For No Good Reason

Synopsis: Johnny Depp pays a visit to Ralph Steadman, the renown artist and the last of the original Gonzo visionaries who worked alongside Hunter S. Thompson.
Director(s): Charlie Paul
Production: Sony Pictures Classics
  2 nominations.
Rotten Tomatoes:
89 min


I really

thought what I would do

if I ever learned

to draw properly

was I would try to

change the world.

Is this thing working?

Right now, Ralph,

what exactly are we doing here?

It's a very odd idea

to make a movie,

a film, a documentary,

about an artist, say me.

And in one way

it's rather a good idea,

and in another way you

wonder why one is doing it.

Except that it's become

far more personal

as it's developed

into something which really is

about my work and about me.

And I think that

makes it more interesting

because it takes in

the good and the bad.

It takes in all sides,

all dimensions.

It's almost, when you

come down to see us,

we know what

we're going to do,

even though we haven't

planned anything.

We just simply carry on

and if something comes out,

something does,

and sometimes it doesn't.

And so that seems to me

the kind of thing that's

made this all worthwhile.

I haven't seen Ralph since the

signing of Hunter's memorial poster.

It's been a while,

and I've really

been looking forward

to catching up with him in

his studio at Loose Court.


I'm gonna put a piece

of paper down here.

I don't know why. I think it's

because you're in the room.


If you weren't here,

I'd be having a lie-down now.

Are you ready for this?

'Cause it might not be very good,

but it might be great, too.

Ooh! DEPP:

I love it.

When I don't

know what to do,

- I do that.

- Mmm.

It's a kind of cheat, in a

way, because you don't know

whether you

did it because

you can't do anything and there

is nothing in your mind,

or you did it because

it might just lead somewhere.

It's fantastic

when that happens.

I can see a horse

in there already.


I didn't know what it was

and then I suddenly thought,

"I know what it is."

It's an unloved pet,

and it's a shame

that I drew it, really,

because I don't like it.

It's a horrible-looking


And if it walked into the

living room, I'd kick it out.


And it's a frame of mind.

All I've done

is made something

that's part of a frame of mind

I might be in at the moment.

What a terrible thing.

It was 1969 when

my first book was published.


It was a collected works

of all my cartoons

that I had done

since I had

taken it seriously.

That's absolutely amazing.

This was the beginning,

really, the conducted tour,

and the whole idea of

it being The Pioneers,

it's like you're going,

oh, yeah, you know,

we're going off

on a conducted tour

and everything's comfortable.

And they'd just

get off the bus,

look around and

get back on again.

And then I thought of this

when they brought Muzak in.

So I did the picture called

Down at the Old Bull and Bush.

And there's the old

boy with his pint

and then all this Muzak

coming out of the speaker.

Because it was really only just

getting going, all this stuff.

Part of

my idea of humor

was it would be

slightly maniacal.

But there was

an arrogance missing.

There was

a wildness missing.

There was

a rawness missing.

It lacked

that bite I needed,

that real ferocious bite,

the thing that would

make it noticeable.

Still as relevant

today as it was then.

Great. Amazing.

Just incredible.

The reason

I learned to draw

wasn't just to be able to draw and

people say, "Ooh, that's pretty,"

but that I needed to apply

it as a weapon almost.

It was something

quite savage.

People would

see the work

and they would

think about it.

In a way, it was

a wonderful calling card.

I took it with me

to America.

And that was 1970.

Bus for New York City.

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