Interwiev in englisch - Kristen Stewart im Interwiev mit " Salon "
Tuesday, Dec 18, 2012 04:00 PM +0100
Kristen Stewart: The thinking person’s movie star
The "Twilight" star talks about media insanity, her unbelievable career arc and her role in "On the Road"
Kristen Stewart (Credit: AP/Jordan Strauss)
I met Kristen Stewart somewhat unexpectedly. And I really liked her! I mean, she’s a cagey, cautious person; you can feel her sizing you up while she decides whether you’re an idiot or a nutjob and discerns how much she should stick to polite, neutral remarks. You might be like that, too, if you were 22 years old and the highest-paid actress in the history of Hollywood, and if you had seen an ordinary domestic spat with your boyfriend – the sort of thing a whole lot of 22-year-olds go through, if I remember correctly – become an international front-page tabloid story.
I did not ask her anything about Robert Pattinson or the current state of her love life. Because it’s not my business, and I really don’t care! So if that’s what you want to read, you might have to look elsewhere. But even in a brief and necessarily superficial conversation, I got a few flashes of real personality: Stewart is a young woman with a mischievous wit and a penchant for murmured, foul-mouthed asides who is enthusiastic about her work and also aware that her rocket-like ascension from the little-known indie ingénue of “Into the Wild” and “Adventureland” to a huge superstar has been an incredibly strange story.
Earlier this week, the virgin-turned-vampire of the just-concluded “Twilight” series was in New York for the premiere of a vastly different sort of film: the long-brewing adaptation of Jack Kerouac’s “On the Road” from Brazilian director Walter Salles (of “The Motorcycle Diaries”). A passion project that Salles has been working on for five years – and which he inherited from Francis Ford Coppola, who once hoped to make the film with Brad Pitt and Ethan Hawke in the starring roles – this “On the Road” is decidedly a mixed bag, visually lovely and packed full of music and atmosphere, but only sometimes capturing the syncopated, drug-fueled effervescence of Kerouac’s prose.
Stewart has been working hard to promote the film since its Cannes premiere in May, which is remarkable considering that she plays a supporting role and that it seems unlikely “On the Road” will attract much of a mainstream audience. (Her scenes were actually filmed more than two years ago, just before she shot the next-to-last “Twilight” film.) Her character, known as Marylou in the book and movie, is based on a real person named Luanne Henderson, who was the on-and-off partner of Kerouac’s charismatic, bisexual pal Neal Cassady, who became Dean Moriarty in “On the Road.” (Dean is played by Garrett Hedlund in this movie’s real star-making performance.)
One of the virtues of Stewart’s post-“Twilight” position, as she reflected in our conversation, is that she gets to do whatever she damn well pleases in a business and an era where most working actors have limited choices. She may or may not return to the role of Snow White in a sequel to the darkish fantasy “Snow White and the Huntsman,” and although she’s been cast opposite Ben Affleck in a screwball comedy for “Crazy, Stupid, Love” creators Glenn Ficarra and John Requa, that movie hasn’t begun production. In the meantime, her publicists suggested (with about 12 hours’ notice) that she might be willing to chat for a few minutes in her New York hotel before the “On the Road” premiere.
Although she was photographed later that night in a lacy, sheer and leggy designer dress and alarmingly high pumps, when I met Stewart she was dressed more anonymously, almost tomboyishly, in a pinstripe shirt, tan pullover and slim-fitting blue jeans.
You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
It’s hard because we’ve been working on this since we were in Cannes [in May]. When you’re promoting something like this, that you believe in, you want to be honest and open and empathetic, but when you get asked the same question …
Like, 35 times.
Right, exactly. And you give the same answers, which doesn’t mean that it’s fake or rehearsed. It can be something that you’ve thought about and you, like, totally believe.
You know, I’ve encountered that, where I’ve interviewed someone and then I read some other interview with them in a different publication where they say exactly the same things, word for word. And yet I believed at the time that it was a totally sincere conversation. And maybe it was!
It probably was. I’m going to do the same thing right now! [Laughter.] And it’s not on purpose. It’s not like you sit and remember those things. If you ask someone the same question over and over, the answer’s probably going to be similar.
Also, you’re an actor. You can deliver something over and over again and believe it. That’s one of your skills.
Yeah! Yeah, I guess that’s true.
You know, among some of my movie-watching friends, we’ve established a convention where we always refer to you as “the girl from ‘Adventureland.’”
Aw! That’s really funny. That’s cool! I love that.
And, you know, it’s not entirely a joke. Because I do know quite a few people who loved you in that movie and have very likely never seen those other somewhat more popular films that you did. [Laughter.]
Yeah, I get that.
I think of your career as something out of quantum physics, where you can’t predict a precise trajectory for a particle, only probability. There was a probable trajectory for you that’s way more plausible than what actually happened. It definitely leads from “Adventureland” to “On the Road,” and in between it includes “Welcome to the Rileys” and “The Runaways” and some other hip little indie films that never actually happened. It does not include the wildly unlikely thing that happened where you made a strange little vampire film for teenage girls and became the biggest movie star in the universe. Do you ever think about that?
Yes. It’s funny. I guess the time I think about that is when I’m asked if I’m pissed about being typecast, if I feel like people hold me to one idea. I would definitely have a huge problem with what happened if it kept me from doing what I’m doing — things that have really challenged me. Which includes “Twilight,” by the way.
I’ve never really been able to project myself into — see, when people ask me, “Where do you see yourself? What type of actor do you want to be? What type of movies do you want to do?” I can’t answer those questions. I have not been able to step outside and think about what I want it to look like. You get the right feeling, and you just sort of trudge forward.
Part of the “Twilight” legend is that when you and Rob and the other actors who signed on were cast in the first film, Catherine Hardwicke was directing, and you had no idea what you were getting into and how big it would be. Is that accurate?
Oh, yeah. Even within it, while it was happening — to expect something like that to sustain would have been crazy. We had no idea. As far as we knew, it was a one-off. Catherine Hardwicke did smaller movies. We had no idea going into it that we would even have a sequel.
Before I let go of “Adventureland” — and I would happily spend our 15 minutes just talking about that — I want to mention that even though it wasn’t a hit and was maybe poorly marketed, I think [writer and director] Greg Mottola should get credit as a talent spotter. You’re in that film, Jesse Eisenberg is in that film and Ryan Reynolds is in that film, and none of you was all that well known at the time.
That’s true. And look at “Superbad”! That had Michael Cera, sort of for the first time. I know he did “Arrested Development” and stuff. But in film, it was the first time anyone was like, “Oh, there you go! There’s that dude!” It had Jonah Hill, Emma Stone. It’s crazy, you’re totally right.
I was startled to realize, looking it up, that “Adventureland” came out less than four years ago. But a lot of stuff has happened for you since then! Does it seem like a really long time ago?
Actually, it does. I did that right before “Twilight,” so I was 17. It was right around the same time I met Walter Salles, who was already trying to make this film ["On the Road"].
Knowing what you know now about what would happen after you took that role with Catherine Hardwicke …
I mean, seriously, I can’t imagine what it must be like to be 22 years old and to pretty much have lost the degree of privacy and anonymity that 99.9 percent of us take for granted.
Oh, man – like, severely!
So would you do it over again if you could?
Yeah. Definitely. I mean, on a number of levels. I wouldn’t exchange the process of making the movies. Usually I’ve got five weeks, or five months tops, to go crazy and obsess about a character. If you had described the weight of it to me initially, I would have doubted being able to sustain the type of energy that it takes to make a movie. By the end of a movie, a lot of actors will go home and get sick; there’s a huge recovery period. It’s like, you expend all your energy. To find a project that allowed me to have that same feeling for five years — I would never, I can’t trade that. It’s mine! Obviously your experiences make you who you are, and that is such a huge part of me. I can’t imagine not having it.
