"And he'd work a bit more and again take a picture. "I set up a button so whenever Ralph went to his drawing desk to work, he'd turn the lights on and press this button and he'd take a frame of his art," Paul says. "You know, we'd be doing some ridiculous thing at the Watergate hearings or something, and I'd say, 'Hunter, why are we doing this?' And he said, 'For no good reason, Ralph.' Always, 'For no good reason.' "įine Art The Story Of Steadman, Drawn From His 'Gonzo' Art The title of the film even comes from one of Thompson's cryptic explanations.
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Steadman feels his friendship and professional alliance with Thompson sharpened his attack. It was something that absolutely had to be done." "I think America is where all that was going wrong in the world was being nurtured," Steadman says. He was ready to take on America when he arrived in 1970, during protests of the Vietnam War. Steadman suggests he first learned to distrust authority in childhood in response to an abusive headmaster at his school. The film tries to understand how such a nice man can become a pictorial assassin. "He treated him as if he were dealing with a hit man, a Mafia hit man, because he saw these caricatures as the equivalent of assassins." Suares "said he treated with caution," Navasky says. Suares, the art director of Scanlan's magazine, was looking for when he hired Steadman to accompany Thompson to the Kentucky Derby in 1970, says Victor Navasky, author of a history of political cartoons called The Art of Controversy.
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