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Sunday, 30 December 2012
Robert and Kristen in Year End Lists
Kristen
Just Jared - 50 Most Popular Celebs 2012
2. Kristen Stewart
This year marked the end of the Twilight Saga for Kristen Stewart, but the end of the film franchise was overshadowed by the scandal. Scandal aside, Kristen was one of the year’s fashion stars, popping up on many red carpets to promote her various films and at award shows.
Hollywood Crush - 2012 Best of- Polls
Just Jared - 50 Most Popular Celebs 2012
2. Kristen Stewart
This year marked the end of the Twilight Saga for Kristen Stewart, but the end of the film franchise was overshadowed by the scandal. Scandal aside, Kristen was one of the year’s fashion stars, popping up on many red carpets to promote her various films and at award shows.
Robert and Cosmopolis Get Four Nominations in The Vancouver Film Critics Circle
Director Steven Spielberg’s political backroom history tale Lincoln and
David Cronenberg’s New York limo odyssey Cosmopolis have emerged as this
year’s front-runners as the Vancouver Film Critics Circle narrowed its
short list for the year’s best international and Canadian movies.
Canadian director Cronenberg’s Cosmopolis leads the home-grown competition with four nominations: best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.
The Vancouver critics, drawn from radio, TV, newspaper and online outlets, hand out their awards Jan. 7.
Rounding out the short list for best Canadian picture are: the African wartime drama Rebelle; and director Sarah Polley’s family-secrets tale Stories We Tell.
Joining Pattinson as nominees for best actor in a Canadian film are: Melvil Poupaud for the gender-issues drama Laurence Anyways; Michael Rogers for the B.C.-filmed sci-fi drama Beyond the Black Rainbow.
Joining Gadon and Morton as nominees for best supporting actress in a Canadian film is Goon’s Alison Pill.
Joining Cronenberg as nominees for best director of a Canadian film: Panos Cosmatos, Beyond the Black Rainbow; Sarah Polley, Stories We Tell.
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Canadian director Cronenberg’s Cosmopolis leads the home-grown competition with four nominations: best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.
The Vancouver critics, drawn from radio, TV, newspaper and online outlets, hand out their awards Jan. 7.
Rounding out the short list for best Canadian picture are: the African wartime drama Rebelle; and director Sarah Polley’s family-secrets tale Stories We Tell.
Joining Pattinson as nominees for best actor in a Canadian film are: Melvil Poupaud for the gender-issues drama Laurence Anyways; Michael Rogers for the B.C.-filmed sci-fi drama Beyond the Black Rainbow.
Joining Gadon and Morton as nominees for best supporting actress in a Canadian film is Goon’s Alison Pill.
Joining Cronenberg as nominees for best director of a Canadian film: Panos Cosmatos, Beyond the Black Rainbow; Sarah Polley, Stories We Tell.
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New Kristen Interview with Fanhattan
Kristen Stewart’s latest movie is based on a book with a much longer
shelf life than Twilight, but you may not have heard of it recently. On
the Road was written by Jack Kerouac and published in 1957. Based on
Kerouac’s own experiences traveling with Neal Cassady, the book renames
Kerouac Sal Paradise and Dean Moriarty becomes the pseudonym for
Cassady.
In the movie version, Stewart plays Marylou, based on one of Cassady’s girlfriends LuAnne Henderson. He would have others. Living Dean/Neal’s wanderlust lifestyle full of free love and drugs is a harrowing journey for Marylou. If the things Stewart has to say about her latest role intrigue you, add On the Road to your watchlist.
Kristen Stewart on her connection to Marylou in On the Road
“I really had to dig pretty deep to find it in me to actually play a person like that. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan had I not had a job on it. But I was 16 or 17 when I spoke to [director] Walter [Salles] for the first time and 14 or 15 when I read the book for the first time. It was easy to connect dots after having gotten to know the person behind the character, what you would need to pull off a lifestyle like that. That didn’t happen until deep into the rehearsal process. At first I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang. I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly there, present all the time, like this bottomless pit of really generous empathy and it’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. I don’t know she was always getting something back. So she was amazing.”
Kristen Stewart on the real LuAnne Henderson – “I think Luanne would have been ahead of her time now. Generally peoples’ expectations for their lives in a personal way are not a whole lot different. It’s a really fundamental thing to want to be a part of a group. We are pack animals. In a way she had very conventional ideals as well. She had this capacity to live many lives that didn’t necessarily mess with the other. She was not above emotion. She was above jealousy but not above feeling hurt, but not slighted. Maybe if this movie was made back in the day as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie’s about. Whereas now we’ve just seen a little bit more of it so it’s not so shocking to stomach. It’s easier to take. Sure, times have changed but people don’t change. That’s why the book’s never been irrelevant. There will always be people that want to push a little bit harder and there are repercussions. It’s evident in the story as well. Even in that little glimpse, that moment in time. Knowing what happens to all the characters afterwards is interesting. She knew Neal to the end of his life, and they always shared what they had. It never left their hearts even though their lives changed monumentally.”
But should teenage Twi-hards go see the R-rated On the Road?
“I think the actual law is if you are with a parent you can go and see an R-rated movie, if you’re over the age of 13. I guess it depends on who your parents are, who you are. I read On the Road when I was fourteen, so I don’t know. My parents never wanted to shelter me from the world that we live in, so I think I’m probably not the right person to ask. I think if you have a desire to see it, and your parents don’t want you to see it, take that bull by the horns.”
Getting intellectual about books
“I don’t get to have very many involved conversations with Twilight fans. It’s really rare. Sometimes, the girls that run the fan sites will come in and do an interview and I absolutely love doing that. I find that a lot of people I talk to, most journalists I sit down with, are huge On the Road fans. I feel that they’re even assigned to those stories because they have an interest in it. I’ve got to talk to a lot of passionate On the Road fans. The difference is there’s a lot to feel in Twilight, and that’s the experience usually of having individual exchanges with fans, without even saying anything you know, you just feel it, but obviously with On the Road there’s a lot to talk about.”
Via
In the movie version, Stewart plays Marylou, based on one of Cassady’s girlfriends LuAnne Henderson. He would have others. Living Dean/Neal’s wanderlust lifestyle full of free love and drugs is a harrowing journey for Marylou. If the things Stewart has to say about her latest role intrigue you, add On the Road to your watchlist.
Kristen Stewart on her connection to Marylou in On the Road
“I really had to dig pretty deep to find it in me to actually play a person like that. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan had I not had a job on it. But I was 16 or 17 when I spoke to [director] Walter [Salles] for the first time and 14 or 15 when I read the book for the first time. It was easy to connect dots after having gotten to know the person behind the character, what you would need to pull off a lifestyle like that. That didn’t happen until deep into the rehearsal process. At first I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang. I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly there, present all the time, like this bottomless pit of really generous empathy and it’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. I don’t know she was always getting something back. So she was amazing.”
Kristen Stewart on the real LuAnne Henderson – “I think Luanne would have been ahead of her time now. Generally peoples’ expectations for their lives in a personal way are not a whole lot different. It’s a really fundamental thing to want to be a part of a group. We are pack animals. In a way she had very conventional ideals as well. She had this capacity to live many lives that didn’t necessarily mess with the other. She was not above emotion. She was above jealousy but not above feeling hurt, but not slighted. Maybe if this movie was made back in the day as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie’s about. Whereas now we’ve just seen a little bit more of it so it’s not so shocking to stomach. It’s easier to take. Sure, times have changed but people don’t change. That’s why the book’s never been irrelevant. There will always be people that want to push a little bit harder and there are repercussions. It’s evident in the story as well. Even in that little glimpse, that moment in time. Knowing what happens to all the characters afterwards is interesting. She knew Neal to the end of his life, and they always shared what they had. It never left their hearts even though their lives changed monumentally.”
But should teenage Twi-hards go see the R-rated On the Road?
“I think the actual law is if you are with a parent you can go and see an R-rated movie, if you’re over the age of 13. I guess it depends on who your parents are, who you are. I read On the Road when I was fourteen, so I don’t know. My parents never wanted to shelter me from the world that we live in, so I think I’m probably not the right person to ask. I think if you have a desire to see it, and your parents don’t want you to see it, take that bull by the horns.”
Getting intellectual about books
“I don’t get to have very many involved conversations with Twilight fans. It’s really rare. Sometimes, the girls that run the fan sites will come in and do an interview and I absolutely love doing that. I find that a lot of people I talk to, most journalists I sit down with, are huge On the Road fans. I feel that they’re even assigned to those stories because they have an interest in it. I’ve got to talk to a lot of passionate On the Road fans. The difference is there’s a lot to feel in Twilight, and that’s the experience usually of having individual exchanges with fans, without even saying anything you know, you just feel it, but obviously with On the Road there’s a lot to talk about.”
Via
David Cronenberg About Robert
Twilight vamp Robert Pattinson plays a bloodsucker of an altogether
different kind – the Wall Street kind – in his new movie Cosmopolis, on
Blu-ray and DVD New Year's Day, and the film's director David Cronenberg
tells ETonline that he was actually quite impressed with what Rob
brought to the table, and that after the baggage of casting -- once you
get to that point when you're on set and cameras are rolling -- "Twilight is irrelevant."
"He surprised me every day with good stuff," says Cronenberg. "I don't do rehearsals, and I try not to shape the actor's performance at first. I want to see what his intuition is going to deliver. And then if there's a problem then I start to shape it, nudge it, manipulate it a little bit. I did very little of that with Rob."
Based on the novel by Don DeLillo, Cosmopolis follows one day in the wild life of multi-billionaire asset manager Eric Packer, who travels aimlessly through the streets of New York City in his limousine while conducting investment trading from the back seat. As the day progresses, it devolves into an odyssey with a cast of characters that start to tear his world apart.
"He absolutely would say to you right now, 'I had no idea what I was doing at any time,' and he would mean it," says the veteran director of Rob's performance. "I think he really didn't realize how good he was. … He was surprising himself, but he was surprising me by his accuracy. It was just dead on. I mean, by the end of it we were doing one take. Honestly the whole last scene, the whole last shot in the movie with him and Paul [Giamatti] -- one take. And it's a long take as well. And it's very emotional, and very subtle. One take for both of them, it was so good. … In fact, we finished the shoot five days early, and a lot of that was due to Rob."
Of course, when Cronenberg first cast Rob, he had to overcome what he calls Twilight "baggage," explaining, "You often have to consider what we call baggage for an actor, and you have to decide whether it's a problem or not. I hate the idea of it because I know I'm going to be on the set with the guy at three in the morning shooting in the streets of Toronto, and none of that stuff is relevant. We're just two people trying to make the movie work. So his past performances, or his fame, or lack of it, or whatever the factor is, is at that point irrelevant. What's relevant only is what we can do creatively with each other.
"On the other hand, when you're financing a movie you have to have lead actors who have some weight and some substance and will attract investors so that you can get your movie financed, so it's a weird situation," he continues. "Aside from the fact that yes, he was an exciting and interesting, surprising choice in terms of how investors viewed it -- and it worked because we got the financing for the movie -- after that Twilight is irrelevant, you know?"