And at the same time, I love movies, and I love having a strong foothold in this business. I definitely don’t deny the freedom that it’s given me, as an actor, to do whatever I want. To choose things that are really weird or things that are really cool and commercial. You know what I mean? Actors normally do what they can, and it’s great to not have to.
Do you hold out hope, now that the “Twilight” series is over, that the amount of ludicrous media attention that you’ve gotten at times will normalize?
Yeah. And, I mean, even in the most ludicrous times, I feel very normal. It’s hard to say in black-and-white terms, but on some level I suppose I have a unique perspective. I look through a really strange lens at the world because of all this. But it’s no less interesting. I’m not deprived of any bit of life, you know? It would be really stupid to deny how interesting it is to look at the world in this way.
Are you keeping notes? Are you going to write a book or something? I don’t know if that’s your instrument.
Yeah, I don’t know. I do love to write, but I don’t know if I’m the best storyteller. [Very low voice.] Basically, people are crazy.
I remember seeing you a couple of times, like across the room, at parties at Sundance when you were there with “The Runaways,” and it did seem like you were doing a pretty good job of having a normal experience — despite the fact that there were 80 photographers standing outside waiting for you to leave.
Yes. And at Sundance it’s really disconcerting. It’s like, “Come on! Let me have this!” That actually does bug me — situations like that, where it’s inappropriate. That’s what really pisses me off.
Well, you were the person that year who was bringing the star power. Because at Sundance, you can just run into people on the street at random. I once walked right into David Bowie, and no one was even paying attention to him.
Right, it’s true. And the problem at Sundance for me, at that point, was that you would show up at a place and people would go [exasperated sigh], “Oh, God. Great!” There’s all these people and it’s crazy. You’re like this cloud — you’re at Sundance and you smell. You’re not indie anymore, you know? You’re bringing the paparazzi. I’m like, “I fucking grew up here! What the hell!” [Laughter.]
Maybe this is an odd thing to say given how much money and how much adulation you’ve gotten out of the “Twilight” series, but I wonder if you feel like the difficulty of the acting challenge has gone underappreciated by critics and non-fans. I mean, they’re not my favorite movies or anything, but they’re a lot better than the books! The cast in general does good work, and your character feels very well thought-out and precisely crafted. Do you feel like people don’t notice that?
I don’t know. I feel like people think that’s me! [Laughter.] It is pretty funny. I say this all the time, and I don’t want to contradict myself: I feel really close to all the characters I play. I’m not the type of person who hides behind a role. I’m not a character actor. The reason I’m ever able to do the job is, like, you read a bit of material that reveals yourself. It can be shocking and surprising, and there are aspects that are a little bit more buried than what seems to be apparent. But at the same time, it is crazy for people to think that I was vicariously having this experience, just dipping along through “Twilight”-land.
But then, a lot of your fans think that, too, am I right?
Oh, for sure! People think that that’s me, that that’s who I am, that I am Bella. It is crazy. Because I am — quite different, in so many ways. Just the other day, somebody asked me in an interview, “So, does it bother you that you’re definitely no critics’ favorite or whatever? Don’t you feel like you want some validation or recognition, a pat on the back?” And, I mean, oh my God. It is so not the issue. It’s kind of the same answer that I had about being typecast. If I suddenly started hitting walls, if I felt like I wasn’t being challenged anymore, if I felt stagnant, that would be one thing.
But I feel like I’ve been so lucky to keep moving. As soon as you start doing things for that reason, it’s so crazy. Plus, then you talk to people who really want to talk about your movies and are really into it. So, it just doesn’t feel like his general perception, which was pretty much that I’m the “Twilight” girl that everyone shits on.
Had you read Kerouac’s “On the Road” before taking this role? [She nods yes.] Because it is so much a boy’s story.
It’s a boy book.
I mean, the girls are there for sex, for sure. [Laughter.] But he’s not overly concerned with their individuality, their inward thoughts, their personal journeys. And somehow, you found a real person there, a very physical person, but a person who seems alive and present and at least somewhat in charge of her life.
It’s not their story, and I was definitely scared about playing a caricature, somebody who was just serving as ambience, setting the tone for the wild and crazy party scenes. Reading the book, there are all these little details that make Marylou seem just a little curious. You wonder about her for sure, but you do not know where she is emotionally or personally at all. To play the part, it put it on a completely different plane as soon as we got to know the people that these characters were based on.
In your case, you’re talking about Luanne Henderson, who became Marylou in the book.
Yeah. The reality of the situation is definitely not on the screen, but I think it’s felt, and more so than in the book. I don’t know — for anyone who might read the book and think that the women are used up, that they’re used and abused and taken from in a way that leaves them empty — you couldn’t do that to this girl. Like, it was impossible. She was the most formidable partner for him; it was such a push-and-pull. They knew each other until the end of his life, and he couldn’t stop going back to her.
Knowing some of those things and hearing the way she recalled her life — it was so personal to her, and she was so unaware of the movement she was part of. It was really rare to find a character who was that young, and a girl of that time — not to sound super-obvious about it — who was so proactively living her life as her own. She wasn’t crippled by the fear that comes with being a teenager and not knowing where you’re going and not really knowing yourself yet. She had this trust in herself and was so self-aware and so unself-concious. She lacked any bit of vanity, which was, especially for a pretty girl — she had no idea. She was literally the most empathetic, generous, awesome person.
You know, when you read the book you can get the feeling he got around these people. How much he loved them and how remarkable they were. It’s great. But when we listened to these tapes, it was just so uncanny. We’re five minutes into listening to this woman speak, and we were laughing; we were giddy about it. She’s amazing! We were in love with her instantly, and she hadn’t said more than a few sentences. That’s what Kerouac was talking about; he was not fucking around. He was right! That was what made it so much fun.
“On the Road” opens Dec. 21 in New York and Los Angeles, with national release to follow in January.
Bericht in englisch - " On the Road " im " Allure " Magazin
View From the Red Carpet: On the Road With Kristen Stewart and Kirsten Dunst
Rough travel can humble even great beauties. According to On the Road director Walter Salles, many members of the film's cast took hard-driving car journeys before playing the frenetic characters in the movie inspired by the Jack Kerouac novel. "Kristen Stewart took a journey in her car, just to get the feeling of it. On her own," he says. At Grey Goose Vodka's New York premiere of the film, we asked the stars about life—and keeping up appearances—on the road. Anybody got a comb?
Kirsten Dunst: "I did go on a road trip, about a week and a half, about two or three years ago. I'm a good person to have on a road trip. Vanity goes out the window. Well, you bring clothes [laughs]. Deodorant? Yeah, of course, you don't want to smell for your passengers."
Kristen Stewart: "In the film, I wasn't going for rough, but I was going for real. Vanity was the last thing on her mind."
Garrett Hedlund: "Walter [Salles] and I did a road trip from Los Angeles in the '49 Hudson for three weeks and met some of the best mechanics in the land after nine breakdowns."
Walter Salles (director): "We never allowed [hair or makeup] retouches during the shooting day, for life to sink in."
Interwiev in englisch - Kristen Stewart im Interwiev mit der " Huffingtonpost
Kristen Stewart Takes HuffPost's #nofilter Challenge, Doesn't Say Much
These days, our knowledge of celebrities too often originates with paparazzi images and snarky quotes by anonymous "insiders." After a while, it's easy to forget that stars are real people. That's why HuffPost Celebrity decided to launch its all-new #nofilter quick-fire question and answer series. Because how well do you know someone until they've shared their guiltiest pleasures?
It's been quite a year for Kristen Stewart. Leaving aside her tumultuous off-screen existence, she put a cap on one blockbuster franchise (in all, the five "Twilight" movies made more than $1.3 billion at the box office), kicked off another ("Snow White and the Huntsman" took in a healthy $155 million) and renewed her indie-movie cred card with a daring performance in Walter Salles' "On the Road," which debuted at the Toronto International Film Festival and opens in limited release on December 21. HuffPost recently talked to Stewart about "On the Road" -- and persuaded her to answer some #nofilter questions while we had her attention.
