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He was the perfect director for Easy Rider, in which he starred alongside Jack Nicholson and Peter Fonda (with whom he spectacularly fell out over the artistic credit).
Hopper played one of two stoned bikers who roam across the south-west before running into trouble with rednecks.
He was also a producer, screenwriter, photographer, painter and art collector who knew or worked with almost every significant American artist of the second half of the 20th century.
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After appearing in the television series Medic he signed to Warner Brothers, whose boss was impressed by his having told a rival studio boss, the celebrated Harry Cohn, to “Go f--- yourself” when Cohn announced he could not stand Shakespeare.
Hopper was exceptionally self-assured, convinced he was the best young actor around until he saw James Dean, with whom he worked on the classic, moody Rebel Without A Cause (1955). Hopper, distraught at the loss of his mentor and hero, attempted to appropriate Dean’s image and method and concluded that rebelliousness was the leitmotif of artistic integrity. In From Hell To Texas (1958) Hopper sought the artistic licence that the reactionary director Henry Hathaway would never permit.
Notionally telling the story of an Indian community corrupted by an American film company, the film was more famous for the tales of drugs, violence and orgies that emerged from the remote Peruvian village in which it was set.
Intended to be Hopper’s grand indictment of Hollywood, it attracted scathing reviews and, though winning the prize at the Venice Film Festival, was widely deemed to be pretentious nonsense.
He re-emerged as an alcoholic father in Coppola’s Rumblefish (1983), as an abusive father in Out of the Blue (1984) — an eloquent film which he directed with uncharacteristic restraint — and as an alcoholic basketball star in Hoosiers (1986).