What mattered most to Cronenberg was that his lead could carry the scene and had the proper charisma: "It starts very simply with is he the right age, does he have the right look, does he have the right presence onscreen?" he says. "He is in absolutely every scene in the movie, and that's really quite rare. Even in a movie with Tom Cruise, you don't see Tom in every scene. But in this case you do, and so he has to have some charisma. You have to want to watch him for that long and that intensely, because I knew I was going to be crawling all over his face with the camera."
Via
"He surprised me every day with good stuff," says Cronenberg. "I don't do rehearsals, and I try not to shape the actor's performance at first. I want to see what his intuition is going to deliver. And then if there's a problem then I start to shape it, nudge it, manipulate it a little bit. I did very little of that with Rob."
Based on the novel by Don DeLillo, Cosmopolis follows one day in the wild life of multi-billionaire asset manager Eric Packer, who travels aimlessly through the streets of New York City in his limousine while conducting investment trading from the back seat. As the day progresses, it devolves into an odyssey with a cast of characters that start to tear his world apart.
"He absolutely would say to you right now, 'I had no idea what I was doing at any time,' and he would mean it," says the veteran director of Rob's performance. "I think he really didn't realize how good he was. … He was surprising himself, but he was surprising me by his accuracy. It was just dead on. I mean, by the end of it we were doing one take. Honestly the whole last scene, the whole last shot in the movie with him and Paul [Giamatti] -- one take. And it's a long take as well. And it's very emotional, and very subtle. One take for both of them, it was so good. … In fact, we finished the shoot five days early, and a lot of that was due to Rob."
Of course, when Cronenberg first cast Rob, he had to overcome what he calls Twilight "baggage," explaining, "You often have to consider what we call baggage for an actor, and you have to decide whether it's a problem or not. I hate the idea of it because I know I'm going to be on the set with the guy at three in the morning shooting in the streets of Toronto, and none of that stuff is relevant. We're just two people trying to make the movie work. So his past performances, or his fame, or lack of it, or whatever the factor is, is at that point irrelevant. What's relevant only is what we can do creatively with each other.
"On the other hand, when you're financing a movie you have to have lead actors who have some weight and some substance and will attract investors so that you can get your movie financed, so it's a weird situation," he continues. "Aside from the fact that yes, he was an exciting and interesting, surprising choice in terms of how investors viewed it -- and it worked because we got the financing for the movie -- after that Twilight is irrelevant, you know?"
What mattered most to Cronenberg was that his lead could carry the scene and had the proper charisma: "It starts very simply with is he the right age, does he have the right look, does he have the right presence onscreen?" he says. "He is in absolutely every scene in the movie, and that's really quite rare. Even in a movie with Tom Cruise, you don't see Tom in every scene. But in this case you do, and so he has to have some charisma. You have to want to watch him for that long and that intensely, because I knew I was going to be crawling all over his face with the camera."
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Thursday, 27 December 2012
Dakota Fanning About Kristen
She's nuts for A&E's Duck Dynasty, a show about the family that specializes in duck calls.
"I am obsessed with it. I was watching it and totally zoned out. I never laugh at TV even if it's funny. I never laugh out loud. This show, I was cracking up. I was dying laughing," says Fanning.
So she spread the word to her best friend, Kristen Stewart. "I called Kristen and told her she had to watch this show. I think it's the best show ever. They make those duck calls. It's insane," says Fanning.
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"I am obsessed with it. I was watching it and totally zoned out. I never laugh at TV even if it's funny. I never laugh out loud. This show, I was cracking up. I was dying laughing," says Fanning.
So she spread the word to her best friend, Kristen Stewart. "I called Kristen and told her she had to watch this show. I think it's the best show ever. They make those duck calls. It's insane," says Fanning.
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Kristen and Rob are #2 and #4 in Forbes' List of 'Hollywood's Best Actors For The Buck'
Kristen Stewart
Returns $40.60 for every $1 paid.
Stewart performed an unusual feat this year: She topped our highest-paid actress list and almost ranked as the actress who offers the best return for her pay. Even though Stewart earned $25 million to appear in the last two Twilight films, she still offers a good return on investment.
Robert Pattinson
Returns $31.70 for every $1 paid.
Pattinson is the second Twilight star to appear on our list this year. He falls below co-star Kristen Stewart because his one non-Twilight movie that we counted (Water for Elephants) wasn't as big a hit as Stewart's Snow White and the Huntsman.
From Forbes:
Ranking second on our list is Kristen Stewart. For every dollar she gets paid Stewart returns an average $40.60. Stewart is in the unusual situation of ranking high on this list and topping our Highest-Earning Actress list. Usually, if an actor is earning more than anyone else in Hollywood, it’s hard for him or her to be considered a bankable investment. That high salary means the films have to do spectacularly to offer profitable returns to the studios.
Stewart was able to earn a ton over the last three years and offer a healthy return thanks to the Twilight franchise. Even though she was paid $25 million to star in the last two films, she was clearly worth the money. The Twilight films have grossed $3.3 billion at the global box office and the final film, Breaking Dawn Part 2, is still in theaters.
Her two co-stars, Robert Pattinson and Taylor Lautner, also make our list. Pattinson ranks 4th with a $31.70 return for every dollar he is paid. Lautner ranks 6th with a $29.50 return.
All three of the actors were paid the same for the final Twilight movies. The differences in their return numbers comes from their other projects. This year Stewart had Snow White and the Huntsman which turned a nice profit, grossing $400 million on an estimated budget of $170 million.
Pattinson’s other movies this year, Bel Ami and Cosmopolis, weren’t released in enough theaters to count for this list. The only other film we looking at for Pattinson was Water for Elephants which grossed $118 million at the global box office on a $38 million budget.
Via
Returns $40.60 for every $1 paid.
Stewart performed an unusual feat this year: She topped our highest-paid actress list and almost ranked as the actress who offers the best return for her pay. Even though Stewart earned $25 million to appear in the last two Twilight films, she still offers a good return on investment.
Robert Pattinson
Returns $31.70 for every $1 paid.
Pattinson is the second Twilight star to appear on our list this year. He falls below co-star Kristen Stewart because his one non-Twilight movie that we counted (Water for Elephants) wasn't as big a hit as Stewart's Snow White and the Huntsman.
From Forbes:
Ranking second on our list is Kristen Stewart. For every dollar she gets paid Stewart returns an average $40.60. Stewart is in the unusual situation of ranking high on this list and topping our Highest-Earning Actress list. Usually, if an actor is earning more than anyone else in Hollywood, it’s hard for him or her to be considered a bankable investment. That high salary means the films have to do spectacularly to offer profitable returns to the studios.
Stewart was able to earn a ton over the last three years and offer a healthy return thanks to the Twilight franchise. Even though she was paid $25 million to star in the last two films, she was clearly worth the money. The Twilight films have grossed $3.3 billion at the global box office and the final film, Breaking Dawn Part 2, is still in theaters.
Her two co-stars, Robert Pattinson and Taylor Lautner, also make our list. Pattinson ranks 4th with a $31.70 return for every dollar he is paid. Lautner ranks 6th with a $29.50 return.
All three of the actors were paid the same for the final Twilight movies. The differences in their return numbers comes from their other projects. This year Stewart had Snow White and the Huntsman which turned a nice profit, grossing $400 million on an estimated budget of $170 million.
Pattinson’s other movies this year, Bel Ami and Cosmopolis, weren’t released in enough theaters to count for this list. The only other film we looking at for Pattinson was Water for Elephants which grossed $118 million at the global box office on a $38 million budget.
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Wednesday, 26 December 2012
Monday, 24 December 2012
Theaters Playing On The Road
OPENING December 21st, 2012
IFC Center - New York, NY
Lincoln Plaza - New York, NY
ArcLight Hollywood - Hollywood, CA
The Landmark - Los Angeles, CA
OPENING January 11th, 2013
Playhouse 7 - Pasadena, CA
Paseo Nuevo - Santa Barbara, CA
Rancho Niguel - Laguna Niguel, CA
Bethel Cinema - Bethel, CT
Avon Theatre Film Center - Stamford, CT
OPENING January 18th, 2013
E Street Cinema - Washington, DC
Ritz at the Bourse - Philadelphia, PA
Embarcadero Center Cinema - San Francisco, CA
Shattuck Cinema - Berkeley, CA
Century Centre - Chicago, IL
River East 21 - Chicago, IL
Century Evanston - Evanston, IL
Uptown Theatre - Minneapolis, MN
La Jolla Village - La Jolla, CA
Esquire Theatre - Denver, CO
Century 16 - Boulder, CO
Harkins Camelview 5 - Scottsdale, AZ
Fox Tower 10 - Portland, OR
Cedar Lee Theatre - Cleveland, OH
Camera 7 - San Jose, CA
UA Tara Cinemas 4 - Atlanta, GA
Manor Twin - Charlotte, NC
Loews Waterfront Theatre - West Homestead, PA
Enzian Theatre - Orlando, FL
OPENING January 25th, 2013
Bridgeport Village Stadium 18 - Tigard, OR
Main Art Theatre - Royal Oak, MI
Michigan Theater - Ann Arbor, MI
Tivoli Theatre - University City, MO
Cinerama - Seattle, WA
Lincoln Square Cinemas - Bellevue, WA
The Flicks - Boise, ID
Tivoli Manor Square - Kansas City, MO
The Charles - Baltimore, MD
Belcourt Theatre - Nashville, TN
DeVargas Mall 6 - Santa Fe, NM
Art Cinema - Coral Gables, FL
Arbor Cinemas at Great Hills - Austin, TX
Burns Court Cinema - Sarasota, FL
Keystone Art Cinema - Indianapolis, IN
Regency Cinema 6 - San Rafael, CA
Crocker Park Stadium 16 - Westlake, OH
OPENING February 1st, 2013
Gateway Film Center - Columbus, OH
Broadway Center Cinemas - Salt Lake City, UT
Del Mar - Santa Cruz, CA
OSIO Cinemas - Monterey, CA
Malco Ridgeway 4 - Memphis, TN
Showplace Naperville 16 - Naperville, IL
South Barrington 30 - South Barrington, IL
Lincolnshire 20 - Lincolnshire, IL
Mary Riepma Ross Media Arts Center - Lincoln, NE
The Fleur - Des Moines, IA
The Varsity - Des Moines, IA
City Center 12 - Vancouver, OR
Grand Cinema - Tacoma, WA
Summerfield Cinemas - Santa Rosa, CA
Westhampton Cinema - Richmond, VA
Colony Twin - Raleigh, NC
The Carolina - Durham, NC
Cinemapolis - Ithaca, NY
Fine Arts Theatre - Asheville, NC
OPENING February 8th, 2013
Regal Downtown Mall 6 - Charlottesville, VA
Triplex Cinema - Great Barrington, MA
Wilma Theatre - Missoula, MT
Liberty Hall - Lawrence, KS
Neon Movies - Dayton, TX
OPENING February 15th, 2013
Bear Tooth Cinema - Anchorage, AK
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IFC Center - New York, NY
Lincoln Plaza - New York, NY
ArcLight Hollywood - Hollywood, CA
The Landmark - Los Angeles, CA