What's your guiltiest pleasure? Hmm. I take these things very seriously. Whenever anyone's like, "Oh, we're just gonna do a fun quick-fire-question thing." My guiltiest pleasure? Shit. God. Dude, what's yours?
Oh, God, I probably wouldn't want to say, now that I think about it. See?
Have you ever stolen anything? Actually, no. I stole a pack of gum when I was younger and literally turned right around and gave it back. And he was such an asshole to me. I was like, "I should have just walked. I am being a good person." And he literally chastised me for 15 minutes. I was like, "Why did I even give this back to him?"
If failure weren't an option, what's one thing you would do? Oh, god. God. That is too -- dude, these are not quick-fire questions. They're heavy questions.
What shows are on your DVR? I actually don't watch TV.
Do you ever text in the movie theater? Um, I don't typically sit in a movie theater.
If you could ask Kim Kardashian one question, what would it be? Um, wow. I have no idea
Bericht in englisch von " Stylenews - Peoplstylewatch
Kristen Stewart, Amy Adams a ‘Dream’ to Dress in ‘On the Road’
Sure, one of the more notable scenes in the new movie On the Road actually features an actress without clothes, but costume designer Danny Glicker promises that audiences will be blown away by the film’s clothes. And with all of the work he put into these looks, they’d better be.
“It was a hugely immersive research period,” Glicker (who was nominated for an Oscar for his work on Milk) tells PEOPLE. “We obviously started with the script, but then I really had to reconstruct Jack Kerouac’s entire journey, so that we’d have a reference point for every place that the characters go.”
The film takes viewers on a trip that extends throughout the U.S. and Mexico of the 1950s, so Glicker says he “had to look with a fresh set of eyes at what the countries really did look like back then, in post-war America.”
However, a perk of the job was dressing the film’s leads: Kristen Stewart, Amy Adams and Kirsten Dunst. “It was a dream,” Glicker says. “They were amazing. I had so much fun with all of them.”
Glicker says each woman “had a very specific piece of the puzzle. Kristen and I worked super closely together — she was so committed to the role,” he shares. “And to see her intelligence and awareness of how clothing can inform every aspect of her understanding of a character … that was pure pleasure.”
Working with Adams was also “a dream,” because Glicker considers himself “such a huge fan. I got to make her look quite awful, actually — she’s playing a woman who’s incredibly strung-out on drugs — but thankfully she’s a brilliant actress. We had a ball.”
Dunst had one of the more fun characters to dress, Glicker says, because “she had an elegance about her,” he explains. “It was fun to show that elegance through her clothing, and that then impacted everything, like her posture, and how she appeared against the other characters in the larger picture.”
Dressing the men of the cast was interesting, too, and of course lots of thought went into the actor’s outfits. “Sam Riley, who is our Kerouac, was a nice partner in crime,” Glicker says. And one of his pieces was the most important in the film.
“Something you may not notice when you see the movie, is that he has this incredibly iconic red-and-black plaid jacket — it was designed specially for the movie.”
Glicker sourced five of the pieces for filming, since Riley wears the coat throughout the movie, but as time goes on, “it gets more destroyed,” the designer says. “It’s not at all a gag, but wouldn’t you notice if it was clean over the course of a four-year roadtrip? So it was really fun to explore clothing in that way.”
Since Glicker had to create so many costumes — seriously, the cast list is long! — was he able to pick just one favorite? Not a chance. As he says, “There were thousands of standouts.” On the Road opens in New York and Los Angeles on Friday, and throughout the rest of the country soon. Tell us: Do you plan to see the film?
Offenbar scheinen Kristen Stewart (22) die kalten Wintertemperaturen nur herzlich wenig auszumachen. Am vergangenen Donnerstag zeigte sich die Twilight-Darstellerin in einem Hauch von Nichts bei der Premiere des Films „On The Road“ in New York und blickte den Kameraleuten bauchfrei entgegen. Dabei liegen die Höchsttemperaturen in der Weltmetropole derzeit auch nur bei circa 10 Grad. Ihre Körpermitte ließ Kristen allerdings auch beim vorherigen Lunch im Sabareth Restaurant unbedeckt und stolzierte nach dem Essen dann auch noch ohne warme Jacke über die Straße in Richtung Fahrzeug.
Anscheinend ist die Bella Swan Mimim immer noch im Sommermodus, trug sie darüber hinaus auch noch eine Sonnenbrille mitten im Restaurant! Wenigstens entschied sich die 22-Jährige für eine lange Jeans, einen braunen Pulli mit hellblauem Hemd darunter und rote Doc Martens. Gebibbert hat sie vor Kälte trotz kurzem Pulli allerdings nicht, wahrscheinlich wollte sich Kristen Stewart schon mal für die anstehende abendliche Filmpremiere an die Temperaturen gewöhnen.
Bericht in englisch - Kristen Stewart & Garrett Hedlund im " Vulture " Magazin
Kristen Stewart and Garrett Hedlund Discuss Their Revealing On the Road
By Kyle Buchanan
Kristen Stewart and Garrett Hedlund are in the middle of a game of Q&A chicken. They’re sitting in a courtyard at the Beverly Hills Four Seasons on a hot November morning, staring at each other over a small table, waiting for the other one to crack first and answer my question. The only movement comes from the smoke wafting off his cigarette and the slowly forming half-smile on each of their faces.
All I’ve done to provoke this battle of wills is to ask, “Which of you is most like your character in On the Road?” In the new film adaptation of the classic Jack Kerouac–penned road trip novel (which opens today in limited release), Hedlund plays the charismatic bohemian Dean Moriarty, and Stewart is cast as Dean’s carnal free spirit of a girlfriend, Marylou. Neither actor wants to brag that he or she closely resembles an iconic literary character, so it becomes obvious to both that a round of mutual compliments is the only way out of this question. But who will be brave enough to suck it up and go first?
“He’s got a lot of Dean in him,” Stewart finally says.
“He’s got a lot of teeth in him?” Hedlund replies, in mock-confusion.
“Dean!” she insists, as they both start laughing. It isn’t hard to coax a smile from Stewart and Hedlund, even if their screen personas would suggest otherwise. Both are best known for their straightforward, sullen work in big-bucks franchise roles — she in Twilight, he in Tron Legacy — and you can see what drew them to On the Road, a film populated not by computer programs but flesh-and-blood people, where the characters aren’t undead but instead, really living.
In truth, Hedlund and Stewart are both closer to their roles than they’d readily admit. Like Neal Cassady, the Beat figure whom Dean is based on, Hedlund grew up in the heartland, spending his childhood on a farm so remote that you have to fly into Fargo and drive three hours away to find it. To win the part in On the Road, Hedlund channeled the vibe of the novel and wrote several soul-baring pages about his own life, offering them to director Walter Salles after his first audition by asking, sincerely, “Can I read you something I wrote?” It worked.
As for Stewart, “You wouldn’t be attracted to a project if you had to fake it,” she says. Though Marylou is more impetuous and sexually assertive than the other roles she’s played, Stewart claims, “I don’t feel like I’m stepping outside of myself when I’m playing parts. Even if it’s really different from the apparent version of who I am, I’m always somewhere deep in there.”
It isn’t jarring to go from green-screen blockbuster work like Snow White and the Huntsman to something this intimate and sweaty? Again, Stewart half-smiles; she's spent most of her career alternating juggernaut Twilight films with barely budgeted indies like The Runaways and Welcome to the Rileys. “I don’t mind making big movies, ‘cause you get to sort of bitch and complain with the other actors about what’s keeping you from being able to really feel it,” she says with a self-deprecating chuckle. “But then at the end of the day, you could be in a white room; the whole thing about being an actor is you have to have an imagination.”
