00:03Come ha avuto il suo lavoro?
00:30Questa è un'altra parte, tra noi due noi.
00:36Da un momento in cui non è mai letto.
00:39Abbiamo stato molto vicino,
00:40fino al momento dell'exito.
00:47I came across the Rum Diary
00:53con Hunter,
00:56quasi accidenti.
00:58We were down in his house in Woody Creek, downstairs in what was called the War Room, it was called
01:08the War Room, and there were just, you know, like, just these endless sort of boxes of stuff, you didn't
01:18know what it was.
01:19So we were down there, and I started just pulling things out, going, what is this, you know, bang, you
01:23know, open it up, and I stumbled upon what was called the Rum Diary.
01:33He said, maybe I should finally, maybe I should publish it, you know, I was like, yeah, you should publish
01:39it, it's great.
01:40And then from that conversation, about within 20 minutes, we were already talking about the movie rights and how we
01:48should produce this film together, and I was all for it, and, you know, with him on that venture, and,
01:55yeah, before the book was even published, we were talking about, you know, how we could make it into a
02:04film.
02:09Paul Kemp is, and always was for me, the early days, the early version of Hunter S. Thompson, you know,
02:19he was always going to be that guy 10 years or 12 years prior to Fear and Loathing in Las
02:28Vegas, you know.
02:30He was that guy, you know, looking for the voice, looking for his voice, and trying to find a way
02:36to express himself and write.
02:41So, yeah, Paul Kemp is Hunter.
02:50The film is about a very, you know, up-and-coming, hungry journalist, Paul Kemp, who sort of lies his
03:02way into a job at a newspaper in Puerto Rico to be able to write for a living.
03:10And he goes there and experiences, well, the horrors of the institution of news, which is to say that, you
03:27know, they're selling things, you know, they're selling news.
03:32It's not telling the news, it's more like selling the news.
03:35And it's a great, you know, discomfort to Kemp, who is obsessed with the idea of just writing and speaking
03:43the truth.
03:50He goes there to meet Latterman, who runs the paper, who's the editor of the San Juan, Bob Sala.
03:58And Sala kind of welcomes him into the fold and tries to give him the, you know, the skinny on,
04:08you know, how to proceed with things, you know.
04:13And, you know, weirdly, Sala's kind of okay with, you know, selling lies and that whole deal until he meets
04:24with Paul Kemp.
04:25And then they go into this other arena where they have the opportunity to expose something.
04:36There's a girl named Chano that the Hunter character meets quite by accident, but maybe a lot by fate.
04:50And she happens to be the girlfriend of one of these industrialists, you know, who want to turn Paradise into
05:04a playground for adults.
05:10I asked that there be a chair made for Hunter with his name on it.
05:15I asked that there be a script cover made for Hunter with his name on it.
05:19I asked that there be an ashtray and a little block of, a little packet of Dunhills with a cigarette
05:27holder every day with a lighter for Hunter.
05:30I asked that there be a bottle next to his chair every day and, of course, a bottle of ice,
05:41a glass, a highball glass filled with ice next to the bottle for Hunter.
05:53When the Rum Diary came up, I said, what about Bruce Robinson?
05:58He was like, that's the ticket, man, you know.
06:01Hunter was truly into it, especially the fact was like, we can't get him out of retirement.
06:06We will get him out of retirement, you know.
06:10And we eventually did.
06:13Although, you know, Hunter, you know, chose to make his exit a little too early and he didn't live to
06:23see Bruce Robinson become the writer, director of the piece.
06:27But that's, that was our, you know, he was our initial sort of hope, Bruce, and eventually I got him.
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