OPENING January 11th, 2013
Playhouse 7 - Pasadena, CA
Paseo Nuevo - Santa Barbara, CA
Rancho Niguel - Laguna Niguel, CA
Bethel Cinema - Bethel, CT
Avon Theatre Film Center - Stamford, CT
OPENING January 18th, 2013
E Street Cinema - Washington, DC
Ritz at the Bourse - Philadelphia, PA
Embarcadero Center Cinema - San Francisco, CA
Shattuck Cinema - Berkeley, CA
Century Centre - Chicago, IL
River East 21 - Chicago, IL
Century Evanston - Evanston, IL
Uptown Theatre - Minneapolis, MN
La Jolla Village - La Jolla, CA
Esquire Theatre - Denver, CO
Century 16 - Boulder, CO
Harkins Camelview 5 - Scottsdale, AZ
Fox Tower 10 - Portland, OR
Cedar Lee Theatre - Cleveland, OH
Camera 7 - San Jose, CA
UA Tara Cinemas 4 - Atlanta, GA
Manor Twin - Charlotte, NC
Loews Waterfront Theatre - West Homestead, PA
Enzian Theatre - Orlando, FL
OPENING January 25th, 2013
Bridgeport Village Stadium 18 - Tigard, OR
Main Art Theatre - Royal Oak, MI
Michigan Theater - Ann Arbor, MI
Tivoli Theatre - University City, MO
Cinerama - Seattle, WA
Lincoln Square Cinemas - Bellevue, WA
The Flicks - Boise, ID
Tivoli Manor Square - Kansas City, MO
The Charles - Baltimore, MD
Belcourt Theatre - Nashville, TN
DeVargas Mall 6 - Santa Fe, NM
Art Cinema - Coral Gables, FL
Arbor Cinemas at Great Hills - Austin, TX
Burns Court Cinema - Sarasota, FL
Keystone Art Cinema - Indianapolis, IN
Regency Cinema 6 - San Rafael, CA
Crocker Park Stadium 16 - Westlake, OH
OPENING February 1st, 2013
Gateway Film Center - Columbus, OH
Broadway Center Cinemas - Salt Lake City, UT
Del Mar - Santa Cruz, CA
OSIO Cinemas - Monterey, CA
Malco Ridgeway 4 - Memphis, TN
Showplace Naperville 16 - Naperville, IL
South Barrington 30 - South Barrington, IL
Lincolnshire 20 - Lincolnshire, IL
Mary Riepma Ross Media Arts Center - Lincoln, NE
The Fleur - Des Moines, IA
The Varsity - Des Moines, IA
City Center 12 - Vancouver, OR
Grand Cinema - Tacoma, WA
Summerfield Cinemas - Santa Rosa, CA
Westhampton Cinema - Richmond, VA
Colony Twin - Raleigh, NC
The Carolina - Durham, NC
Cinemapolis - Ithaca, NY
Fine Arts Theatre - Asheville, NC
OPENING February 8th, 2013
Regal Downtown Mall 6 - Charlottesville, VA
Triplex Cinema - Great Barrington, MA
Wilma Theatre - Missoula, MT
Liberty Hall - Lawrence, KS
Neon Movies - Dayton, TX
OPENING February 15th, 2013
Bear Tooth Cinema - Anchorage, AK
Via
Sunday, 23 December 2012
Sam Riley Talks About Kristen with Shockya
Q: In the movie, you have some racy scenes with Kristen Stewart. What was it like to film those scenes?
SR: It’s a strange thing. I never had to do that much of that sort of thing before, and they’re not the sort of scenes that I relish. There’s not a lot you can do or play, necessarily. It’s like a fight-you hit, you duck. It’s all quite orchestrated.
I was pretty uncomfortable. She was 19, and I was nearly 30 and married. (laughs) We’re mates, but it was weird. You do it as quickly as possible, unlike in real life. You want to try to get it right the first or second time, so you don’t have to do it a lot of times.
My grandparents went to go watch it, and my grandfather’s 90. I said, what do you think of it, and he said, you were very good, but it was a bit racy in some points. He said, it’s not really my generation, and I said, it is your generation, you were there.
Q: Did you know Kristen before you worked together on this film?
SR: No, I don’t come into much contact with stars in my daily life. I’m married to a German one (actress Alexandra Maria Lara).
I knew the Jodie Foster move she was in (‘Panic Room’), but I didn’t realize it was her. I had seen ‘Into the Wild,’ and my younger sister loves the ‘Twilight’ movies. Kristen tried to explain to me the plot for the one that just came out (‘The Twilight Saga: Breaking Dawn-Part 2′), and it sounded bonkers. (laughs) It’s like, he’s a vampire, and he’s a werewolf. I get pregnant by the vampire, and the child grows at an enormous rate, and comes out almost at toddler age. I thought, this is very unusual for children’s’ entertainment. (laughs) But I didn’t know anyone before starting.
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SR: It’s a strange thing. I never had to do that much of that sort of thing before, and they’re not the sort of scenes that I relish. There’s not a lot you can do or play, necessarily. It’s like a fight-you hit, you duck. It’s all quite orchestrated.
I was pretty uncomfortable. She was 19, and I was nearly 30 and married. (laughs) We’re mates, but it was weird. You do it as quickly as possible, unlike in real life. You want to try to get it right the first or second time, so you don’t have to do it a lot of times.
My grandparents went to go watch it, and my grandfather’s 90. I said, what do you think of it, and he said, you were very good, but it was a bit racy in some points. He said, it’s not really my generation, and I said, it is your generation, you were there.
Q: Did you know Kristen before you worked together on this film?
SR: No, I don’t come into much contact with stars in my daily life. I’m married to a German one (actress Alexandra Maria Lara).
I knew the Jodie Foster move she was in (‘Panic Room’), but I didn’t realize it was her. I had seen ‘Into the Wild,’ and my younger sister loves the ‘Twilight’ movies. Kristen tried to explain to me the plot for the one that just came out (‘The Twilight Saga: Breaking Dawn-Part 2′), and it sounded bonkers. (laughs) It’s like, he’s a vampire, and he’s a werewolf. I get pregnant by the vampire, and the child grows at an enormous rate, and comes out almost at toddler age. I thought, this is very unusual for children’s’ entertainment. (laughs) But I didn’t know anyone before starting.
Via
Saturday, 22 December 2012
Sam Riley Talks About Kristen with ELLE
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."
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."
Via
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."
Via
Garrett Hedlund Talks About Kristen with Shockya
Q: You and Kristen had great chemistry, so how did you guys develop that?
GH: I think it was from being around each other for the four weeks before we began filming. We were all in the same room all day, everyday. We went over material, and were reading a lot of the writings. That was a time for us to share with each other, like anything one had encountered.
Also, Walter shared with us what he discovered on his research. All day, everyday, it was Sam, Kristen and I in this apartment with Walter, listening to jazz, reading. It was one big study hall, so that’s where it came from.
Also, she’s not a hard one to get along with. She’s really great, and really dedicated to this. Everyone who was in this was great, and accepted everyone else as a family.
Via
GH: I think it was from being around each other for the four weeks before we began filming. We were all in the same room all day, everyday. We went over material, and were reading a lot of the writings. That was a time for us to share with each other, like anything one had encountered.
Also, Walter shared with us what he discovered on his research. All day, everyday, it was Sam, Kristen and I in this apartment with Walter, listening to jazz, reading. It was one big study hall, so that’s where it came from.
Also, she’s not a hard one to get along with. She’s really great, and really dedicated to this. Everyone who was in this was great, and accepted everyone else as a family.
Via
New Kristen and Garrett Interview with Vulture
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?’”
Via
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?’”
Via
David Cronenberg Talks About Robert
A lot has been said about your unconventional choice of Robert Pattinson for the lead role.
The thing I liked about Rob Pattinson as an actor is that he’s a serious actor. And you could lose sight of that, because he’s had this big popular success with the Twilight movies, but he is not afraid to play a character who is difficult to like, you know, because some actors are afraid to do that, because they feel it is too personal, that they themselves will not be liked by their audience, and so on. But a real actor is not afraid to play an unsympathetic character, and Rob is a real actor.
Also, I think to be an actor, you need intelligence, first of all. For example, Rob immediately realised that the script was quite funny, and most people don’t get that. Then you want sensitivity to the subtleties of the movie, in terms of what is going on in the movie, the dialogue and so on. And Rob, personally, is very knowledgeable about cinema.
(chuckles) I don’t think his Twilight fans realise this about him, but he’s really an aficionado about art cinema. I mean, on the set I’d find him talking to Juliette Binoche about obscure French cinema, (chuckles) so you know, he brings a real depth of understanding of the history and art of cinema and all of those things mean that you have a lot of power and a lot of responsiveness from your actor as a director. It’s like driving the Ferrari instead of driving, you know, a Volkwagen Beetle. And you get that with Rob. I must also add, he’s very down to earth and very easy to work with. He’s not diva at all, you know. He’s really a sweetheart.
Via
The thing I liked about Rob Pattinson as an actor is that he’s a serious actor. And you could lose sight of that, because he’s had this big popular success with the Twilight movies, but he is not afraid to play a character who is difficult to like, you know, because some actors are afraid to do that, because they feel it is too personal, that they themselves will not be liked by their audience, and so on. But a real actor is not afraid to play an unsympathetic character, and Rob is a real actor.
Also, I think to be an actor, you need intelligence, first of all. For example, Rob immediately realised that the script was quite funny, and most people don’t get that. Then you want sensitivity to the subtleties of the movie, in terms of what is going on in the movie, the dialogue and so on. And Rob, personally, is very knowledgeable about cinema.
(chuckles) I don’t think his Twilight fans realise this about him, but he’s really an aficionado about art cinema. I mean, on the set I’d find him talking to Juliette Binoche about obscure French cinema, (chuckles) so you know, he brings a real depth of understanding of the history and art of cinema and all of those things mean that you have a lot of power and a lot of responsiveness from your actor as a director. It’s like driving the Ferrari instead of driving, you know, a Volkwagen Beetle. And you get that with Rob. I must also add, he’s very down to earth and very easy to work with. He’s not diva at all, you know. He’s really a sweetheart.
Via
Friday, 21 December 2012
Kristen Takes HuffPost's #NoFilter Challenge
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.
Via
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.
Via
Sam Riley Talks About Kristen with Film.com
Were you worried at all that Kristen’s personal drama might impact the release of “On the Road” and how people perceived it?
No. I don’t really think that. Um, no. I mean I was more worried for a friend. You know, I don’t really care. That’s difficult to say, really. You say anything about that subject you’re sort of feeding the beast. But no, I didn’t think about that at all.
And an important part of any road trip is the soundtrack. Any key songs you listened to on the shoot?
I was sort of one of the ones that was in charge of the jukebox while we were shooting. I bought a huge collection of bebop songs and things which I always had with me on my phone and would always play while we were driving in between. I didn’t think I would get into it, but I sort of did, actually.
So you went era-appropriate?
Sometimes it helps a little bit. I learned a lot about modern bands through the kids like Kristen and Tom and Garrett, who all listen. My finger’s not on the pulse of what is popular these days.