A lack of inhibition helps, too. In On the Road, Hedlund plays a cool character full of Beat bravado, but he’s still asked to do things that might make other young actors flinch, like shedding his clothes, dancing with wild abandon in long unbroken takes, or simulating rough sex with Steve Buscemi. Ask him about finding the freedom to go to those places, and Hedlund surprises by daring to quote not a venerated literary icon like Kerouac but Ethan Hawke, whose book Ash Wednesday, he says, made a big impression on him as a teenager.
“‘The only thing in life worth learning is humility,’” quotes Hedlund, who vaguely resembles Hawke with his brown goatee and earnest literary bent. “‘Shatter the ego, then dance through the perfect contradiction of life and death.’” His explanation: “It encourages you not to walk with your head down and your hands in your pockets and be closed off to life, but to be open and nonjudgmental and accessible to experience a lot of wonderful journeys within this short life of ours.”
Do those inhibitions come down permanently after simulating the envelope-pushing sex scenes of On the Road? Stewart says yes and acknowledges that in general, she's perceived to be a closed-off person, but that she's working on it. “It’s funny: By putting up walls, you think you’re protecting yourself, but you get to live less,” says Stewart. “If you’re hiding behind a wall, then you can’t see over it. You’re depriving yourself of so much if you’re trying to be too aware of what you’re putting out there, you know?”
She adds, “If you feel someone breaking those walls down, let them. Those are the people that you need to find in life, rather than people that you’re just comfortable with.”
With that in mind, it's no wonder that Hedlund and Stewart want to end our conversation by discussing Just Kids, Patti Smith's book about her artistically enriching and culture-defining friendship with artist Robert Mapplethorpe. “It had a very similar effect on me as reading On the Road did when I was 15,” says Stewart, who's currently reading the novel for a second time. “I had a serious urge to create shit after I read it, to go out and find people, and travel.”
When I bring up the recent report that Smith is a fan of Stewart's — suggesting that maybe one day, she could find herself starring in another adaptation of a bohemian coming-of-age book — Stewart demurs and meets eyes with Hedlund again. “I will never be the type of person like Patti Smith who has that compulsion to be constantly creating,” she laughs, confessing, “You feel diminished somehow [after reading it]! You’re like, ‘God! I gotta build myself back up again! I need to actually use every second! Why am I sitting around, ever?’”
" On the Road " Rewiev im " Nylon " Magazin - Bericht in englisch
MOVIE REVIEW: ON THE ROAD
We head out West with K. Stew and the gang...
We've said it before and we'll definitely say it again: Adapting a classic piece of literature into a film comes with great risks.
There will always be a large group of people who protest and claim the movie butchers the text.
And though we're sure some definitely feel this way about Walter Salles' screen adaptation of On the Road, we're glad to say we do not feel this way--in other words, we kind of liked it. Sure, the movie doesn't compare to Jack Kerouac's monumental novel, which arguably captured the true feeling of what it was like to be a part of the Beat Generation. But we definitely give Salles props for having enough grit to take on such a major feat. Bottom line: If able to step away from the whole "I-can't-believe-they-made-this-into-a-movie" attitude, we think you've got a fair shot at enjoying yourself.
Here are the top four things we liked about it:
1. The film boasts a finely tuned, really awesome aesthetic--from the all the cars shown being a different shade of blue, to the gritty look of New York in the late '40s.
2. Kristen Stewart totally surprised us as Marylou. She's raw, dynamic, brave, and definitely one of the most fascinating characters in the movie. Kirsten Dunst isn't in it as much, but her performance is another great surprise of the film.
3. Sam Riley and Garrett Hedlund have a sweet bromance chemistry-- you know, in a weird drug buddy way.
4. The costumes are pretty much what we dream of finding any time we enter a vintage store, and we definitely walked away with some major outfit inspiration.
As for all the overly hyped nudity, it ironically seems like more of an afterthought, as it neither makes nor breaks the movie. The one thing we will say while on the subject is you probably don't want to see this one with your parents...Awkward... ALI HOFFMAN
Bericht in englisch - Sam Riley zu Kristen Stewart im " ELLE " online Magazin
Hot Topic: Sam Riley
December 21 12:20 PM by Lorraine Cwelich
Sam Riley in On the Road, courtesy IFC Films/Sundance Selects; Photo: Gregory Smith
On the Road is a beautiful little film with a feral heart. Nominated for the Palme d’Or at Cannes Film Festival this year, On the Road is based on Jack Kerouac’s iconic Beat novel. Sam Riley portrays Kerouac’s alter ego, Sal Paradise; Garrett Hedlund is his best friend, the fast-talking, responsibility-shirking Dean Moriarty, and Kristen Stewart is the vibrant, unabashedly sexual Marylou, who sleeps with both of them. They crisscross the country in a restless, rootless search for Experience, staying up all night, amped on Benzedrine, dancing, drinking, discussing poetry with characters based on Allen Ginsberg and William S. Burroughs, and hanging in jazz clubs from San Francisco to Greenwich Village.
Riley was the lead singer of the British band 10,000 Things when he was chosen to portray Ian Curtis, the suicidal frontman of the legendary post-punk band, Joy Division, in Anton Corbijn’s gritty, acclaimed 2007 film, Control. In 2008, Riley became the face of the Mario Testino-shot, Christopher Bailey-styled Burberry ad campaign. Next up? Neil Jordan’s vampire thriller, Byzantium.
Name: Sam Riley
Relationship Status: Married to his Control co-star, German actress Alexandra Maria Lara
Out of Control: "I’d been working in a warehouse so I was elated to get the role. Playing Ian Curtis was exhausting but intense. We really felt like a band because we were playing live. There were like 600 people there, who had been found on a Joy Division fansite. It was scary because we were playing to a roomful of experts."
Being Kerouac: "I’m not the one doing all the mad things; I’m the witness. He was non-judgmental, just watching and scribbling. He had an open mind for the hobos or the intellectuals. It was easy to play the observer when you have all these fascinating actors around you."
Between the sheets with Kristen: "You achieve a comfort level by pretending. We both have partners, and we were friendly. I’m not actually comfortable doing that sort of thing because I was feeling guilty because she was like, 19, and I was 30. I’m actually more comfortable doing psychotic things than sex scenes. Really, you just hope you get it done as quickly as possible."
Living in Berlin: "It’s a fascinating place, an arts epicenter. Before World War II, it was one of the most permissive places in the world, with Cabaret-like sexuality, which is why Hitler thought it was disgraceful. It still boggles the mind how people survived the Wall. Unlike New York, Paris, or London, young people with non-conventional jobs can afford to live with some comfort and space, which is good for artists. They work hard and everything works, which, as an Englishman, I find hilarious. We panic if there’s two centimeters of snow in London."
KStew knows a thing or two about the undead: "I asked her one time to explain the story of Twilight to me, and she told me about how she has this weird baby, and I said, it doesn’t exactly sound like children’s entertainment! I was quite surprised at how insane it all seemed. She was a little shy at first, but she’s great fun to hang around with. I was really impressed with how she handled herself in an almost frightening situation in Argentina, when we were being chased in an airport by 300 screaming fans. A lot of girls her age—not to name names—go off the rails with that kind of attention, but she’s got a good head on her shoulders. But no, she didn’t have any vampire tips for Byzantium. I just naturally have the complexion for it."
Bericht in englisch - Rewiev von der " New York Times " zu " On the Road "
Movie Review Thrill-Seeking Beats Take the Scenic Route ‘On the Road,’ Directed by Walter Salles
IFC Films/ Sundance Selects Sam Riley, left, and Garrett Hedlund in “On the Road,” the director Walter Salles’s screen version of Jack Kerouac’s novel.
