![Peter Biskind, Easy Riders, Raging Bulls:
In the editing room, Hopper continued to follow his vision. The French New Wave directors had dispensed with traditional optical effects like dissolves, fades, and so on because they couldn’t afford them, but their absence created a different aesthetic, gave their films a documentary flavor and speeded up the pacing. Hopper liked that, and he was also influenced by the American underground filmmakers. He refused to discard technical “imperfections” like lens flare that had always ended up on the cutting room floor, which also lent the film a homemade, amateur look. “It was Bruce Conner’s influence on Dennis that got him to cut as wildly as he did, which was totally against the principles we all had studied, and it seemed free-form and abstract,” says [Peter] Fonda. “One of the reasons I called Hopper from fuckin’ Toronto was that I knew he had the gift, he had the knowledge and ability and I didn’t.”
photo via daaaaaaaang](http://www.tumblr.com/photo/1280/waxandmilk/649256107/1/tumblr_l39uprnAux1qaaf7t)
Peter Biskind, Easy Riders, Raging Bulls:
In the editing room, Hopper continued to follow his vision. The French New Wave directors had dispensed with traditional optical effects like dissolves, fades, and so on because they couldn’t afford them, but their absence created a different aesthetic, gave their films a documentary flavor and speeded up the pacing. Hopper liked that, and he was also influenced by the American underground filmmakers. He refused to discard technical “imperfections” like lens flare that had always ended up on the cutting room floor, which also lent the film a homemade, amateur look. “It was Bruce Conner’s influence on Dennis that got him to cut as wildly as he did, which was totally against the principles we all had studied, and it seemed free-form and abstract,” says [Peter] Fonda. “One of the reasons I called Hopper from fuckin’ Toronto was that I knew he had the gift, he had the knowledge and ability and I didn’t.”
photo via daaaaaaaang
