Because REBEL became a clarion call for a generation about to revolt against middle-class American respectability, Hopper himself came to symbolize that revolution, particularly as other actors associated with REBEL died. (By 1981, Hopper was the lone survivor of the film's leading players.) His early acting career often cast him in secondary roles, playing sensitive young men, as in GIANT (1956) and a spate of westerns. His intuitive, improvisatory approach was at odds with many old-time Hollywood professionals; during the making of FROM HELL TO TEXAS (1958), director Henry Hathaway and Hopper reportedly battled through over 100 takes, an infamous incident that Hopper claimed relegated him to B-movie roles for years.
Hopper's anti-Establishment reputation took an ironic turn with his direction of EASY RIDER (1969), a road movie on motorcycles through reactionary America, a trip in more than one sense -- the film featured a notorious psychedelic sequence, shot in a cemetery in New Orleans. Hailed by critics, feted at the Cannes Film Festival as a major new filmmaker, Hopper also found success at home when the movie was a box-office smash.
The Hopper self-mythification ascended through a documentary self-portrait called THE AMERICAN DREAMER (1971) and reached a culmination of sorts in THE LAST MOVIE (1971), his free-form film, shot in Peru, about a movie crew making a western among natives who decide to ape them with real bullets. The film's pretensions were deemed ludicrous, and Hopper was virtually abandoned by critics and other filmmakers.
For the next 15 years Hopper acted mostly in films shot outside the US, where audiences remained loyal to his impervious, impenetrable American swagger. Among his credits were MAD DOG (1976), filmed in Australia; RESURRECTION (1979), in Spain; THE AMERICAN FRIEND (1977) and WHITE STAR (1981), in West Germany; COULEUR CHAIR (1977), THE SORCERER'S APPRENTICES (1977) and L'ORDRE ET LA SECURITE DU MONDE (1978) in France. While acting in OUT OF THE BLUE (1980), a Canadian film shot in the US, he took over direction of the film in mid-production. By the early 80s, his drug habits and erratic behavior had virtually sent him into exile, although he reveled in the role of the ugly American. His character in APOCALYPSE NOW (1979) -- a flipped-out, camera-obsessed journalist -- only served to reinforce his reputation.
Hopper had in the meanwhile become an accomplished photographer, and he began showing his work in galleries. The breadth of his experience, combined with his bizarre point of view, made his work a unique record of an absurd popular culture, even as he became increasingly vocal about straightening out his personal life.
Hopper's comeback began with his unnerving appearance in BLUE VELVET (1986). Director David Lynch vociferously defended Hopper's talent against accusations of typecasting, although a follow-up film, RIVER'S EDGE (1986), again featured Hopper as an insane derelict. Still, his rehabilitation seemed complete with his successful direction of COLORS (1988), a drama about LA gang wars, followed by THE HOT SPOT (1990).
Other notable acting credits include TRUE ROMANCE (1993), SPEED (1994), WATERWORLD (1995), BASQUIAT (1996), SPACE TRUCKERS (1997), THE SOURCE (1999, as William S. Burroughs), JESUS' SON (1999), "24" (TV series, 2002), THE PIANO PLAYER (2002), THE NIGHT WE CALLED IT A DAY (2003, as Frank Sinatra), LEGACY, THE KEEPER and OUT OF SEASON (all 2004), HOUSE OF 9, HOBOKEN HOLLOW, AMERICANO, THE CROW: WICKED PRAYER and LAND OF THE DEAD (all 2005), TAINTED LOVE, 10TH & WOLF, "E-Ring" (TV series) and MEMORY (all 2006), SLEEPWALKING, ELEGY and FOREVER (all 2007), and HELL RIDE (2008). Other directing credits include OUT OF THE BLUE (1980), CATCHFIRE (1989, as Alan Smithee), CHASERS (1994, also actor) and HOMELESS (2000).
Nominated for Writing (Best Story and Screenplay based on material not previously published or produced) 1969: EASY RIDER (w. Peter Fonda & Terry Southern)
Nominated for Supporting Actor 1986: HOOSIERS
2 nominations