By STEPHEN HOLDEN Published: December 20, 2012
First the good news: America the Beautiful has rarely looked more ripe for exploration than it does in “On the Road,” a noble attempt by the Brazilian director Walter Salles (“The Motorcycle Diaries,” “Central Station”) to capture literary lightning in a bottle. With spacious skies stretching endlessly over open, uncongested roads bordered by amber waves of grain, and purple mountains beckoning in the distance, the movie resurrects a perennial frontier dream and invites you to barrel into the unknown with its Beat Generation legends.
That elusive lightning is the electricity in the hopped-up prose of “On the Road,” Jack Kerouac’s 1957 novel, which a decade after its publication inspired countless stoned hippie odysseys to Haight-Ashbury and beyond. But can prose that snaps and sizzles be translated into an electrifying movie?
The container for all that energy is José Rivera’s scrupulously faithful screen adaptation, which tries with only fitful success to convey the bravado, passion and verve of Kerouac’s besotted streams of consciousness. When you peer through the verbal fireworks, what lies beyond?
The beauty and precision of Eric Gautier’s cinematography gives everything, from the great outdoors to the cramped dingy bars of late-1940s New York to a Mexican brothel, a surreal visual intensity that makes it look both archetypal and brand-new.
It is useful to remember that the restless searching chronicled in the novel began two years after World War II, in 1947, when the United States was a much poorer, more innocent country. The movie does a terrific job of evoking an explosive, optimistic sense of possibility as the nation, in the flush of victory, flexed its collective muscle and set about reinventing itself.
The film is one of the few movies about an author to resist (though not always) the cliché image of the sensitive writer at his typewriter conjuring the muse as he gazes soulfully into space. Sal Paradise (Sam Riley), Kerouac’s alter ego, assiduously takes notes during his adventures, and his astutely selected voice-over readings of short passages from the novel fuse with the jagged visual rhythms.
“On the Road” has a red-hot vintage jazz soundtrack in which the music of Charlie Parker and Slim Gaillard brilliantly distills the hyperkinetic frenzy of hot-wired characters on a literary bender jumping out of their skin from Benzedrine, coffee, booze and marijuana.
And now for the not-so-good news: If there is little to actively dislike about “On the Road,” there is a great deal to be disappointed in. It’s debatable whether anyone could play its sexy, near-mythic pied piper, Dean Moriarty (Garrett Hedlund), a k a Neal Cassady, the charismatic, free-spirited hipster about whom every devoted reader of “On the Road” has a personal fantasy.
Mr. Hedlund, who was in the film version of “Friday Night Lights” and in “Troy,” has the all-American good looks and easygoing charm for the role but exudes none of the feral danger associated with a desperate thrill seeker compelled to push limits. And a subplot in which Dean searches for his father is so perfunctorily dropped into the film, it is emotionally weightless.
The role would have been ideal for the young Marlon Brando, who Kerouac hoped might play Dean in a movie opposite himself as Sal. Other possible candidates include the young Robert De Niro, Ed Harris and maybe, just maybe, Ryan Gosling. But Mr. Hedlund is simply too wholesome a screen presence to play a maniacal rebel.
Mr. Riley, who portrayed Joy Division’s Ian Curtis in “Control,” is even more gravely miscast as Sal. In addition to lacking Kerouac’s dark movie-star looks, he radiates little of the inner fire that crackled through Kerouac’s writing.
“On the Road” is really a romantic paean to a charismatic madman told by his worshipful acolyte and chronicler as they crisscross the continent over several years. In the book, character development and storytelling are secondary to blasts of supercharged writing that is the literary equivalent of jazz improvisation. But because so little of that language is in the film, Sal emerges as an earnest, passive, almost drippy disciple more concerned with gathering material for a novel than with living high in the moment.
The sex and drugs Kerouac described with a sense of thrilled discovery in the novel come across in the movie as the same old sex and drugs that lost their mystery in the mass hippie freakout of the 1960s. I would much rather imagine it than see all the banal mechanics. The movie doesn’t bother to evoke the conflict between the lives of these bohemian wild men and the square America of the 1940s and ’50s.
On a visit to New Orleans, Old Bull Lee, a k a William S. Burroughs (Viggo Mortensen, miscast), puts in an appearance. Carlo Marx, a k a Allen Ginsberg (Tom Sturridge), is a moist, moony poet infatuated with Dean. In the cameo roles of the mistreated women in Dean’s life, Kristen Stewart smolders with sullen, defiant sensuality as she tries to keep up with the boys, and Kirsten Dunst reacts to Dean’s betrayals with outraged indignation. Because these female impediments to Dean’s selfish pleasure-seeking are far more real on the screen than in the book, his romantic mystique is fatally tarnished in the movie. It all seems — dare I say it? — of little consequence.
“On the Road” is rated R (Under 17 requires accompanying parent or adult guardian). It has sexual situations, strong language and nudity.
On the Road
Opens on Friday in New York and Los Angeles.
Directed by Walter Salles; written by José Rivera, based on the novel by Jack Kerouac; director of photography, Eric Gautier; edited by François Gedigier; music by Gustavo Santaolalla featuring Charlie Haden and Brian Blade; production design by Carlos Conti; costumes by Danny Glicker; produced by Nathanaël Karmitz, Charles Gillibert, Rebecca Yeldham and Roman Coppola; released by IFC Films and Sundance Selects. Running time: 2 hours 5 minutes.
WITH: Garrett Hedlund (Dean Moriarty/Neal Cassady), Sam Riley (Sal Paradise/Jack Kerouac), Kristen Stewart (Marylou/LuAnn Henderson), Amy Adams (Jane/Joan Vollmer), Tom Sturridge (Carlo Marx/Allen Ginsberg), Danny Morgan (Ed Dunkle/Al Hinkle), Alice Braga (Terry/Bea Franco), Marie-Ginette Guay (Ma Paradise), Elisabeth Moss (Galatéa Dunkle/Helen Hinkle), Kirsten Dunst (Camille/Carolyn Cassady) and Viggo Mortensen (Old Bull Lee/William S. Burroughs).
Bericht in englisch von " usatoday.com " zu " On the Road " & neuer Still von Kristen Stewart
Kristen Stewart steers in a new direction It's been a long, strange trip from 'Twilight' to the tabloids to the film of Jack Kerouac's 'On the Road.'
Donna Freydkin, USA TODAY11:10p.m. EST December 27, 2012
(Photo: Robert Deutsch, USA TODAY)
NEW YORK — Kristen Stewart has a solid, vigorous handshake.
When she arrives at the darkened restaurant at the Tribeca Grand hotel, precisely seven minutes late, she's guardedly apologetic about her tardiness. A table of men gawks at Stewart as she keeps her head down, her hair loose around her face, clad in jeans and a T-shirt and sneakers, and quickly crosses the room to a more secluded table in the corner.
Stewart, barely out of her teens, has tasted the flip side of fame, and it isn't much to her liking. She's cautious and watchful and ill at ease, until she's not. The thing is, give Stewart a little bit of time, a glass of pinot grigio, and some thoughtful conversation, and she warms up.
Being gaped at, she says, brings out her inner dork.
"I feel like I'm in the sixth grade, and everyone in the room is laughing at me. Some people can come into a room and say hello to everyone, and it's fine. I'm not that person. I don't think I'm very approachable," says the actress, 22
She's no pushover. If there's one thing you need to note about her, it's this: When she suddenly was anointed the tabloid scarlet woman, after photos surfaced of her getting cozy with married director Rupert Sanders — while ostensibly dating her Twilight co-star Robert Pattinson — Stewart didn't hunker down and hide under the covers. She went to Toronto in September to promote her labor of love, On the Road, the adaptation of Jack Kerouac's classic 1957 novel about the Beat Generation. She talked to press. She posed for photos. She attended the premiere of the film.
