Lost in La Mancha (2002)

Terry Gilliam's doomed attempt to get his film, The Man Who Killed Don Quixote, off the ground.

Directors:

Keith Fulton, Louis Pepe

Stars:

Terry Gilliam, Johnny Depp, Jeff Bridges

2 wins & 11 nominations.

Cast

Cast overview, first billed only:
Tony Grisoni	...	Himself - Co-Writer
Philip A. Patterson	...	Himself - First Assistant Director (as Phil Patterson)
René Cleitman	...	Himself - Producer
Terry Gilliam	...	Himself - Writer & Director
Nicola Pecorini	...	Himself - Director of Photography
José Luis Escolar	...	Himself - Line Producer
Bárbara Pérez-Solero	...	Herself - Ass't. Set Decorator
Benjamín Fernández	...	Himself - Production Designer (as Benjamin Fernandez)
Andrea Calderwood	...	Herself - Former Head of Production, Pathé
Ray Cooper	...	Himself - Longtime Gilliam Colleague
Gabriella Pescucci	...	Herself - Costume Designer
Carlo Poggioli	...	Himself - Co-Costume Designer
Bernard Bouix	...	Himself - Executive Producer
Fred Millstein	...	Himself - Completion Guarantor
Jeff Bridges	...	Narrator (voice)

Storyline

Director Terry Gilliam is the latest filmmaker to try and bring Miguel de Cervantes y Saavedra's "Don Quixote de la Mancha" to the big screen, the movie to be called The Man Who Killed Don Quixote. Before filming even begins, Gilliam, who has moved from Hollywood studio to European financing, will have to scale back his vision as his budget has been slashed from $40 million to $32 million, still astronomical by European standards. But Gilliam is a dreamer, much like his title character, and his vision for the movie is uncompromising, meaning with the reduced budget that there is no margin for error and that some of his department heads may have to achieve miracles with their allotted moneys. During pre-production and actual filming, what Gilliam does not foresee is contractual and health issues with his actors, and the effects of Mother Nature. The question is does Gilliam have a Plan B if/when things go wrong.

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Plot Keywords:

don quixote | filmmaker | actor | director | noise | 

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Taglines:

They've got a story...but have lost the plot.

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Genres:

Documentary

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Motion Picture Rating (MPAA)

Rated R for language

Details

Official Sites:

Official page Official site [United States]

Country:

UK USA

Language:

English Spanish French

Release Date:

2 August 2002 (UK)

Also Known As:

Don Kihotis horis telos...

Filming Locations:

Monasterio de Piedra, Nuévalos, Zaragoza, Aragón, Spain

Box Office

Opening Weekend:

$63,303 (USA) (31 January 2003)

Gross:

$34,514 (USA) (20 June 2003)

Company Credits

Production Co:

Quixote Films, Low Key Productions, Eastcroft Productions

Technical Specs

Runtime:

93 min 89 min

Sound Mix:

Dolby

Color:

Color

Aspect Ratio:

1.33 : 1

Did You Know?

Trivia

Fulton and Pepe embarked on their second feature about director Terry Gilliam intending to make a television documentary about the development and pre-production of Gilliam's long-awaited passion project. Having intimate knowledge of Gilliam's chaotic working methods, they knew they were in for something dramatic. But they had no idea that the story would develop into its own quixotic tragedy. After the failure of Gilliam's production, Fulton and Pepe were wary of finishing their film. Gilliam assured them that "someone has to get a film out of this. I guess it's going to be you."

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Quotes

Terry Gilliam: At least if we're going to be fucked, let's know we're fucked ahead of time.

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Crazy Credits

There are no opening cast or end credits except for the narrator. Cast members are credited by subtitles during the film or orally by the narrator.

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Connections

References Time Bandits (1981)

User Reviews

No one who loves film should miss this inside story of a gifted director pursuing a losing cause.

J.K. Rowling said that Director Terry Gilliam's `Time Bandits' was the inspiration for the Harry Potter series. Then who is better to fail than such a visionary-he already did with ` Adventures of Baron Munchausen.' But wait, he fails again with his incomplete `The Man Who Killed Don Quixote.'

In grand dramatic style, the mighty one falls, and in the process instructs us all about the difficulties of working outside Hollywood with shaky European financing and following a dream against all odds-and along the way endearing himself to us all.

Movies on movies abound by the hundreds, from the elegant `Day for Night' to the seedy `Boogie Nights.' None has shown, however, a filmmaker's pain and frustration the way this documentary, `Lost in La Mancha,' does. Directors Keith Fulton and Louis Pepe, at Gilliam's request, document his failed attempt to screen the Quixote story. They create a cautionary tale about moviemaking, especially vain attempts at adapting great literature. In this case, Orson Welles spent 20 years grubbing for funding for `Quixote' and died without the picture; in 1972 Arthur Hiller directed Peter O'Toole in a tepid `Man of La Mancha.'

Gilliam's previous successes (`The Fisher King,' `12 Monkeys') were good enough for him to round up $30 million for this film (half of what was really needed), yet the ghost of `Munchausen' seems to visit every scene: If Gilliam is not talking about its flaws, everyone else seems to be referencing it as the disasters pile up in pre-production and mount during the first week of production.

Of Biblical proportions are the extraordinary desert rains and the NATO jets over the Spanish desert. Of human dimension are Jean Rochefort (Quixote) and his ailing 70-year old prostate. To spice it all further is the difficulty of getting Vanessa Paradis to the set. In the end, Rochefort's illness damns the project, but Gilliam, we are told in the end, will try to buy back the script from the insurance company!

No one who loves film should miss this inside story of a gifted director pursuing a losing cause just as his fictional subject fought windmills 400 years ago (or Welles a quarter a century ago). Although Cervantes regularly ridiculed Quixote, readers became fonder of him with each insult. The more idealistic Gilliam becomes in the face of failure, the more the audience will love the creative 61-year-old director, who believes enough in his vision to continue shooting `images' after everyone else has forsaken the project: `The movie already exists in here [his head]. I have visualized it so many times . . . .' As `Black Hawk Down' should make recruits think more carefully about the glory of war, aspiring filmmakers should see `Lost in La Mancha' before devoting a life to the windmills of Hollywood. However, the romance of the most influential art form in all of civilization will convert the Orson Welleses and Terry Gilliams regardless of the pain.

Even T.S. Eliot knew there was life in the images: `But as if a magic lantern threw the nerves in patterns on a screen . . ..'