They all liked, I can’t even remember the names… Arcade Fire, they all like folksy stuff these days. Mumford and Sons. And Kristen, occasionally, a bit of Miley Cyrus, as well. And Garrett liked to play a lot of country as well. Whereas I was still listening to Elvis Costello and The Clash.
Via
No. I don’t really think that. Um, no. I mean I was more worried for a friend. You know, I don’t really care. That’s difficult to say, really. You say anything about that subject you’re sort of feeding the beast. But no, I didn’t think about that at all.
And an important part of any road trip is the soundtrack. Any key songs you listened to on the shoot?
I was sort of one of the ones that was in charge of the jukebox while we were shooting. I bought a huge collection of bebop songs and things which I always had with me on my phone and would always play while we were driving in between. I didn’t think I would get into it, but I sort of did, actually.
So you went era-appropriate?
Sometimes it helps a little bit. I learned a lot about modern bands through the kids like Kristen and Tom and Garrett, who all listen. My finger’s not on the pulse of what is popular these days.
They all liked, I can’t even remember the names… Arcade Fire, they all like folksy stuff these days. Mumford and Sons. And Kristen, occasionally, a bit of Miley Cyrus, as well. And Garrett liked to play a lot of country as well. Whereas I was still listening to Elvis Costello and The Clash.
Via
Kristen Interview with Indiewire for Honor Roll 2012
It’s easy for audiences to forget that if you take away “Twilight,”
Kristen Stewart has done mostly indie-minded acting work. Other studio
films do pepper her resume — “Jumper,” “Snow White and the Huntsman,”
“Panic Room,” “Zathura” — but at a mere 22-years-old, Stewart has an
independent streak at least as deep as that of well-respected indie
darlings such as Michelle Williams and Catherine Keener. It’s just that
much of Stewart’s public approbation has come from the Teen Choice/MTV
Movie Award constituencies.
That may change this year.
Stewart’s openly sexual, free-spirited performance as Marylou in the Walter Salles-Jose Rivera adaptation of Jack Kerouac’s Beat bible “On The Road” may be secondary to the central relationship of Sal Paradise and Dean Moriarty, but it’s caused a lot of fevered muttering about Stewart suddenly “growing up” or “taking more risks” as an actor. Many observers have pointed to the “shock” of her willingness to appear naked on screen as evidence to support this.
But that’s more a reflection of how much the virginal Bella Swan role from the five “Twilight” movies has bulldozed the popular consciousness over the last four years. That’s not Stewart’s fault. Really, she was half-dressed or openly libidinous in “Into the Wild,” “The Runaways” and “Welcome to the Rileys,” too, and it’s as if that work has been erased from her history."
Still, there is truth to the sense that Stewart did drop even more defenses in “On the Road,” and it couldn’t be any clearer than in the transporting dancing scene near the end of Salles’ film (more on that from Kristen below). With IFC Films putting mad faith in the movie, which opens Friday, Dec. 21, Stewart shared some insights with Indiewire about how first reading “On the Road” sparked her search for the adventure in people, her ambivalent reaction to having sex scenes cut from the film and what playing Marylou taught her about how “to be completely motivated by the fears in life rather than crippled by them.”
What changed between the Cannes version of the film and the one that showed at Toronto, especially as it pertains to your character?
It’s slightly longer, but that’s not the only difference. There are so many different avenues you can go down with this story. You read the book and you choose what ride you want to take. You can have a different experience every time you read it. I think that Walter wanted to funnel most of the energy — even though you could probably still have multiple experiences watching the movie — he wanted to really focus on the brotherhood, really focus on Dean and Sal. The first one’s just a little more languid. I don’t want to say it was more free-form…
It’s still pretty free-form. It’s meant to be jazzy.
That’s what I mean. It was just maybe a little bit more. But now, he definitely leads you to a place where at the end, the two of them, you’re just are so completely invested in them. Not that you weren’t before, it was just a little bit easier to take different rides. But that was perfect for the Cannes audience.
In terms of your character, how did your perspective change from the script to the first version to the second version?
On a surface level, the first one was much racier. You do those scenes, especially, and you look back and go, What the fuck did we do that for? [laughs] Walter, what the fuck? No, I’m kidding.
There’s still a good amount of sex in the new version.
Yeah, there is, definitely.
So you weren’t missing that in the second version?
I don’t know. The last thing I want is for that to be what people focus on, so I’m actually glad, because there’s enough. But at the same time, it’s what it is. There were definitely moments that would have been good, but whatever. If I start at the very beginning, I read the book when I was a freshman.
In high school? That’s pretty early.
I grew up in L.A. I was 13 or 14. It is totally young. On one level it opened a lot of doors for me. I suddenly got incredibly into reading. It really did kickstart that. It was the first one. I didn’t think for one second that I was the type of person that could play Marylou. Ever. Not for one second. I would have done anything on the movie, so I took the part when I was 17 not having — which is a very irresponsible thing to do as an actor, you cannot take a part unless you think you can do it — but I was like, I can’t say no to “On the Road,” I have to try. Probably because those are the type of people I want to meet. I want to find those people and run after them.
“The mad ones.”
Yeah. I think that 14 is how old I was when I looked up and realized that you get to choose those people rather than just getting comfortable with the people that are circumstantially around you. Like, go out and find the ones that fucking pull it out of you! Because [Marylou’s] not in the forefront of the story, she is on the outskirts, you didn’t really know what is in her head and in her heart when the whole story is being told in the novel. I think getting to know the woman behind the character, to be able to connect the dots — because I am a sensitive, contemporary normal girl who definitely was leagues behind her in terms of being comfortable with herself and life — she had that and she was so young. That’s not a teenaged thing, to be completely motivated by the fears in life rather than crippled by them. So that’s why it’s really a very good thing that I grew up a couple of years — I was 20 by the time the movie was made. Even though she was 16 when the story starts, I was a younger 16, I just didn’t have it yet.
That may change this year.
Stewart’s openly sexual, free-spirited performance as Marylou in the Walter Salles-Jose Rivera adaptation of Jack Kerouac’s Beat bible “On The Road” may be secondary to the central relationship of Sal Paradise and Dean Moriarty, but it’s caused a lot of fevered muttering about Stewart suddenly “growing up” or “taking more risks” as an actor. Many observers have pointed to the “shock” of her willingness to appear naked on screen as evidence to support this.
But that’s more a reflection of how much the virginal Bella Swan role from the five “Twilight” movies has bulldozed the popular consciousness over the last four years. That’s not Stewart’s fault. Really, she was half-dressed or openly libidinous in “Into the Wild,” “The Runaways” and “Welcome to the Rileys,” too, and it’s as if that work has been erased from her history."
Still, there is truth to the sense that Stewart did drop even more defenses in “On the Road,” and it couldn’t be any clearer than in the transporting dancing scene near the end of Salles’ film (more on that from Kristen below). With IFC Films putting mad faith in the movie, which opens Friday, Dec. 21, Stewart shared some insights with Indiewire about how first reading “On the Road” sparked her search for the adventure in people, her ambivalent reaction to having sex scenes cut from the film and what playing Marylou taught her about how “to be completely motivated by the fears in life rather than crippled by them.”
What changed between the Cannes version of the film and the one that showed at Toronto, especially as it pertains to your character?
It’s slightly longer, but that’s not the only difference. There are so many different avenues you can go down with this story. You read the book and you choose what ride you want to take. You can have a different experience every time you read it. I think that Walter wanted to funnel most of the energy — even though you could probably still have multiple experiences watching the movie — he wanted to really focus on the brotherhood, really focus on Dean and Sal. The first one’s just a little more languid. I don’t want to say it was more free-form…
It’s still pretty free-form. It’s meant to be jazzy.
That’s what I mean. It was just maybe a little bit more. But now, he definitely leads you to a place where at the end, the two of them, you’re just are so completely invested in them. Not that you weren’t before, it was just a little bit easier to take different rides. But that was perfect for the Cannes audience.
In terms of your character, how did your perspective change from the script to the first version to the second version?
On a surface level, the first one was much racier. You do those scenes, especially, and you look back and go, What the fuck did we do that for? [laughs] Walter, what the fuck? No, I’m kidding.
There’s still a good amount of sex in the new version.
Yeah, there is, definitely.
So you weren’t missing that in the second version?
I don’t know. The last thing I want is for that to be what people focus on, so I’m actually glad, because there’s enough. But at the same time, it’s what it is. There were definitely moments that would have been good, but whatever. If I start at the very beginning, I read the book when I was a freshman.
In high school? That’s pretty early.
I grew up in L.A. I was 13 or 14. It is totally young. On one level it opened a lot of doors for me. I suddenly got incredibly into reading. It really did kickstart that. It was the first one. I didn’t think for one second that I was the type of person that could play Marylou. Ever. Not for one second. I would have done anything on the movie, so I took the part when I was 17 not having — which is a very irresponsible thing to do as an actor, you cannot take a part unless you think you can do it — but I was like, I can’t say no to “On the Road,” I have to try. Probably because those are the type of people I want to meet. I want to find those people and run after them.
“The mad ones.”
Yeah. I think that 14 is how old I was when I looked up and realized that you get to choose those people rather than just getting comfortable with the people that are circumstantially around you. Like, go out and find the ones that fucking pull it out of you! Because [Marylou’s] not in the forefront of the story, she is on the outskirts, you didn’t really know what is in her head and in her heart when the whole story is being told in the novel. I think getting to know the woman behind the character, to be able to connect the dots — because I am a sensitive, contemporary normal girl who definitely was leagues behind her in terms of being comfortable with herself and life — she had that and she was so young. That’s not a teenaged thing, to be completely motivated by the fears in life rather than crippled by them. So that’s why it’s really a very good thing that I grew up a couple of years — I was 20 by the time the movie was made. Even though she was 16 when the story starts, I was a younger 16, I just didn’t have it yet.
Wednesday, 19 December 2012
Kirsten Dunst Talks About Kristen
"So here we are, the two of us - Kirsten and Kristen. We really liked
one another and got along great. She's terrific. Emotional and free. I
took her under my wing like she's my sister." Kirsten Dunst looked after her younger On The Road co-star Kristen Stewart.
Via
Via
New Kristen and Garrett Interview with Film Review
Over fifty years after it was published, Walter Salles is bringing Jack
Kerouac’s book On the Road to the big screen. It was a novel that many
filmmakers believed could not be made into a movie.
On the Road tells the story of Sal Paradise (Sam Riley), a young writer whose life is redefined by the arrival of Dean Moriarty (Garrett Hedlund), a free-spirited, fast talking Westerner, and his girlfriend, Marylou (Kristen Stewart).
Kristen and Garrett spoke with us about the iconic book, and the movie, at the press day for the film.
When doing press junkets, is there a different feel for a film like this, as opposed to Twilight, where you have to get the word out?
Kristen: I’ve been on many a Twilight tour, and this one obviously feels pointedly different. You can place yourself in your body a little bit more when you know there’s not another one coming up.
I’m really letting it all sink in and affect me now, which is fun and quite different. But [with this movie] it’s the same feeling, wanting people to know what you’ve got going on.