"I've been working on this thing for five years. When it makes sense, when there's a platform for it, it makes so much sense for me to be there. I can stand tall. I can stand proud," Stewart says. "I've never been the type of person who can stand in the forefront of nothing. That occasionally makes public appearances awkward. It feels a lot different when you're going to unleash something that feels worth it."
A conversation with the actress isn't linear. It ebbs and flows and touches on everything from her love of cooking to her appreciation of Kerouac to her recent fascination with the reality show Duck Dynasty, courtesy of her best friend Dakota Fanning.
"She is 100% herself 100% of the time, which is admirable and difficult to do," Fanning says. "She's very unapologetic of herself. She does everything to the fullest. She's really honest."
Silver Linings Playbook and The Hunger Games star Jennifer Lawrence calls Stewart "one of the coolest people I've ever met. She's just really laid-back. She's one of those people who owns her own energy. She's down to earth and funny and nice and just cool."
And for someone who has never been at ease in the spotlight, Stewart isn't about to start spilling her guts now. She's not telling whether she and Pattinson are back together, or not, or something in between. And she doesn't really care what anyone thinks, either way.
"People think they knew a lot about me before. They know even less now," she says. "People will project whatever. It's a huge form of entertainment. As soon as you step outside your own life and look at it like that and think that you can shape something — you need to live your life. I'm just going to live my life, actually."
Stewart's career is also at a crossroads of sorts. She just wrapped up the Twilight film series, based on the insanely popular books and starring Stewart as Bella Swan, the love of vampire Edward Cullen (Pattinson). The films made her famous beyond belief, rich beyond comprehension, and even more leery of being a superstar who can't go out to dinner without being mobbed. Stewart is grateful to have been part of the Twilight behemoth, and to have played a character who was so pivotal in many teens' lives.
"I never felt stuck in that. Not at all," she says. "I had so many opportunities in the midst of that to do a million things. If it kept me from doing other things, I still wouldn't resent it. You start a project to finish it. I was eager to get back and finish the story."
A different kind of role
As for On the Road, which shows a far more adult side of Stewart, "this wasn't me stepping out to do a different thing to liberate myself," she says.
Playing Marylou, the free-spirited, uninhibited girlfriend of Dean Moriarty (Garrett Hedlund) is a departure for Stewart, who is an observer by nature.
"I had to jump into somebody who wasn't watching, who wasn't thinking about being watched," she says. "She's the least vain person who completely lets her face hang out. Those people are few and far between. I was sort of nervous I would be playing the crazy girl, the girl who was wild. She offers the exuberance in the story, as well. I'm so not that person, so it was hard."
Director Walter Salles met Stewart when she was 16, after seeing her in Sean Penn's Into the Wild, and he approached her about playing Marylou.
"She thought the role was very different from who she was but she was tempted to do it. She's been part of this ever since. It speaks a lot to how much she reads, how sharp she is, and how attracted she is by challenging material," Salles says. "She's very different from Marylou and yet — she truly understands that it is important to constantly redefine her sense of the future, which is what Marylou does."
And Stewart felt liberated by playing Marylou, a woman who is free just being herself.
"It's easier to not throw up so many barriers," she says. "Do you have butterflies in your stomach? Great. Don't try and get rid of them. I'm oddly incredibly measured. I take things too seriously sometimes. I take myself too seriously sometimes."
Stewart is loath to sound like a complainer. She's not going to whine about being famous, or her inability to walk through an airport without paparazzi intrusion.
"Rob is (noticed) way more than I am, especially if we're out together. He's so recognizable, and I'm not. I put a hood on, and I'm a girl with long hair. I can go out," she shrugs.
And even though, at the height of her scandal she issued a statement apologizing to Pattinson, she's not going to address what's written about her in endless stories that speculate about her romantic status.
"They don't write about my personal life. You know what I mean? The same exact thing about being able to choose your path and your career — you don't step outside your life and look at it like you're someone else. It's the most disjointed, uninformed, and completely unsatisfying and completely depressing (stuff)," she says. "I have the same friends I've had for years and years. I make new friends. I'm a really good judge of character. I know who I like, and I know who I don't like, almost to a fault."
Fanning says: "People don't know her as a person. What she says is what she believes. She's never fake. She does what she cares about and lives her life and has to deal with a lot and does it the best way she knows how."
This kitchen whiz shoots pool
It's hard to dislike Stewart after spending any amount of time with her. She seems solid and smart, an observant, attentive person to whom quotes and sound bites don't come easily.
"She's a good listener," Salles says. "When you cut for lunch, you can bet the best music will come from her trailer. She can be extremely funny and loose, and she's great company to have around. She's a fierce pool player. There's a lot to Kristen that is very revealing of a personality that is curious and open to the world and certainly very accessible."
And she's a whiz in the kitchen. Stewart eagerly shares her foolproof way of roasting vegetables to ensure that they're fully cooked yet also crisp (heat the oven as high as it will go). Her hobbies are simple: music, books, friends.
"We're homebodies," Fanning says. "She cooks for me. She loves to cook. I go to her house. Certainly there are times it's crazy, but we're also just friends. We go to Target to get wrapping paper. She has to do things like everyone else."
At the top of Stewart's to-do list: getting a script in her hands. She has spent this year doing non-stop press, first for Twilight and then for On the Road. And she's ready to be back on set in the grifter comedy Focus.
"I really want to work," she says. "I'm working in April, but that's too long. I haven't worked in a year. I've been promoting (stuff). I should go and chill somewhere. But at the same time, I haven't done what I do in so long. I need to get back there."
„On the Road“-Star Sam Riley: Kristen Stewarts „Oben ohne“-Szenen sind total unangenehm
In der Literaturverfilmung „On the Road“ spielt „Twilight“-Star Kristen Stewart die wilde Marylou – und die hat trotz ihres jungen Alters mit der braven Bella überhaupt nichts gemeinsam. In dem Roadmovie werden die Zuschauer Kristen sogar oben ohne sehen können. Ein Anblick, den einer ihrer Schauspielkollegen gar nicht so toll fand.
Nun könnte man meinen, dass die meisten Männer überhaupt nichts dagegen hätten, die junge Mimin hüllenlos zu sehen, doch bei Sam Riley, der bei diesen Szenen mit Kristen vor der Kamera stand, war das ganz und gar nicht der Fall. Dem Mimen waren die Liebesszenen eher peinlich und unangenehm. „Das ist eine merkwürdige Sache... ich habe mich ziemlich unwohl gefühlt. Sie war 19, ich war fast 30, verheiratet... wir sind Freunde. Du machst so etwas irgendwie so schnell wie möglich, ganz anders als im wahren Leben. Ich sehe keine Zukunft für mich im Erotik-Bereich“, lachte Sam Riley im Gespräch mit „Sheknows.com“.
Kristen dagegen hatte zuvor mehrfach betont, dass die offenherzigen Aufnahmen ihr nichts ausgemacht haben und sie sogar möglichst freizügig wirken wollte, um der Romanvorlage gerecht zu werden.
Der neue Film On The Road von Kristen Stewart und ihrem Schauspielkollegen Garret Hedlund steht in den Startlöchern. Um dafür kräftig Werbung zu machen, ließen sich die beiden in sexy Pose für das Cover des Jalous Magazin ablichten. Bei dem Shooting sind richtig tolle Bilder entstanden, die das Cover-Pärchen in cooler, sexy Pose zeigen. So kennen wir unsere süße Kristen ja gar nicht!
In dem Heft-Interview erklärte sie auch, warum sie unbedingt in On The Road mitspielen wollte: Ich las On The Road als ich 14 war. Es war das erste Buch, das ich wirklich lesen wollte. Zwei Jahre später bekam ich das Skript und traf mich mit Walter. Manchmal triffst du Leute und du merkst, dass du aus den gleichen Gründen wie sie arbeiten willst. Über was auch immer wir uns unterhielten, wie teilten die gleiche Begeisterung, er und ich fühlten die gleiche Energie. Als ich ging und erfuhr, dass ich die Rolle hatte sprang ich überall herum!
