On the Road (2012)

Τοτε την ξερω ηδη την ιστορια...αν και ημουν τεταρτη δημοτικου οταν το διαβασα...ειναι απο τα αγαπημενα του μπαμπα μου.

Το βιβλίο το έχω από τα...μικράτα μου, όπως και άλλα του Τζακ Κερουακ, διαβάζοντας τα σε μια μια εποχή που έπρεπε να διαβαστούν αν ήθελες να διαφοροποιηθείς! Αλλά επειδή η beatnik φιλοσοφία δε μου ταιριάζει, δεν σκέφτηκα να δω την ταινία...
Αν είναι ωραία όπως λέτε, να τη δω!

αφου την εχω κατεβασει θα την δω καποια στιγμη..

Καλημέρα.

http://www.robstendreams.com/2012/12/kristen-at-on-road-screening-in-la.html#.UMG-uqzAqRM

ωραια οπως παντα

λιγο το παππουτσακι με χαλασε αλλα το υπολοιπο συνολο τελειο

ON THE ROAD SCREENING - LA - 6/12/2012

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LA TIMES - ON THE ROAD PORTRAITS






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ON THE ROAD SAN FRANSISCO PRESS JUNKET - 8/12/2012



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Της πανε τα γυαλια παντως

Καλησπέρα. Τελικά έχει μυωπία ή τα φοράει μόνο για στυλ; Νόμιζα ότι είχε, αλλά κάπου διάβασα ότι βλέπει μια χαρά και αναρωτιέμαι τι ισχύει.

Ειλικρινά δεν έχω ιδέα αν έχει μυωπία ή κάτι άλλο (αστιγματισμό, υπερμετρωπία) ώστε να χρειάζεται γυαλιά ή απλά τα φοράει έτσι.


INTERVIEW WITH HUFFINGTON POST

Kristen Stewart was not a global superstar when "Motorcycle Diaries" director Walter Salles cast her in his long-gestating adaptation of "On the Road." It was 2007 and she had just appeared in "Into the Wild," playing a trailer-park siren who almost but doesn't quite tame Emile Hirsch's wanderlust. It would be another year before she become known to millions of fans around the world as Bella Swan from "Twilight."

It would have been easy -- and maybe even prudent -- for Stewart to back out on Salles as her star inexorably rose, but she stayed on board and delivered a performance that is all the more powerful because it comes from a woman with so much to lose. Yes, Kristen takes off her clothes -- she talks about that below -- but that's not the half of it: her character, Marylou, the teenage bride of Beatnik hero Dean Moriarty (Garrett Hedlund), may exist as a mere plot device in the testosterone-fueled novel, but at the hands of Salles and Stewart she becomes a symbol of unapologetic feminine self-gratification. As I wrote after seeing "On the Road" at the Toronto International Film Festival, "Stewart's Marylou is pure Id: she steals what she needs and she screws who she wants, when she wants." The point is not that she's admirable; it's that she comes alive, fully and indelibly, which is the only job an actor has.

The creative team behind the film wants the Academy of Motion Picture Arts and Sciences to recognize Stewart for her role by nominating her for an Oscar for best supporting actress, and although she doesn't appear on any of the short lists I've seen, I think she's earned a place in the conversation. "On the Road" has its slow and meandering moments, but it roars to life when Stewart appears on screen -- and if you don't believe me, take a look at these fan-produced animated gifs and tell me you're not at least intrigued. Stewart and I spoke on the phone for about 20 minutes on Saturday/

Michael Hogan: I remember reading On the Road as a teenager, and the women didn't register for me so much as characters. So I wonder, as a teenage girl reading it, how the women seemed to you when you first read the book?
Kristen Stewart: Yeah, it's funny, they didn't really register with me, either. People do love to say that this is a boy book and that the female characters tend to be treated as play things and are peripheral. When you read the book, they tend to seem as though they're almost like a tool for Kerouac to show that life's crazy, that things are wild and sexy. That's why, playing the part, we were privy to information that made this thing so different. I think getting to know the women behind the characters and getting to know Jack's relationships with them and Neal's relationships with them, it made it easier to play the character.