With the love scenes in this, your fans will certainly see a lot more of you.
Kristen: You try to expose yourself in different ways in every film you do. I’m not really worried about them.
Were you a fan of the book?
Garrett: I was such a fan of the novel, and was in disbelief that an opportunity like this would ever come my way. I thought it was the most unbelievable thing to ever happen to me.
You and Walter traveled 60,000 miles during the course of making the film. How much value was there in going to the real locations?
Garrett: In order to have it be useful for the film, we had to take back roads everywhere, because the sides of the roads aren’t polluted with billboards, power lines and cars of this age.
In order to get from Nashville to Memphis took us 8 hours on back roads. From Phoenix to Los Angeles took us 18 hours, but with us not being in such a rush we got to see some of the most beautiful lands that all the impatient people don’t get to see these days, and that was a benefit for us.
I read you attended a boot camp before shooting began. What did you actually do?
Garrett: I always get a kick out of it, because it sounds like we were going off to film Saving Private Ryan with books. (Kristen laughs) It was a beatnik boot camp.
We only got four weeks together in Montreal before we started to shoot. We didn’t have any time to waste.
We would gather every morning surrounded by books, and a lot of films that Walter had had that gave him a sense of this time. But really it was us rehearsing, sharing material that we found that nobody else had seen.
It was very collaborative.
Kristen: Even one little line out of a letter, you’d go, ‘Oh my God, that’s how it really was.’ Sometimes you miss things and it was nice to be able to do it together, because you are always going to pick different moments that are really treasured out of the book.
Having the information we had on the real lives was an unprecedented resource.
I’m guessing that you read One and Only: The Untold Story of On the Road, which was co-written by Anne Marie Santos, the daughter of the character your role is based upon?
Kristen: One and Only actually came out after we did the movie, but we had transcribed interviews that were given to us before the book existed.
That book is so important, I cannot believe that it only exists now, just because of the way that people talk about the women in the story.
They can be difficult to understand if you don’t know what’s going on in their head and in their hearts, and having gotten to know the person behind the character, it’s so much fun to read the book.
Via
On the Road tells the story of Sal Paradise (Sam Riley), a young writer whose life is redefined by the arrival of Dean Moriarty (Garrett Hedlund), a free-spirited, fast talking Westerner, and his girlfriend, Marylou (Kristen Stewart).
Kristen and Garrett spoke with us about the iconic book, and the movie, at the press day for the film.
When doing press junkets, is there a different feel for a film like this, as opposed to Twilight, where you have to get the word out?
Kristen: I’ve been on many a Twilight tour, and this one obviously feels pointedly different. You can place yourself in your body a little bit more when you know there’s not another one coming up.
I’m really letting it all sink in and affect me now, which is fun and quite different. But [with this movie] it’s the same feeling, wanting people to know what you’ve got going on.
With the love scenes in this, your fans will certainly see a lot more of you.
Kristen: You try to expose yourself in different ways in every film you do. I’m not really worried about them.
Were you a fan of the book?
Garrett: I was such a fan of the novel, and was in disbelief that an opportunity like this would ever come my way. I thought it was the most unbelievable thing to ever happen to me.
You and Walter traveled 60,000 miles during the course of making the film. How much value was there in going to the real locations?
Garrett: In order to have it be useful for the film, we had to take back roads everywhere, because the sides of the roads aren’t polluted with billboards, power lines and cars of this age.
In order to get from Nashville to Memphis took us 8 hours on back roads. From Phoenix to Los Angeles took us 18 hours, but with us not being in such a rush we got to see some of the most beautiful lands that all the impatient people don’t get to see these days, and that was a benefit for us.
I read you attended a boot camp before shooting began. What did you actually do?
Garrett: I always get a kick out of it, because it sounds like we were going off to film Saving Private Ryan with books. (Kristen laughs) It was a beatnik boot camp.
We only got four weeks together in Montreal before we started to shoot. We didn’t have any time to waste.
We would gather every morning surrounded by books, and a lot of films that Walter had had that gave him a sense of this time. But really it was us rehearsing, sharing material that we found that nobody else had seen.
It was very collaborative.
Kristen: Even one little line out of a letter, you’d go, ‘Oh my God, that’s how it really was.’ Sometimes you miss things and it was nice to be able to do it together, because you are always going to pick different moments that are really treasured out of the book.
Having the information we had on the real lives was an unprecedented resource.
I’m guessing that you read One and Only: The Untold Story of On the Road, which was co-written by Anne Marie Santos, the daughter of the character your role is based upon?
Kristen: One and Only actually came out after we did the movie, but we had transcribed interviews that were given to us before the book existed.
That book is so important, I cannot believe that it only exists now, just because of the way that people talk about the women in the story.
They can be difficult to understand if you don’t know what’s going on in their head and in their hearts, and having gotten to know the person behind the character, it’s so much fun to read the book.
Via
Garrett Hedlund Talks About Kristen with Next Movie
Were you worried at all that Kristen Stewart's personal drama would derail the release of the film or affect how people saw it?
Oh, no, I didn't think about that whatsoever. For her, I was so excited that she was going to play this role because she's so dedicated. When I saw "Into the Wild," I thought man, this girl would be perfect to play Marylou, you know, a girl that seemed to be wise beyond her years for a character like Marylou that was 20 years wise beyond her years. I was so excited. From the moment she jumped onto this project, she was so passionate. She had read the book when she was 15 and talked to Walter and was a fanatic about it and she spent hours and hours going over audiotapes of Marylou, the actual character, and getting the voice completely down. I was super excited that it was her and also Sam [Riley]. When I watched "Control," when I reached the end, I immediately started it again, and then again the next day. I was such a fan of his, I thought his role in "Control" was so f**king great.
Kristen also has her fair share of nudity and un-Bella Swan-like behavior. How do you think her "Twilight" fans will react?
I think she's so wonderful in this project that they're going to be proud to see someone that they cherish so much in a whole different light.
Do you hope Twi-hards come see the movie?
Do I hope? That's a very modest way of putting that. Do I hope? No, I pray! I f**kin' pray to the literary gods! The more people that come see it, I just hope it inspires them to pick up the book, first and foremost.
Via
Oh, no, I didn't think about that whatsoever. For her, I was so excited that she was going to play this role because she's so dedicated. When I saw "Into the Wild," I thought man, this girl would be perfect to play Marylou, you know, a girl that seemed to be wise beyond her years for a character like Marylou that was 20 years wise beyond her years. I was so excited. From the moment she jumped onto this project, she was so passionate. She had read the book when she was 15 and talked to Walter and was a fanatic about it and she spent hours and hours going over audiotapes of Marylou, the actual character, and getting the voice completely down. I was super excited that it was her and also Sam [Riley]. When I watched "Control," when I reached the end, I immediately started it again, and then again the next day. I was such a fan of his, I thought his role in "Control" was so f**king great.
Kristen also has her fair share of nudity and un-Bella Swan-like behavior. How do you think her "Twilight" fans will react?
I think she's so wonderful in this project that they're going to be proud to see someone that they cherish so much in a whole different light.
Do you hope Twi-hards come see the movie?
Do I hope? That's a very modest way of putting that. Do I hope? No, I pray! I f**kin' pray to the literary gods! The more people that come see it, I just hope it inspires them to pick up the book, first and foremost.
Via
New Kristen Quote with Allure Magazine from OTR NYC Premiere + Walter Mentions Kristen
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 the 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?
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."
Via
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."
Via
Tuesday, 18 December 2012
Kristen Interview With Salon.Com
Andrew O’Hehir of Salon sat down with Kristen to talk about On The Road, Adventureland, Twilight, her
career and fame in a really wonderful, pithy interview. Here are
some excerpts but be sure to check out Mr. O’Hehir’s full article at Salon.
AO: You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
KS: 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.
….
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.
….
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"].
….
So would you do [Twilight] 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.
….
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.]
….
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….
Via
AO: You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
KS: 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.
….
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.
….
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"].
….
So would you do [Twilight] 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.
….
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.]
….
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….
Via
Kristen Donates her L.A. Breaking Dawn- Part 2 Premiere Gown to Benefit Robin Hood Foundation
The auction ends on Thursday, December 20th, so head over to CharityBuzz for all the details and to bid if you’d like!
Via
Kiralee Hayashi About Kristen
The Punahou graduate and champion gymnast, Hawaii's Kiralee
Hayashi, performed as Kristen Stewart's stunt double in the two
"Twilight: Breaking Dawn" films, with the final and best-reviewed
installment still generating box-office heat after opening last month.
Hayashi, who returns home this week for a holiday vacation, spent five months in 2010 working in a converted warehouse in Baton Rouge, La., on stunts for the spectacular battle sequences. Look for her in any scene "where Kristen is remotely violent," she said by phone from Los Angeles, where she now lives.
"And there's so much stuff that didn't end up in the film. ... It will probably be in the DVD extras."
Hayashi said she thought she was done when the "Twilight" film crew moved on to Vancouver, and was surprised to get a call "from Kristen's team" asking her if she would continue as the star's stunt double.
"Kristen put in a good word for me. She fought to keep me," Hayashi said.
The call meant almost two more months of shooting, this time outdoors in the Canadian wilds.
Via
Hayashi, who returns home this week for a holiday vacation, spent five months in 2010 working in a converted warehouse in Baton Rouge, La., on stunts for the spectacular battle sequences. Look for her in any scene "where Kristen is remotely violent," she said by phone from Los Angeles, where she now lives.
"And there's so much stuff that didn't end up in the film. ... It will probably be in the DVD extras."
Hayashi said she thought she was done when the "Twilight" film crew moved on to Vancouver, and was surprised to get a call "from Kristen's team" asking her if she would continue as the star's stunt double.
"Kristen put in a good word for me. She fought to keep me," Hayashi said.
The call meant almost two more months of shooting, this time outdoors in the Canadian wilds.
Via
Kristen and Garrett Interview with Movie Fanatic
Kristen Stewart has left Twilight behind and is hitting the highway on
the big screen version of the iconic book by Jack Kerouac, On the Road.
She stars with Garrett Hedlund and the duo sit down with Movie Fanatic
to take us inside their film's long journey to fruition and even clue us
in to what makes a good road trip.
"What I love about road trips is that, if you don't have a time frame or a destination, what could derail it is a passenger! But, for this film, Walter (Salles) and I got to take the 1949 Hudson from New York all the way to Los Angeles, which was awesome. The greatest thing about that was that we didn't have a time when we had to get home," Hedlund said.
Easily seen in the On the Road trailer, filming a movie -- literally -- on the road also proved challenging because of that old car. "We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States!"
Of all their travels filming the movie -- from New York to California and even a jaunt into South America -- each had a special place in the stars' hearts. "New Orleans was incredible, as well. We went out to the Bayou, and that was special," Hedlund said.
"Just being in the city there was amazing," Stewart concurred.
"All the locations were all unique," Hedlund continued. "We were on such a move, right off the bat. We got to catch the snow in the winter in Chile, and then book it down to Argentina and head over to Patagonia and up into No Man's Land."