Kristen Stewart und Garret Hedlund hatten viel Spaß
Die Dreharbeiten waren so unkompliziert, dass Crew und Cast am Ende wie eine Familie gewesen seien. Jeder gab sein Bestes und hatte Spaß. Bei Filmdrehs ist das nicht selbstverständlich, oft herrscht Stress und Chaos. Kristen sei sehr froh gewesen, Teil dieser Familie gewesen zu sein und diese Erfahrung in ihrem Leben gemacht zu haben. Deutsche Fans müssen sich allerdings noch etwas gedulden: Kinostart hierzulande ist erst am 4. Oktober 2012. Freut ihr euch schon auf den Film?
In Frankreich wird Kristen Stewart mit ihrem Filmpartner Garrett Hedlund aus On the Road Unterwegs auf dem Cover der Jalouse zu sehen sein und die britischen Fans von ihr können sich eine ELLE mit Kristen als Coverstar sichern.
Von dem Shooting für die Jalouse gibt es hier Bilder und die Titelseite.
Um Snow White and the Huntsman zu promoten, gab Kristen der ELLE UK ein Interview und die Coverstory wir in der Juniausgabe zu finden sein, Hier gelangt Ihr zum Cover mit ihr.
" On the Road - Sur la Route " beim Film Festival von Santa Barbara
Transcript - 'On the Road' Q&A at the Santa Barbara International Film Festival
Roger Durling with Actors Garrett Hedlund and Kristen Stewart on December 9, 2012
Roger Durling: Garret, you’ve been involved with this project from the get-go, how many years has it been?
Garrett Hedlund: Since 2007.
Durling: And I read that you gave up other opportunities with other films to be in this project. What was it that made you so adamant about being a part of it?
Hedlund: You’d be crazy not to, you know when Walter gave me this role, I thought it was one of the most incredible things that had ever happened to me. And also, you know, I was a big fan of the book. I read it for the first time, I was seventeen, and a lot of the other writers from the beats and just literature in general had such a huge influence on me. I felt that to be involved with something as iconic as this was an opportunity of a lifetime, really. And I could go as deep as I could in terms of research, I mean, we had time. The film wasn’t greenlit at the point when I signed on, so there was years of meeting the family members of the characters in the book. You know, Dean Moriarity was the alter ego of Neal Cassady, so I spent a lot of time with John Cassady, his son. I got to go to San Francisco and meet with some of the other beat writers and sit down with them. I spent a lot of time reading Kerouac and Cassady and all the letters, I read all of the writers that inspired them – Proust, and Nietzche and Wolfe. So it was, you know, really incredible.
Durling: And Kristen, you’ve also been involved with this project for a very long time, since, Into The Wild with Sean Penn?
Kristen Stewart: It was a little after that. I think it was in 2007, I was seventeen.
Durling: What was it that attracted you to this role?
Stewart: On The Road was my first favorite book. I read it as a freshman in high school. And then when I heard Walter was directing it I would have done anything to be involved. I would have been his assistant on it. I would have done craft service. The reason you love something, it’s so clear. I don’t even really remember the details of the initial conversation; I think I just drove away shaking. I mean I was fairly certain. Not necessarily that I would get the part, because it could have been decades and we still would have had to wait fifty years for it to begin, but that I wanted to commit to something like that. Which is obviously, at least the way I remember, so irresponsible of me. I wasn’t ready for that part yet, at all. I got involved when Garrett did, and if fifty years had gone by and we’d missed out then it would have been a really painful experience.
Durling: I had a question for Walter, and maybe you can answer this. Why did it take so long? I don’t know if everyone knows the history, but Francis Ford Coppola had the rights, correct?
Hedlund: Since 1979.
Durling: Did Walter share with you why it took so long to get the project going?
Hedlund: I mean it definitely wasn’t the natural arc that most films are made in. I think it was a struggle to formulate a script that captured the spontaneous style that these guys were living in. But there’s something extra all throughout you know, with the crazy cats, conversations, and crazy experiences. Godard was going to do it at one point. And obviously Francis Ford Coppola was going to direct it. Lots of others, I think Gus Van Sant at one point. And Francis had drafted a script all the way back in 79 or 80, and I think it was a big struggle for him to capture the internal rhythm that fueled these guys’ journey. Anyone that was going to direct this journey had to find out for themselves which subject matter was to be the most important in the production of the story. And that’s not to say, you know, you can read through the book and almost every moment stands out and we shot every scene and we always joked that the DVD was going to be very rich. Lots of cutting room floor material. Walter was initially approached at Sundance when he was there for The Motorcycle Diaries. Someone from Zoetrope, Francis Ford Coppola’s company, approached him with On The Road. He felt that as a Brazilian filmmaker, this wasn’t his territory whatsoever. While he’d read the book in 1974 and it inspired him so much, and helped make him want to be a filmmaker, it inspired him about the lands of America that had this sense of yearning and freedom. He was never going to agree to the film because he felt that for him it would be necessary to do a cross-country journey; retracing the steps of Kerouac and Neal and the other literary figures that were around. So he did a cross-country journey for four years, before we even shot the film and created, “The Search for ‘On The Road’”. In doing the documentary he took up so much passion for the people the book and the journey that he found it irresistible.
Durling: Kristen, in the book the women, especially Mary Lou, are shall I say, underwritten. Were you involved in the process of expanding the character of Mary Lou?
Stewart: Yeah, she’s definitely on the periphery of the story. I think some of the people behind the characters thought it would be easier to not change the story necessarily and never add anything really. It was always just sort of felt. I think a really common idea in the book is that the women are treated as sort of playthings like they’re ambience or sexy wild things.
Durling: Which seems like misogyny to some people.
Stewart: Yeah, which is interesting to me because I always hear men say that like, “So hey, don’t you think there’s a chauvinist feeling to the use of women in the story?” and I think that’s a kind of simplistic way of looking at it. They’re not on the forefront of the story so you don’t know where their hearts or where their minds are. But at the same time, getting to know Luanne especially, I don’t think anyone could have taken from her. She was so generous and giving and what she was getting in return was not leaving her empty. The same goes for Dean. She was an incredibly formidable partner and talk about a girl who doesn’t know fear. She was just a teenager and it’s not a very typical quality for a teenager to have. That like, really hungry and unselfconscious and self-aware thing. It’s not common. As soon as I met her daughter, she went into great detail; she’s got a killer memory as well, and everything just made sense. I think we were able to feel them instead of having to have to illustrate it. It sort of just came across as we got to know them and how we loved the people.
Hedlund: She’s wise beyond her years, this character. I mean, she’s the one who left me in New York at the beginning. I just thought Dean and MaryLou were so parallel because she was wise beyond her years, he was as well, and they were kind of just great travelling companions. She was kind of the mirror image of him in a way, because just like that she left him to go back to Denver when she reveals that she has a husband to return to.
Stewart: They kind of helped to raise each other.
Durling: You talked about the research you did for the roles. I read somewhere that Walter did a “Beat Camp” for you guys. Can you describe it? Was that sort of rehearsals or improvisation before?
Hedlund: All of the above. On this film, it went kind of fast. We only had six weeks of pre-production before going on the road for six months to shoot. And four of those weeks we spent in Montreal. We started in the middle of the summer and kind of camped out in this apartment where Sam Riley, Kristen, Walter, and I would all go to and we would have the family members come. John Cassady, Anne-Marie Santos (LouAnne’s daughter), and Gerald Nicosia who wrote Memory Babe, a Jack Kerouac biography, who also shared with us hundreds of hours of audiotape of MaryLou speaking of Jack and Neal, which was incredibly powerful. We watched old films that Walter would share with us, Shadows, John Cassavettes, and a film that just saw the light of day, The Exiles, which had been in archival footage for up until maybe five years ago, and it was shot in the fifties. All of the walls surrounding were filled with photos of the characters, the locations of the houses, the locations where we were gonna go, what it looked like then, what it’s going to look like now. Jazz was constantly playing. Dexter Gordon, Slim, Jack McQueen, Miles – playing all day along. And all the reading that we had to do. There was hundreds and hundreds of letters that all of these characters wrote to each other. More particularly, Neal Cassady wrote to Jack. They’re very personal and uncensored, and from then we got to sort of realize the thought processes and what made everyone tick.
