IMDb > Breakfast with Hunter (2003)

Breakfast with Hunter (2003) More at IMDbPro »


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Buy the Ticket, Take the Ride.
A documentary on the infamous gonzo journalist, Dr. Hunter S. Thompson. | Add synopsis »
User Reviews:
Insight into the real Gonzo? See more (11 total) »


Bob Braudis ... Himself

Douglas Brinkley ... Himself
Alex Cox ... Himself

John Cusack ... Himself
Tod Davies ... Herself (as Todd Davies)
Morris Dees ... Himself

Benicio Del Toro ... Himself

Johnny Depp ... Himself

Matt Dillon ... Himself

Terry Gilliam ... Himself

Lyle Lovett ... Himself (voice)
Frank Mankiewicz ... Himself
Eugene McCarthy ... Himself (as Sen. Eugene McCarthy)
Terry McDonell ... Himself

George McGovern ... Himself (as Senator George McGovern)
Mary McGrory ... Herself (as Mary McGory)
Laila Nabulsi ... Herself
P.J. O'Rourke ... Himself

George Plimpton ... Himself
Roxanne Pulitzer ... Herself

Christina Ricci ... Herself

Harry Dean Stanton ... Himself

Ralph Steadman ... Himself

Hunter S. Thompson ... Himself (also archive footage)
Juan Thompson ... Himself

Jann Wenner ... Himself

Tom Wolfe ... Himself
Warren Zevon ... Himself

Directed by
Wayne Ewing 
Produced by
Jennifer Erskine .... associate producer
Andrew Ewing .... executive producer
Wayne Ewing .... producer
Cinematography by
Wayne Ewing 
Mark Muheim 
Steve York 
Film Editing by
Wayne Ewing 
Art Department
Mike Bundlie .... graphic designer
Music Department
Jeanne Fay .... music clearance
Other crew
Cassandra Barbour .... legal advisor
Lynn Bopeley .... production assistant
Buddy Epstein .... legal advisor
Kathleen Ewing .... production assistant
Ashley Franklin .... production assistant
Deborah Fuller .... production assistant
David Huie .... production assistant
Sara Lyons .... production assistant
Laura Sevier .... rights and clearances
Anita Thompson .... production assistant (as Anita Beymuk)

Other Companies

Additional Details

91 min

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4 out of 4 people found the following review useful.
Insight into the real Gonzo?, 18 October 2004
Author: C P Harris from Gainesville, Fl

Wayne Ewing's cinema verité portrait of the Doctor of Gonzo Journalism is a keyhole to the everyday life of Hunter S. Thompson. Through years of edited film without any narration or interview from Ewing, this everyday life given to the viewer comes as a bit of a surprise. It is uncommon yet somehow natural. The Thompson I might have predicted is shown throwing a Chivas Regal bottle, spraying people with a fire extinguisher, manhandling blow-up sex dolls, shooting high-powered revolvers, etc. What I didn't expect is the warm interaction between Thompson and his friends. He embraces what might be considered the basket of a flip-flopped American Dream – Hollywood – in his friendships with John Cusack, Johnny Depp, Benicio Del Toro and Terry Gilliam (not, however, Alex Cox). This juxtaposition reveals a prevalent theme in Breakfast, and perhaps in Hunter himself.

Thompson suggested in the film a rationale for his rambunctious lifestyle when he said he was 'making literature out of what would otherwise be considered craziness.' This is the crux of the film, and the motivation for Hunter. Though he may be essentially crazy, some of the craziness he exudes is forced. For Thompson, it works. With drugs, alcohol, violence, etc. he causes excitement from what would otherwise just be boring. He creates a palette for which to convey his message. He did this in Fear and Loathing in Las Vegas through his (Raoul Duke) and his attorney's excessive abuse of drugs to help show the degradation of the American Dream.

But can this explain the wild-side Thompson portrayed in Ewing's film? Is their some focused ambition behind spraying Jan Wenner with a fire extinguisher? – or soaking Depp, Del Toro and himself in alcohol by sending an opened bottle of scotch freely whirling into the air? Maybe, maybe not. He takes control of any situation with such a crazy gesture, but if it's for some greater good, I don't know. Perhaps Thompson is so high on his own adrenaline that his antics are now focused on sole personal amusement. I like to think this is the case when he laughs off throwing a blow-up sex doll in front of a moving car, or when he mischievously notices an unaccompanied fire extinguisher in a hallway.

- - -

One personal note: something I felt missing from Ewing's portrait was Thompson's intended funeral. A massively-constructed Gonzo fist rifling a bullet containing his remains to explode above the Owl Farm mountains and then cover them like a blanket of rouge on a wrinkled America in such a way that would dwarf the resurrection of Jesus Christ seems to me to say something personal about Hunter S. Thompson.

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