Did you meet LuAnne Henderson, whom your character, Marylou, is based on?
She had passed away, like, right before we started. But I met her daughter and there were hours and hours of tapes where she recalled her life in great detail, and very much within that time frame as well. When I first read the book -- I have brothers, and so I always felt like there wasn't a huge distinction. I kinda wanted to be one of the boys for a while, and in some cases still do, and I think there are a lot of girls who read "On the Road" who feel [that way]. I wasn't aware then that the females weren't at the forefront of the story. I was just so into the main characters, I was so enamored by them, I wanted to meet people in my life that were going to shock me and pull something out of me that I didn't expect --

Marylou's a little bit that way too, isn't she?
Oh, definitely. She was such a formidable partner for Neal [Cassady, the real-life inspiration for the book's Dean Moriarty]. Men, especially, love to identify with me and go, "Well, you know, it's kind of a misogynistic viewpoint. The book has a fairly chauvinist feel to it. How do you feel about that?'

Kind of like my first question.
No, no, no. Not at all. That was actually really different. Because their thing is, 'Oh, how could they have allowed all those terrible things to happen to them?' It's like, What makes you think that they were not absolute equal partners in that? What makes you think that they were taken from more than they gave, or more than they got back from the men that were apparently taking from them. I feel like getting to know LuAnne and who she was, and why she did the things that she did, and how she felt about them afterward, there was no thievery going on. She loved his life so much that she didn't want to deprive him of any of that life, and he felt the same about her, and she very, very much carved her own path.

What was the most surprising thing that you learned when you were talking to these folks and listening to the tapes?
I think the most surprising thing for me, given the way [Marylou's] storyline ends in the book and in the movie, was that [LuAnne and Neal] maintained their relationship in some capacity until his death. He could never stop going back to her. And that for me kind of was like the key. She wasn't leaving him. It was just this sliver of life that you see that's not expounded upon because it's not her story. Like, there's an entire "On the Road" for every single one of those characters. It's just that who you follow is Sal and Dean. [Sal Paradise is the fictional stand-in for author Jack Kerouac.]

Obviously, you're really asked to go places in this role. After I saw "On the Road" in Toronto, I wrote an analysis of it, and one of the things I focused on is that you're committing to the role to an admirable degree, with nudity, with sleeping with two men at the same time, with all this other stuff, and some people attacked me, saying, "Just because she takes off her clothes, you think that's real art?" But what I meant is that it's an actor's job to do the role she's given without holding back. Can you help me defend myself a bit here?
[Laughs.] Actresses love to stand up and say, after they've shown their tits in a movie, that it was done tastefully and that it was, you know, far from gratuitous. I mean, projects that really require it are really few and far between. And I think that in this case, it needed to be. This book celebrates being alive and it celebrates being human, and if you want to cover up and deny any aspect of that, you are denying the spirit of the book. I think that it would have been so wrong to shy away from anything in this movie. I think that I would have gotten flak for that. I think that it would have been that I was scared to disappoint my "Twilight" fans or something.

And I do hate also when people go, "Oh, wow, great performance. So brave." Oh, because I'm naked? That's very annoying. But at the same time, if that's what they're focusing on, then "On the Road" probably isn't for them anyway. Also, I understand when people are already successful, you try to control some perception or you try to choose parts based on some expectation of what people are going to think. You're clearly doing things because you want to be in some position of power and fame, which is not why I do what I do. And people, anyone that consumes that is then obviously going to think that you must have some consideration for those types of things, like what people are going to think.

But how hard is it ignore those considerations when you really are one of the biggest celebrities in the world? I mean, there's no way around that.
It's really not that hard. I can't pragmatically approach anything in terms of my career. I need to be so rocked by something, so moved by something that the idea of letting it down or ruining it is painful, and that's what gets you through the shoot. You read material and it provokes you on some level, and the reason you make the movie is to find out why it made you feel all those things. Those things are so rare to find that if you start also considering what people are going to think, you'll never make a movie.

