LOST IN LA MANCHA
Documentary | Running Time: 89 minutes
2001 / English, Spanish and French
Country: United Kingdom and United States of America (USA)
Directed by: Keith Fulton, Louis Pepe
Keith Fulton and Louis Pepe teamed up when they were both studying film at Temple University in Philadelphia. Their first feature documentary was The Hamster Factor and Other Tales of Twelve Monkeys, made in collaboration with the director Terry Gilliam, about the awkward marriage of art and commerce in Hollywood. Lost in La Mancha (2002) and He Dreams of Giants (2019), both shot on the set of Gilliam’s Don Quixote project, pick up on similar themes. More “behind the scenes” films about film-making shadowed Three Kings, Ghost World and Insomnia, while the duo have also shot a series of films about public education, including the feature The Bad Kids (2016). Fulton and Pepe live and work in Silverlake, Los Angeles, under the Hollywood sign.
Keith Fulton and Louis Pepe teamed up when they were both studying film at Temple University in Philadelphia. Their first feature documentary was The Hamster Factor and Other Tales of Twelve Monkeys, made in collaboration with the director Terry Gilliam, about the awkward marriage of art and commerce in Hollywood. Lost in La Mancha (2002) and He Dreams of Giants (2019), both shot on the set of Gilliam’s Don Quixote project, pick up on similar themes. More “behind the scenes” films about film-making shadowed Three Kings, Ghost World and Insomnia, while the duo have also shot a series of films about public education, including the feature The Bad Kids (2016). Fulton and Pepe live and work in Silverlake, Los Angeles, under the Hollywood sign.
ProducerLucy Darwin
CastTerry Gilliam, Johnny Depp, Jean Rochefort
ScriptwriterKeith Fulton, Louis Pepe
A “making of” documentary about a film that didn’t get made, this record of Terry Gilliam’s thwarted attempts to make his dream project – a film about a modern Don Quixote – pulls back the curtain on the frequently harsh realities of movie-making. After preparing his film for 10 years, Gilliam was able to shoot for just six days before crew conflicts, an injured star and an epic storm that washed away his camera equipment shut the production down. All this is captured by the directors in fly-on-the-wall observation, interviews and animated sequences of Gilliam’s storyboards that give a glimpse of the film that might have been. In the end, it is less about the film-making process than the tragedy of a defeated hero: Terry Gilliam himself.
SHOWTIME
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