Durling: Kristen, the Hudson is another character in the movie and you obviously spent a lot of time inside this car. What was that experience like, it seemed awfully claustrophobic.
Hedlund: Remember Argentina?
Stewart: Yeah, that got old.
Hedlund: After Montreal we needed snow in August. So we went all the way down to Patagonia in Chile and shot for three days. I remember there was a banana on the backseat floor and that’s how you could tell how long the day was by the current state of the banana. Obviously the banana was getting squished on the backseat floor, and whoever was in the backseat would be you know…
Stewart: Making disgusting jokes about the state of the banana that don’t need to be repeated here.
Hedlund: They only made the Hudson for about six years; I think the last Hudson was made in ‘54. It’s a wonderful, wonderful car. I bought a ‘53 Hudson before we started shooting and this was a ‘49 Hudson but I just wanted to get used to the three on the tree and driving it. All these shots where everybody’s in the car, you had to know how to handle this thing. Like when we were shooting the blizzard scenes with my head out the window I was actually driving the car. The camera’s just out there, nobody’s around so we just did the scene driving down a blizzard road. Walter would be walking and say, “There’s a snowplow coming! Do you see the snowplow?” It was like, “I can’t fucking see anything just tell him to watch out for me.”
Durling: You know, you mentioned Argentina. A lot of these landscapes have disappeared in the United States because of the commercial sprawl and so you had to travel to other parts of the world. Can you tell us about that?
Hedlund: Yeah, after we started in Montreal for about three weeks, went down to Argentina. Flew over to Chile; shot there for three days. Flew up to New Orleans; shot for two weeks. Flew over to Arizona; shot for two weeks. Down to Mexico City, for another three weeks, and after we finished that they said, “We’re halfway!” Then there was Calgary for three weeks, Montreal for another month, and then we finished in San Francisco for the last four days of shooting, which were mostly either the interiors with Dean and Camille or driving through Russian Hill. Then, Walter and I went on a three week journey with a five man crew where we took the Hudson from New York to Los Angeles, because with the principal photography we couldn’t possibly get all the lands of America throughout the schedule we had. So Walter and I shot the Harlem rooftop scenes there then went out to the Adirondacks to get more snow shots, broke down in Utica, drove through a blizzard to Erie, Pennsylvania, with my head out the window. We didn’t have a speedometer or windshield wipers, and our gas can was in the trunk of the car so obviously there was some gasoline high going on as well. We drove with no brakes from Cincinnati to Lexington, Kentucky, then over to Nashville where we tried to find brakes on a Sunday in the Bible belt. We were driving only on back roads too, so it took us eight hours to get to Memphis where it would have taken two hours by freeway. Broke down in Texarkana, Arkansas. Broke down in Lubbock, Texas. Broke down in Las Vegas, New Mexico for three days. Then up through Arizona, down to Phoenix and then where it would have taken five hours by freeway, it took us eighteen hours to get from Phoenix to Los Angeles and that’s where we found that railroad that you see in the end credits between California and Arizona. We just stopped to take a photograph and we saw this wonderful railroad track over there. And if anybody knows Neal Cassady or his life, he had died, or was found dead walking from Temple Town, New Mexico on the railroad tracks. And was found between towns where he had gone to revisit the ties that him and Kerouac had had in the city when he was down there for a wedding. So, it was very special that we at least got to have that footage. I didn’t even know it had made the cut.
Durling: Kristen, you mentioned MaryLou’s daughter…Has the family seen the film? And what was their reaction?
Stewart: Yeah, I think Anne Marie saw it a few weeks ago, we were in San Francisco and she attended a screening with her husband and daughter. I think she’s really happy with it. The thing that Luanne always did with her daughter, and probably with many other aspects of her life as well, was that she really kept things separate. Which is why I got a really interesting perspective through her daughter. Her values, and desires, and ideals were pretty varying. And yet she was able to provide herself with the life she wanted to live. I mean afterwards, she was just smiling a lot. Her mother had just passed away right before we were about to get this thing going. Out of a lot of characters in the book, she would have been one of the ones that would have been really enthusiastic and into it and would have loved to talk to us, and it’s too bad that it was timed badly. But yeah, I think she’s happy with it. She said that she’s always really shocked and surprised by that aspect of her mom’s life because she came right after. She would tell us stories about people coming back to the house and her mom would never explain to her who they were, so one day she was sitting there, she was sixteen years old and she answered the door to Neal Cassady. He looked at her and–he could always never accept the fact that she wasn’t his daughter. So he was always like, “Oh look! She’s got my eyes!” when she was a little baby, and Luanne would be like, “Uh, no, she doesn’t.” Which is crazy, it’s always insane to me that they never had a child together after all that. But anyway, Neal looked at her and said, “Oh, you’re not as pretty as Jack said you were. Where’s your mom?” and she was like, “Who are you?” Then she found out years later who he was, and he had shown up on the bus actually.
Hedlund: Oh yeah, the bus from the Electric Kool-Aid Acid test days. But it’s also special, Anne Marie the other night had given each of us a vinyl from her mom’s personal collection. Her mom, appreciated her vinyl so much that all of these had her initials on the back in the top right corner so…
Stewart: Yeah, there’s a little “Lu” and it’s really cute.
Durling: So the jazz, I wanted to ask Walter about the music but one of my favorite moments in the movie is your dance sequence. Was that choreographed, or could you explain how that scene was shot?
Hedlund: Yeah, it was maybe choreographed in the way of memorizing your lines and knowing what to say but having the freedom to improvise. Because at that point, and I know that later we found out that Luanne’s favorite dance was the jitterbug but that would have been a little too cliché for this moment, and at that period we couldn’t find any reference of dance because they were coming out of swing and moving into be-bop. So we just interpreted that and learned a few interesting steps and what to do, and it was much more on the seductive side. Really we just learned a few steps and Walter would film ten minutes without calling cut. So of course we had to use a song that was cut to ten minutes so those were some of the most exhausting days of the shoot. We were just being maniacal on the dance floor and a big sort of bash was going on but after ten minutes, cut. Then we’d run outside to catch our breath.
Stewart: There was no air in the room either. It was totally like a vacuum. It was hot.
Durling: Well it was a really enjoyable moment. Garrett, this is not a very likeable character. Was it difficult to inhabit for such a long period? I mean he’s very seductive and attractive and you’re a good looking guy, but he’s ultimately despicable.
Hedlund: I think the energy was the most exhausting thing. You know when I first read the book, I always empathized with the Kerouac character, Sal Paradise, because at that time, I was doubling up on credits to move out to Los Angeles and literature was a big thing. I was going through Creative Writing and World Lit at the same time, so seeing his kind of spontaneous prose and his never ending riff on people and places and all aspects of life. Just anything he observed and not being the attraction, but writing about what’s attractive and writing about the beautiful imperfections of life. And then when I met with Walter I was so nervous, because reading the book you’re so attracted to this energetic nut who had this genius mind that goes on and on and on about how Twain said this and Proust said this because he really wanted to be a writer and he wanted to go to Columbia like Kerouac. So, I remember trying to put these words in my mouth for the first time and it was nerve-wracking, but I had a lot of coffee. Roger Durling avec les acteurs Garrett Hedlund et Kristen Stewart le 9 décembre 2012