Open Culture posted a bunch of Andy Warhol screen tests, including the Dennis Hopper one from 1965, which reminded me of “The Easy Rider Runs Wild in the Andes,” a great 1970 Life magazine article about Hopper that I came across on Google Books. At the time of the Life piece, Hopper had carte blanche to do whatever he wanted as a filmmaker thanks to the Easy Rider phenomenon. Such freedom poses dangers for a free spirit. Hopper went to Peru with a cast that included Samuel Fuller and Toni Basil, and embarked on a quixotic, confused project, eventually entitled The Last Movie, which pissed away all of his new capital. His career never completely recovered until his insane turn in David Lynch’s Blue Velvet.

From Brad Darrach’s Life article: “Peru has painfully learned to live with earthquakes, avalanches, tidal waves, jaguars and poisonous snakes. But Dennis Hopper was something else. When the director of Easy Rider arrived in Lima several months ago, a reporter from La Prensa asked his opinion of marijuana (illegal in Peru) and ‘homosexualism.’ Taking a long reflective pull on an odd-looking cigarette. Dennis said he thought everybody should ‘do his thing,’ and then allowed that he himself had lived with a lesbian and found it ‘groovy.’ No remotely comparable statement had ever appeared in a Peruvian newspaper. The clergy screamed, the ruling junta’s colonels howled. Within 24 hours the government denounced the article and issued a decree repealing freedom of the press.

Dennis Hopper was undisturbed. Furor trails him like a pet anaconda. At 34, he is known in Hollywood as a sullen renegade who talks revolution, settles arguments with karate, goes to bed with groups and has taken trips on everything you can swallow or shoot.

On the other hand, in the salons and galleries of Los Angeles and New York he is recognized as a talented poet, painter, sculptor, photographer and as a leading collector of pop-art. He is also, after eight years on the movie industry’s blacklist, the hottest director in Hollywood. Easy Rider, which cost only $370,000, is rapidly approaching a projected $50 million gross. In the process it has polarized a new film audience of under-30s, generated a new school of talented young directors such as Jack Nicholson, Peter Bogdanovich, Richard Rush and Melvin Van Peebles, and established the style of a New Hollywood in which producers wear love beads instead of diamond stickpins and blow grass when they used to chew Coronoas.”