The iconic book has been toyed with becoming a movie for decades since it was released in 1957. Stewart appreciated how the author took the reader on a first person journey.
"When you can literally Google anything, you don't feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you're not touching anything and you're not feeling it," Stewart said.
The characters in the book, which were based on Kerouac and his traveling companions, had such an eagerness to express everything from deep inside their souls that comes across on every page. "That's what I think everybody was attracted to. It was a feeling of being more honest than you've ever been and more free. You have to shed inhibitions and fears, to approach life that way," Hedlund said.
Stewart's character Luanne, also called Marylou, was ahead of her time. She was living the sexual revolution years before it commenced.
"She had this capacity to live many lives. She was not above emotion. She was above jealousy, but not above feeling hurt. Maybe if this movie was made back in the day, as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie's about," Stewart admitted.
During her time, Luanne would be defined by different parameters. "Now, it's not so shocking to stomach. Sure, times have changed, but people don't change. That's why the book has never been irrelevant. There will always be people that want to push a little bit harder."
Since On the Road is so free with the drugs and sex, it could have been an uncomfortable scene having Stewart and Hedlund witness the film with their parents. "My mom came to Cannes. She was really proud. It's funny to talk about from an outsider's perspective. It's like, 'It must be weird to sit down and watch your ass with your mom,'" Stewart said and laughed. "But it is so weird!"
For Hedlund, his parents are simply relieved they don't have to watch him perish on screen... again! "I think the only thing harder for a parent is watching you do a dying scene. I've died in three films, and my mom begs me, 'Just tell me you don't die at the end,'" Hedlund said.
"To get her to go watch I Am Sam, I told her it was a comedy. She came back with her best friend and pockets full of Kleenex and said, 'You son of a bitch!'"
Stewart, after finishing The Twilight Saga, now has two distinct books she has brought to the screen. She admitted her interactions with fans of the two novels are quite different.
"I don't get to have very many involved conversations with Twilight fans. Sometimes the girls that run the fan sites will come in and do an interview, and I absolutely love doing that," Stewart said. "I've gotten to talk to a lot of passionate On the Road fans. The difference is that there's a lot to feel in Twilight. But with On the Road, there's a lot to talk about."
Lastly, we wondered how life is for Stewart now that Breaking Dawn Part 2 has come and gone and she has forever said goodbye to Bella.
"I have a weight lifted and I want it back. I don't have to worry about Bella anymore, which is so weird," Stewart said. "She's not tapping me on the shoulder anymore."
Via
"What I love about road trips is that, if you don't have a time frame or a destination, what could derail it is a passenger! But, for this film, Walter (Salles) and I got to take the 1949 Hudson from New York all the way to Los Angeles, which was awesome. The greatest thing about that was that we didn't have a time when we had to get home," Hedlund said.
Easily seen in the On the Road trailer, filming a movie -- literally -- on the road also proved challenging because of that old car. "We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States!"
Of all their travels filming the movie -- from New York to California and even a jaunt into South America -- each had a special place in the stars' hearts. "New Orleans was incredible, as well. We went out to the Bayou, and that was special," Hedlund said.
"Just being in the city there was amazing," Stewart concurred.
"All the locations were all unique," Hedlund continued. "We were on such a move, right off the bat. We got to catch the snow in the winter in Chile, and then book it down to Argentina and head over to Patagonia and up into No Man's Land."
The iconic book has been toyed with becoming a movie for decades since it was released in 1957. Stewart appreciated how the author took the reader on a first person journey.
"When you can literally Google anything, you don't feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you're not touching anything and you're not feeling it," Stewart said.
The characters in the book, which were based on Kerouac and his traveling companions, had such an eagerness to express everything from deep inside their souls that comes across on every page. "That's what I think everybody was attracted to. It was a feeling of being more honest than you've ever been and more free. You have to shed inhibitions and fears, to approach life that way," Hedlund said.
Stewart's character Luanne, also called Marylou, was ahead of her time. She was living the sexual revolution years before it commenced.
"She had this capacity to live many lives. She was not above emotion. She was above jealousy, but not above feeling hurt. Maybe if this movie was made back in the day, as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie's about," Stewart admitted.
During her time, Luanne would be defined by different parameters. "Now, it's not so shocking to stomach. Sure, times have changed, but people don't change. That's why the book has never been irrelevant. There will always be people that want to push a little bit harder."
Since On the Road is so free with the drugs and sex, it could have been an uncomfortable scene having Stewart and Hedlund witness the film with their parents. "My mom came to Cannes. She was really proud. It's funny to talk about from an outsider's perspective. It's like, 'It must be weird to sit down and watch your ass with your mom,'" Stewart said and laughed. "But it is so weird!"
For Hedlund, his parents are simply relieved they don't have to watch him perish on screen... again! "I think the only thing harder for a parent is watching you do a dying scene. I've died in three films, and my mom begs me, 'Just tell me you don't die at the end,'" Hedlund said.
"To get her to go watch I Am Sam, I told her it was a comedy. She came back with her best friend and pockets full of Kleenex and said, 'You son of a bitch!'"
Stewart, after finishing The Twilight Saga, now has two distinct books she has brought to the screen. She admitted her interactions with fans of the two novels are quite different.
"I don't get to have very many involved conversations with Twilight fans. Sometimes the girls that run the fan sites will come in and do an interview, and I absolutely love doing that," Stewart said. "I've gotten to talk to a lot of passionate On the Road fans. The difference is that there's a lot to feel in Twilight. But with On the Road, there's a lot to talk about."
Lastly, we wondered how life is for Stewart now that Breaking Dawn Part 2 has come and gone and she has forever said goodbye to Bella.
"I have a weight lifted and I want it back. I don't have to worry about Bella anymore, which is so weird," Stewart said. "She's not tapping me on the shoulder anymore."
Via
Kristen Interview with The Daily Beast/Newsweek
“It’s not a terrible thing if you’re either loved or hated,” says Kristen Stewart, seated in a cozy little bistro on the outskirts of the Los Angeles neighborhood of Los Feliz, far removed from even the most penetrating telephoto lenses. “But honestly,” she continues, “I don’t care ’cause it doesn’t keep me from doing my shit. And I apologize to everyone for making them so angry. It was not my intention.”
So says the most vilified—and highest-paid—actress in all the land. Her role earlier this year as a sword-wielding firebrand in Snow White and the Huntsman, a sinister reimagining of the Brothers Grimm fairy tale, was quite apropos, given that the 22-year-old starlet is, in many ways, the tabloid media’s Joan of Arc. Her refusal to kowtow to the celebrity-industrial complex, whether through her steely-eyed gaze on the red carpet or nervous fidgeting during televised interviews, is seen by many as an entitled A-lister putting on airs.
But in person, Stewart comes off like most 20-somethings might—a compelling mélange of pensiveness interrupted by sudden pangs of excitement. Clad in jeans, sneakers, and a loose-fitting sky-blue shirt, she fiddles with her greasy reddish-brown hair—the color’s a byproduct, she says, of not filming a movie for a year.
She has, however, kept busy making the grueling publicity rounds—health-permitting. “Last night I was sick with the flu and couldn’t go to this On the Road screening,” she says, sounding contrite. “Normally, I wouldn’t feel too terrible about missing a press event, but I felt awful because I’d do anything for this film. It holds a special place for me.”
Developing a cherished novel into a film is always a tricky endeavor, but Jack Kerouac’s On the Road, a beatnik-era classic about a group of youths in the ’40s and ’50s, provides an even greater challenge than most. Based on the author’s real-life pals, including Allen Ginsberg and Neal Cassady, the road-trip saga was hell-bent on upending conformity as it attempted to capture the spirit, not just the events, of the time.
Stewart committed to the film at 17, even before shooting on the first Twilight movie began. It was Sean Penn, Stewart’s director for Into the Wild, who recommended her to Twilight filmmaker Catherine Hardwicke for the role of Bella Swan, a chaste teen desperately in love with a vampire. And it was Penn’s 21 Grams director, Alejandro González Iñárritu, who suggested to director Walter Salles that he cast Stewart in On the Road.
She discovered the novel during her freshman year of high school and says it “changed her life.” To prepare for the role of capricious nymphet Marylou, Stewart spoke with the daughter of LuAnne Henderson, the woman on whom the character is based, and went on a road trip from Los Angeles to Ohio with two of her friends just prior to shooting in the summer of 2010.
“There was a lot of skirting of little girls at rest stops. Like a volleyball team would pull up and I’d dive behind a bush,” she says with a laugh. “But we stopped at a Hooters in Amarillo, Texas, because there was this huge horse statue in front of it. We bought a lot of beef jerky. And seeing the landscapes fade from orange to green is the coolest thing.”
Cross-country trip aside, the role required Stewart to plumb more emotional depths than some of her previous films. The result is one of her most uninhibited performances yet. In On the Road, which is in theaters Dec. 21, she engages in an orgiastic dance-off and plenty of onscreen sex with the gang of young vagabonds, led by charismatic womanizer Dean Moriarty (Garrett Hedlund) and his introspective writer-pal, Sal Paradise (Sam Riley).
Stewart is no stranger to Hollywood. Her mother, Jules Mann-Stewart, is a respected script supervisor and her father is a stage manager, so she grew up on movie sets. “I remember being on the set of Little Giants when I was a kid and thinking it was the coolest thing ever,” she says. “I totally had a crush on Devon Sawa.”
Although she never possessed the desire to perform, Stewart was discovered when she was 8 years old during a “Dreidel” song in a school play. An agent in the audience approached her after the show and asked if she wanted to act. She said yes. After one year of auditions, however, the only thing the fledgling actress had booked was a Porsche commercial.
“I decided a year after not getting any commercials, ‘F--k it. I won’t make my mom drive around Los Angeles anymore,’ ” says Stewart. “I also got so nervous for every single audition. I was just dying. I had one appointment left and my mom said, ‘Have a little integrity and go to your last one.’ And it was The Safety of Objects. If I hadn’t gotten that, I would have been done.”
The next year, she received a crash course in acting, starring as Jodie Foster’s epileptic daughter in David Fincher’s noir-thriller, Panic Room. The filming lasted eight months and the director made a young Stewart shoot a pivotal seizure sequence so many times that she burst several blood vessels in her eyes. A few indie films followed, and, in between shoots, the actress earned her high-school degree. Then Twilight was unleashed in 2008—and everything changed. The vampire film franchise, which has spanned five films and earned more than $3.2 billion worldwide, transformed Stewart into a global superstar.
But with great fame comes great scrutiny.
The media’s intense scrutiny of the actress has practically driven her into hiding. “It’s a little annoying having to be so compartmentalized,” she says. “I go from box to box to box. Like right now, this is so crazy ’cause we’re out at a restaurant.” She pauses. “But I’m going out a lot more now. I was starting to get closed off and self-conscious, and I’m trudging forth into the world more often.”
Now that The Twilight Saga has come to a close, Stewart is keen to direct her attention to future projects, including a movie she’s shooting in April called Focus. Directed by the team behind Crazy, Stupid, Love, the comedy stars her and Ben Affleck as a pair of con artists who, she says, continually screw each other over—in love and in work. When asked if she feels pigeonholed as an actress by the role of Bella, she takes a long pause.
