underwear.

I made a picture called Super Mario Bros., and my six-year-old son at the time - he's now 18 - he said, 'Dad I think you're probably a pretty good actor, but why did you play that terrible guy King Koopa in Super Mario Bros?' And I said, 'Well Henry, I did that so you could have shoes,' and he said, 'Dad, I don't need shoes that badly.'

In Method acting, you can't have preconceived ideas. You have to live in the moment. You have to keep yourself open.

The inside of the Pentagon is an incredible place and a dramatic set. We do [travel] outside, but the inside workings of the civilian oversight of the military inside the Pentagon is really about as exciting as anything you ever want to deal with. It is really amazing.

I used to have to wear a gas mask to school when I was a kid because of the dust. I would tell people that the first light I saw was in a movie theater, because the sun was just a little glow.

I wanted to be an actor. I decided when I was very young, when I first saw movies, that I wanted to be an actor.

You're like a turd that won't flush.

Work is fun to me. All those years of being an actor and a director and not being able to get a job - two weeks is too long to not know what my next job will be.

Art is a bad word in Hollywood. You use art too many times and they show you the elevator and then your name is taken off the parking lot.

Like all artists, I want to cheat death a little and contribute something to the next generation.

When we're out of the eighties, the nineties are gonna make the sixties look like the fifties!

I should have been dead ten times over. I've thought about that a lot. I believe in miracles. It's an absolute miracle that I'm still around.

Just because it happened to you, doesn't mean it's interesting.

In a world where the dead have returned to life, the word" trouble' loses much of its meaning.

To make a documentary is one thing, to make a feature film is quite another.

I've been sober now for 18 years. With all the drugs, psychedelics and narcotics I did, I was [really] an alcoholic. Honestly, I only used to do cocaine so I could sober up and drink more. My last five years of drinking was a nightmare. I was drinking a half-gallon of rum with a fifth of rum on the side, in case I ran out, 28 beers a day, and three grams of cocaine just to keep me moving around. And I thought I was doing fine because I wasn't crawling around drunk on the floor.

The man is clear in his mind, but his soul is mad.

I was very shy, and it was a lot easier for me to communicate if I had a camera between me and other people.

Every time I go to Europe, I remember that James Dean never saw Europe, but yet I see his face everywhere. There's James Dean, Humphrey Bogart and Marilyn Monroe - windows of the Champs Elysees, discos in the south of Spain, restaurants in Sweden, t-shirts in Moscow. My life was confused and disoriented for years by his passing. My sense of destiny destroyed - the great films he would have directed, the great performances he would have given, the great humanitarian he would have become, and yet, he's the greatest actor and star I have ever known.

I think of [my photographs] as found paintings because I don't crop them, I don't manipulate them or anything. So they're like found objects to me.

I've always been doing some sort of art. I started off, when I was very young, painting.

Jimmy [Dean] was the most talented and original actor I ever saw work. He was also a guerrilla artist who attacked all restrictions on his sensibility. Once he pulled a switchblade and threatened to murder his director. I imitated his style in art and in life. It got me in a lot of trouble.

My whole written history is one big lie! I mean, I can't even believe my history.

Photography and painting, all of that fed into my directing eventually.

When I was about 14. I saw my first mountain. I saw the ocean for the first time. I remember thinking that that ocean looked very similar to our wheat fields. I didn't know what I thought I would see when I looked out at the ocean, but I thought I'd see something different.

I think not being a professional photographer was actually a blessing, because it allowed me to shoot things professional photographers wouldn't shoot, or wouldn't try or attempt to shoot without lights. So I did all my stuff natural and without lights.

You know, the history of California art doesn't start until about 1961, and that's when these photographs start. I mean, we have no history out here.

The best and only authentic book written on the sixties underground.

There are moments that I`ve had some real brilliance, you know. But I think they are moments. And sometimes, in a career, moments are enough.

Dialectic logic is there's only love and hate, you either love somebody or you hate them.

The alcohol was awful. I was a terrible alcoholic. I mean, people used to ask how much drugs I did. I said, 'I only do drugs so I can drink more'. I was doing the coke so I could drink more. I mean, I don't know any other reason. I'd start drinking in the morning. I'd drink all day long.

For most of my life I wasn't on the left.

I've been a Republican since Reagan. I voted for Bush and his father. I don't tell a lot of people, because I live in a city where somebody who voted for Bush is really an outcast.

I couldn't get a job acting all the time and there were down periods where I could take photographs or paint. I got into a lot of trouble when I was young, from making two films with James Dean, watching him work and then him dying and thinking I could turn down work. There was a big difference, he was a star and I wasn't. So I got in a lot of trouble and was essentially banned from Hollywood.

I was someone who was out of control and not to be worked with. It was partly because method acting was a new thing in Hollywood then and Marlon Brando had gotten through and Montgomery Clift had gotten through and James Dean but beyond that there wasn't really anybody.

I was always involved in art and when I went under contract at Warner Bros. at 18, it afforded me the possibility of never having to stop painting, never having to stop taking photographs and so on, and to actually live a cultural life.

I'm still around artists. I don't have anymore wall space. And I don't have the money to collect anymore, the prices are outrageous.

I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.

As an actor, you have no control really.

I never really made any money and it certainly cost me more to take photographs than I got for them.

I didn't see an abstract painting until I was 18, when I went to Vincent Price's house and saw Richard Niebencorn, Wolff, Jackson Pollack. He had an amazing collection. I didn't know people painted abstractly, I thought I was just doing something wholeheartedly.

I was an abstract expressionist before I had seen any abstract expressionist paintings. I started when I was a kid and continued just doing abstract stuff all through high school.

Banks wont even loan each other money, everybody's going broke, and here we are inside here, these people are going to be out on the street selling apples and pencils and they're still going to be buying paintings for this money, so I don't know what's going on in this world.

I was reading a lot of Thomas Jefferson at the time, and Jefferson said that every 20 years, if one party has stayed in power, it's your obligation as an American to vote the other party in.

... I'm sort of a nervous person with the camera, so I will just shoot arbitrarily until I can focus and compose something, and then I make a shot. So generally, in [the] proof sheets, there are only three or four really concentrated efforts to take a photograph. It's not like a professional kind of person who sets it up so every photograph looks really cool.

I was a Shakespearean actor, I had preconceived ideas, line readings - everything was a gesture, everything was conscious.

The reality of things going on around me is more interesting than the fantasies of the world I work in.

You know, this is such a rich time that we've just been involved in, and there's really a job now for historians. Film is still very young. This is the first hundred years of filmmaking. So I think it's important that we have some sense of history and continuity. Especially in film.