“The only relief when it comes to Twilight is that the story is done,” she says matter-of-factly. “I start every project to finish the motherf--ker, and to extend that [mentality] over a five-year period adapting all of these treasured moments over four books, it was constantly worrying.” She pauses. “But as long as people’s perspective of me doesn’t keep me from doing what I want to do, it doesn’t matter.”
This sounds very Kerouacian of her. After all, it was the author who wrote, “Great things are not accomplished by those who yield to trends and fads and popular opinion.”
Via
Sunday, 16 December 2012
Kristen and Garrett Interview with Collider Frosty
Question: Because you fiercely held onto this project, since before
even Twilight, what is it that spoke to you about Marylou, that made you
still want to be a part of this, after all this time?
KRISTEN STEWART: I really had to dig pretty deep to find it in me to actually play a person like this. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan, had I not gotten a job on it. But, I was 16 or 17 when I spoke to Walter [Salles], for the first time. I was 14 or 15 when I read the book, for the first time. It was easy to connect the dots, after having gotten to know the person behind the character, to see what I would need to pull off a lifestyle like that, but that didn’t happen until deep into the rehearsal process. At first, I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang, and I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly present, all the time, like this bottomless pit of really generous empathy. That’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. She was always getting something back. She was amazing.
GARRETT HEDLUND: Being in the presence of someone so non-judgmental, gives you the freedom to shed inhibitions and fears, and be more honest with yourself and with somebody that’s more like that than you’ve ever been.
As much as you wanted to do it, how hard was it for you guys to stay attached to this, as time went by? How did that life seasoning, during that time, help inform things for you?
HEDLUND: Well, it wasn’t hard to stay attached, at all. This was, for me, something that I so eagerly wanted to do. When Walter [Salles] cast me in this, I was so unbelievably proud to be a part it. I was such a fan of the book and, from eight years after reading the book to now, to be on set was insane. But, from the time I was cast, I had this faith that it would get made, and this fear that it would. Everybody grew a bit too old. That was one of my fears with it because, with this part of the book, Dean is 21 and Sal is 24. We started filming it when I was 25. I turned 26 on it. Now, I’m 28. When I first read with Walter on it, I was 22 years old. Now, looking back with four years in between, with that life experience and life seasoning, you gain much more knowledge and wisdom of the world, the ways things work, the people and how to get what you want, and to know America a little bit more. Obviously, doing drives across the country enhanced the wisdom behind the wheel, of all these remote locations, being broken down and not having a penny to your name. It helped me to be comfortable with those scenes.
Because getting comfortable with the intensity of some of the physical scenes between the two of you, just so that you could do those scenes yourself, were there teams of managers and agents debating whether you should do it or not?
STEWART: No.
HEDLUND: No. The torture for them wasn’t having to accept the fact that your ass would be out for anybody to see, but with the internet, it will never go away. But, it wasn’t really that. It was the fact that for two or three years, I was saying no to everything that came across the table, and they were just like, “All right, you go off and do that film. I hope Mr. Salles is happy. Where have you been for the last three fucking years?” That was the only thing. Agents and managers despise passion projects sometimes.
Did you talk to you parents about the nudity in this film, before they saw it?
HEDLUND: My mom and sister watched it next to me.
STEWART: Yeah, that was really an interesting experience.
HEDLUND: There were a lot of laughs. I don’t know if that was a good thing or a bad thing. I don’t know if the laughs were out of nervousness or because the actual text was really that humorous.
STEWART: For me, I think everyone was really happy that it took a few years for the movie to get made. My mom came to Cannes. She loved it. She was really proud. I haven’t talked to my dad about it yet, really. I think Welcome to the Rileys was probably more difficult for a parent to watch. I was so sensitive about everything, after that film. That character really found its way under my skin. I was so overly sensitive about not just anything overtly sexual, but anything about a young girl. It rocked me, and I think my parents could probably feel that, as well. It was not something that we talked about. It’s funny to talk about from an outsider’s prospective. It’s like, “It must be weird to sit down and watch your ass with your mom,” but it’s so weird, being on the inside of it. I don’t want to say that it’s like I’m watching another person because what I love about my job is that you can read stuff and find aspects of life that you relate to, that you didn’t quite know you had in you, and that can shock the shit out of you. The process of making a movie is finding out why you responded, in that way. I don’t feel like you’re ever playing a different person, but because it’s not your typical go-to, it’s more like you’re taking care of another person. You have such a responsibility to that person. It’s easy to be mature about it. It’s easy to place it in a context and feel protective of it.
HEDLUND: I think the only thing harder for a parent is having to sit down and watch you do a dying scene. I’ve died in three films, and my mom begs me, “Just tell me you don’t die at the end.” To get her to go watch I Am Sam, I told her it was a comedy. She came back with her best friend and pockets full of Kleenex and said, “You son of a bitch!”
How old do you think a younger Twilight fan should be, before they see On the Road?
HEDLUND: I think the rating limits that a little bit.
STEWART: I think the actual law is that, if you are with a parent, you can go and see an R-rated movie, if you’re over the age of 13. I guess it depends on who your parents are and who you are. I read On the Road when I was 14, so I don’t know. My parents never wanted to shelter me from the world that we live in, so I’m probably not the right person to ask. I think, if you have a desire to see it and your parents don’t want you to see it, then take that bull by the horns.
Are conversations with people who are passionate fans of this book radically different from the passionate fans of the Twilight franchise?
STEWART: I don’t get to have very many involved conversations with Twilight fans. It’s really rare. Sometimes the girls that run the fan sites will come in and do an interview, and I absolutely love doing that. But, I find that a lot of people I talk to, and most journalists that I sit down with, are huge On the Road fans. I feel that they’re even assigned to those stories because they have an interest in it. I’ve gotten to talk to a lot of passionate On the Road fans. The difference is that there’s a lot to feel in Twilight, and that’s usually my experience, having individual exchanges with those fans. You just feel it. But with On the Road, there’s a lot to talk about.
Which beatnik ideals could you personally relate to?
HEDLUND: Within that time, there was such a sense and yearning for freedom. These guys were trying to explore all aspects in life, when few others were. So many had these concrete boundaries set up, and they had this yearning for adventure. Especially for me, growing up in such a small town in the middle of nowhere, the desire to be away was incredible. I wanted to see new lands, meet new people from the city, and meet people that were in much less fortunate situations than I was, so that I could be more appreciative of my present. At least I had food on the table. It was just the yearning to live and be on your own, and to journey and get away. These guys were able to do that by the expansion of free love and drugs. They expanded not only psychologically and spiritually, but also geographically.
Jack Kerouac’s text is a love letter to Dean Moriarty. Was that what you got when you read the book, for the first time?
HEDLUND: Well, this book is very similar to a lot of the letters that they exchanged with each other, from Neal [Cassady] to Jack [Kerouac], and from Neal [Cassady] to [Allen] Ginsberg. The brotherly love was there. The love between Ginsberg and Neal was there. There was honesty through expression of absolutely everything that was going on around them, mentally and physically, from where they were coming from to where they were going. They had such an eagerness to express everything, from the deepest parts of their souls, to each other. That’s what I think everybody was attracted to. It was a feeling of being more honest than you’ve ever been and more free. You have to shed inhibitions and fears, to approach life that way. That’s what I was really attracted to within this. Dealing with such a wonderful era – the late ‘40s and ‘50s – was something I romanticized the most. Peter O’Toole said once that his idea of heaven was walking from one smoke-filled room to another, and that’s what this time period always seemed like. There are all these black and white photos of people sweating their asses off, in these incredible outfits. All the men wore suits and hats, and all the women wore these fantastic dresses, and they were dancing without a care in the world, or so it seemed. We think that, if we see a photo in black and white, it can’t possibly exist today because everything os in color, but did they see it that way?
STEWART: When you can literally Google anything, you don’t feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you’re not touching anything and you’re not feeling it.
You guys had the opportunity to travel to a lot of remote and interesting areas for this film. Which location was your favorite?
HEDLUND: I don’t know. They were all kind of unique. Mexico was amazing. Because we were on such a move, right off the bat, in late summer and fall, Montreal was really beautiful with all of the cobblestones and everything. And then, we got to catch the snow, in the winter of Chile, and then book it down to Argentina and head over to Patagonia and up into No Man’s Land. We got to drive the Hudson through blizzards, in the mountains of Chile, for just three days while we were staying at this bed and breakfast on a lake that always had fog over it.
STEWART: It’s crazy to hear that it was just two or three days because, in my head, it was a huge chunk of time.
HEDLUND: And then, New Orleans was incredible, as well. We went out to the Bayou, and that was special.
STEWART: Just being in the city there was amazing.
HEDLUND: And the deserts of Arizona and Mexico were all so great. Those scenes led to even more excitement. Some of the deserted landscapes that Sam and I got to experience in Mexico were just so unique. Just to be in the deserted streets of Tehuacán, Mexico, where all the buildings were made of clay and straw, it was beautiful to see those parts of the world.
Kristen, how did you find a way to relate to Marylou and her lifestyle, at that time?
STEWART: I think Luanne [Henderson] was ahead of her time. Generally, peoples’ expectations for their lives, in a personal way, are not a whole lot different. It’s a really fundamental thing to want to be a part of a group. We are pack animals. In a way, she had very conventional ideals, as well. She had this capacity to live many lives, that didn’t necessarily mess with the other. She was not above emotion. She was above jealousy, but not above feeling hurt. Maybe if this movie was made back in the day, as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie’s about. Now, we’ve just seen a little bit more of it, so it’s not so shocking to stomach. It’s easier to take. Sure, times have changed, but people don’t change. That’s why the book has never been irrelevant. There will always be people that want to push a little bit harder, and there are repercussions. It’s evident in the story, as well. Even in that little glimpse, at that moment in time, knowing what happens to all the characters afterwards is interesting. She knew Neal to the end of his life, and they always shared what they had. It never left their hearts, even though their lives changed, monumentally.
What do you love about a good road trip, and what can potentially derail a road trip?
HEDLUND: Well, what I love about them is that, if you don’t have a time frame or a destination, what could derail it is a passenger that does. For this film, Walter [Salles] and I got to take the 49 Hudson from New York all the way to Los Angeles. The greatest thing about that was that we didn’t have a time when we had to get home. We knew that any footage we got out of the wonderful landscapes of all of America were only going to help us with the film or help us as people, to find strength within ourselves to experience this and to be on this journey. We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States. It was one of the greatest adventures because none of us cared when we got home, and that’s really so rare to find, even when we broke down in the middle of nowhere New Mexico, on a blacktop divide in a hay field in a cow pasture. It took a mechanic two hours to get to us, and he had to close down his shop, so we just sat on the highway and pulled out our sandwiches and turned the music up.
Now that the Twilight franchise has ended, what advice would you give to other young actors who might be starting a major movie franchise?
STEWART: You better love it, or don’t do it. To be on one project for five years, I had the exact same feeling at the end that I had when I first started the project. The only difference is that now, at this point, I have that weight lifted and I want it back. I don’t have to worry about Bella anymore, which is so weird. She’s not like tapping me on the shoulder anymore.
On the Road opens in limited release on December 21st.
Via
KRISTEN STEWART: I really had to dig pretty deep to find it in me to actually play a person like this. It took a long time. Initially, I couldn’t say no. I would have done anything on the movie. I would have followed in a caravan, had I not gotten a job on it. But, I was 16 or 17 when I spoke to Walter [Salles], for the first time. I was 14 or 15 when I read the book, for the first time. It was easy to connect the dots, after having gotten to know the person behind the character, to see what I would need to pull off a lifestyle like that, but that didn’t happen until deep into the rehearsal process. At first, I was just attracted to the spirit of it. I’m the type of person that really needs to be pushed really hard to be able to really let it all hang, and I think Marylou is the type of person that you can’t help but be yourself around because she’s so unabashedly present, all the time, like this bottomless pit of really generous empathy. That’s a really rare quality to have. It makes you capable of living a really full, really rich life without it taking something from you. You couldn’t take from her. She was always getting something back. She was amazing.
GARRETT HEDLUND: Being in the presence of someone so non-judgmental, gives you the freedom to shed inhibitions and fears, and be more honest with yourself and with somebody that’s more like that than you’ve ever been.
As much as you wanted to do it, how hard was it for you guys to stay attached to this, as time went by? How did that life seasoning, during that time, help inform things for you?
HEDLUND: Well, it wasn’t hard to stay attached, at all. This was, for me, something that I so eagerly wanted to do. When Walter [Salles] cast me in this, I was so unbelievably proud to be a part it. I was such a fan of the book and, from eight years after reading the book to now, to be on set was insane. But, from the time I was cast, I had this faith that it would get made, and this fear that it would. Everybody grew a bit too old. That was one of my fears with it because, with this part of the book, Dean is 21 and Sal is 24. We started filming it when I was 25. I turned 26 on it. Now, I’m 28. When I first read with Walter on it, I was 22 years old. Now, looking back with four years in between, with that life experience and life seasoning, you gain much more knowledge and wisdom of the world, the ways things work, the people and how to get what you want, and to know America a little bit more. Obviously, doing drives across the country enhanced the wisdom behind the wheel, of all these remote locations, being broken down and not having a penny to your name. It helped me to be comfortable with those scenes.
Because getting comfortable with the intensity of some of the physical scenes between the two of you, just so that you could do those scenes yourself, were there teams of managers and agents debating whether you should do it or not?
STEWART: No.
HEDLUND: No. The torture for them wasn’t having to accept the fact that your ass would be out for anybody to see, but with the internet, it will never go away. But, it wasn’t really that. It was the fact that for two or three years, I was saying no to everything that came across the table, and they were just like, “All right, you go off and do that film. I hope Mr. Salles is happy. Where have you been for the last three fucking years?” That was the only thing. Agents and managers despise passion projects sometimes.
Did you talk to you parents about the nudity in this film, before they saw it?
HEDLUND: My mom and sister watched it next to me.
STEWART: Yeah, that was really an interesting experience.
HEDLUND: There were a lot of laughs. I don’t know if that was a good thing or a bad thing. I don’t know if the laughs were out of nervousness or because the actual text was really that humorous.
STEWART: For me, I think everyone was really happy that it took a few years for the movie to get made. My mom came to Cannes. She loved it. She was really proud. I haven’t talked to my dad about it yet, really. I think Welcome to the Rileys was probably more difficult for a parent to watch. I was so sensitive about everything, after that film. That character really found its way under my skin. I was so overly sensitive about not just anything overtly sexual, but anything about a young girl. It rocked me, and I think my parents could probably feel that, as well. It was not something that we talked about. It’s funny to talk about from an outsider’s prospective. It’s like, “It must be weird to sit down and watch your ass with your mom,” but it’s so weird, being on the inside of it. I don’t want to say that it’s like I’m watching another person because what I love about my job is that you can read stuff and find aspects of life that you relate to, that you didn’t quite know you had in you, and that can shock the shit out of you. The process of making a movie is finding out why you responded, in that way. I don’t feel like you’re ever playing a different person, but because it’s not your typical go-to, it’s more like you’re taking care of another person. You have such a responsibility to that person. It’s easy to be mature about it. It’s easy to place it in a context and feel protective of it.
HEDLUND: I think the only thing harder for a parent is having to sit down and watch you do a dying scene. I’ve died in three films, and my mom begs me, “Just tell me you don’t die at the end.” To get her to go watch I Am Sam, I told her it was a comedy. She came back with her best friend and pockets full of Kleenex and said, “You son of a bitch!”
How old do you think a younger Twilight fan should be, before they see On the Road?
HEDLUND: I think the rating limits that a little bit.
STEWART: I think the actual law is that, if you are with a parent, you can go and see an R-rated movie, if you’re over the age of 13. I guess it depends on who your parents are and who you are. I read On the Road when I was 14, so I don’t know. My parents never wanted to shelter me from the world that we live in, so I’m probably not the right person to ask. I think, if you have a desire to see it and your parents don’t want you to see it, then take that bull by the horns.
Are conversations with people who are passionate fans of this book radically different from the passionate fans of the Twilight franchise?
STEWART: I don’t get to have very many involved conversations with Twilight fans. It’s really rare. Sometimes the girls that run the fan sites will come in and do an interview, and I absolutely love doing that. But, I find that a lot of people I talk to, and most journalists that I sit down with, are huge On the Road fans. I feel that they’re even assigned to those stories because they have an interest in it. I’ve gotten to talk to a lot of passionate On the Road fans. The difference is that there’s a lot to feel in Twilight, and that’s usually my experience, having individual exchanges with those fans. You just feel it. But with On the Road, there’s a lot to talk about.
Which beatnik ideals could you personally relate to?
HEDLUND: Within that time, there was such a sense and yearning for freedom. These guys were trying to explore all aspects in life, when few others were. So many had these concrete boundaries set up, and they had this yearning for adventure. Especially for me, growing up in such a small town in the middle of nowhere, the desire to be away was incredible. I wanted to see new lands, meet new people from the city, and meet people that were in much less fortunate situations than I was, so that I could be more appreciative of my present. At least I had food on the table. It was just the yearning to live and be on your own, and to journey and get away. These guys were able to do that by the expansion of free love and drugs. They expanded not only psychologically and spiritually, but also geographically.
Jack Kerouac’s text is a love letter to Dean Moriarty. Was that what you got when you read the book, for the first time?
HEDLUND: Well, this book is very similar to a lot of the letters that they exchanged with each other, from Neal [Cassady] to Jack [Kerouac], and from Neal [Cassady] to [Allen] Ginsberg. The brotherly love was there. The love between Ginsberg and Neal was there. There was honesty through expression of absolutely everything that was going on around them, mentally and physically, from where they were coming from to where they were going. They had such an eagerness to express everything, from the deepest parts of their souls, to each other. That’s what I think everybody was attracted to. It was a feeling of being more honest than you’ve ever been and more free. You have to shed inhibitions and fears, to approach life that way. That’s what I was really attracted to within this. Dealing with such a wonderful era – the late ‘40s and ‘50s – was something I romanticized the most. Peter O’Toole said once that his idea of heaven was walking from one smoke-filled room to another, and that’s what this time period always seemed like. There are all these black and white photos of people sweating their asses off, in these incredible outfits. All the men wore suits and hats, and all the women wore these fantastic dresses, and they were dancing without a care in the world, or so it seemed. We think that, if we see a photo in black and white, it can’t possibly exist today because everything os in color, but did they see it that way?
STEWART: When you can literally Google anything, you don’t feel like you have to go see it in person. You can do a lot of traveling in your bedroom, but you’re not touching anything and you’re not feeling it.
You guys had the opportunity to travel to a lot of remote and interesting areas for this film. Which location was your favorite?
HEDLUND: I don’t know. They were all kind of unique. Mexico was amazing. Because we were on such a move, right off the bat, in late summer and fall, Montreal was really beautiful with all of the cobblestones and everything. And then, we got to catch the snow, in the winter of Chile, and then book it down to Argentina and head over to Patagonia and up into No Man’s Land. We got to drive the Hudson through blizzards, in the mountains of Chile, for just three days while we were staying at this bed and breakfast on a lake that always had fog over it.
STEWART: It’s crazy to hear that it was just two or three days because, in my head, it was a huge chunk of time.
HEDLUND: And then, New Orleans was incredible, as well. We went out to the Bayou, and that was special.
STEWART: Just being in the city there was amazing.
HEDLUND: And the deserts of Arizona and Mexico were all so great. Those scenes led to even more excitement. Some of the deserted landscapes that Sam and I got to experience in Mexico were just so unique. Just to be in the deserted streets of Tehuacán, Mexico, where all the buildings were made of clay and straw, it was beautiful to see those parts of the world.
Kristen, how did you find a way to relate to Marylou and her lifestyle, at that time?
STEWART: I think Luanne [Henderson] was ahead of her time. Generally, peoples’ expectations for their lives, in a personal way, are not a whole lot different. It’s a really fundamental thing to want to be a part of a group. We are pack animals. In a way, she had very conventional ideals, as well. She had this capacity to live many lives, that didn’t necessarily mess with the other. She was not above emotion. She was above jealousy, but not above feeling hurt. Maybe if this movie was made back in the day, as opposed to now, people would be so shocked and awed by the sex and the drugs that they would actually miss what the movie’s about. Now, we’ve just seen a little bit more of it, so it’s not so shocking to stomach. It’s easier to take. Sure, times have changed, but people don’t change. That’s why the book has never been irrelevant. There will always be people that want to push a little bit harder, and there are repercussions. It’s evident in the story, as well. Even in that little glimpse, at that moment in time, knowing what happens to all the characters afterwards is interesting. She knew Neal to the end of his life, and they always shared what they had. It never left their hearts, even though their lives changed, monumentally.
What do you love about a good road trip, and what can potentially derail a road trip?
HEDLUND: Well, what I love about them is that, if you don’t have a time frame or a destination, what could derail it is a passenger that does. For this film, Walter [Salles] and I got to take the 49 Hudson from New York all the way to Los Angeles. The greatest thing about that was that we didn’t have a time when we had to get home. We knew that any footage we got out of the wonderful landscapes of all of America were only going to help us with the film or help us as people, to find strength within ourselves to experience this and to be on this journey. We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States. It was one of the greatest adventures because none of us cared when we got home, and that’s really so rare to find, even when we broke down in the middle of nowhere New Mexico, on a blacktop divide in a hay field in a cow pasture. It took a mechanic two hours to get to us, and he had to close down his shop, so we just sat on the highway and pulled out our sandwiches and turned the music up.
Now that the Twilight franchise has ended, what advice would you give to other young actors who might be starting a major movie franchise?
STEWART: You better love it, or don’t do it. To be on one project for five years, I had the exact same feeling at the end that I had when I first started the project. The only difference is that now, at this point, I have that weight lifted and I want it back. I don’t have to worry about Bella anymore, which is so weird. She’s not like tapping me on the shoulder anymore.
On the Road opens in limited release on December 21st.
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