At the Toronto Film Festival, you took a full hour to come out and be with all your fans, and that was at a difficult time. How important was it for you to come out for the film and reconnect with your fans that day?
You should never step outside of your life and look at it like it's this malleable thing you can shape so that people view it a certain way. I would never not have gone to something like that. I've been working on this for five years. I love this movie. I'm so proud of everyone involved -- I feel so strong standing next to them. I was asked a few times whether I was going to do it or, "Oh, was it difficult for you? What made you stand up and do this?" It was like, why wouldn't I? It made so much sense to me. I mean, the only time I feel comfortable being on TV or doing any sort of public appearance or anything, it has to have context. I don't like just being a famous person, but with "On the Road" it's so clear why I'm there. With the fans and stuff, it's just human energy that you simply cannot deny. People are standing there and sort of screaming for you and I'm not about to turn my back and walk away and go get warm inside, you know what I mean? So I didn't plan anything. I just went to the opening of the movie and there were a bunch of people there and it was really nice to see them.

Have you heard from your "Twilight" fans about this movie yet?
I mean, not really. "Breaking Dawn 2" just came out and we carted that one around the world for a bit. And there were a bunch of people in the crowd in Europe -- because the movie's out already in Europe -- who said, "Oh, my god, 'On the Road, we loved it." Everyone likes to think that we just have teenage fans -- we have girls, women in general, it literally is every single age, well into peoples' 70s. So yeah, people were into it, I think.

What's your feeling about awards season and all the events and interviews it entails? Is it enjoyable? Is it a nightmare? Is it somewhere in between?
I love talking about this movie and everyone involved and the book and everything I've been through since the start of it. I would do anything to get the word out. The fact that it has something to do with the Academy, I simply personally can't acknowledge it in any way because it's a ridiculous notion to suddenly go, like, "Yep, I'm really gunning. I'm really gunning for it."

There's a rumor that you're going to star alongside Ben Affleck in a movie called "Focus."
I can confirm that rumor. It's a comedy, I'm really excited about it, we start shooting in April.

Are there any other projects on the horizon?
Not yet. I would love to find some microproject before then, because April is kind of a ways away, but not yet, haven't been "taken" yet.

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TAVIS SMILEY SHOW



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INTERVIEW WITH LA WEEKLY




There's traffic from Silver Lake. That's why Kristen Stewart and Garrett Hedlund, the stars of On the Road, are late to the Benedict Room of the Four Seasons Hotel in Beverly Hills. We're as psychically far from Jack Kerouac's Beat gospel as you can get: fidgeting under crystal chandeliers in a $400-per-night hotel, with guests in comfy white robes riding gilded elevators and maids pushing breakfast trays of eggs Hollandaise and medicine ball–sized avocados.

The journey from scroll to screen has been an equally strange odyssey.

Since Kerouac published his sex-, drugs- and satori-searching novel in 1957, false starts and "unfilmable" rumors have lengthened its odds of adaptation.

The author once sought Marlon Brando to play Dean Moriarty, the book's infamous thief/wildman and Kerouac's trim-hipped "Western Kinsman of the Sun" (Kerouac assured he could handle the narrator/protagonist Sal Paradise, based on himself).

Two decades later, Francis Ford Coppola acquired the rights and famously struggled to bring the book to life, with actors Colin Farrell, Ethan Hawke, Brad Pitt and Billy Crudup variously attached as male leads. We were one German investment group away from On the Road as proto-slacker parable.

A decade later, aided by several European and Latin American co-financiers and Walter Salles, director of The Motorcycle Diaries, the $25 million adaptation premiered to mixed reviews at May's Cannes Film Festival.

The local unveiling occurred during November's AFI Fest at Grauman's Chinese Theatre with an afterparty at the Hollywood Roosevelt Hotel. There was an electro-funk mash-up DJ, a shadow light projection for Shellback Caribbean Rum and the dull iridescence of a thousand iPhones and bald agent scalps. No whiskey was served.

It's two days after that Hollywood night on a weatherless Southern California Monday morning. Early November. 9:17 a.m.

With silver eyes and wine-dark hair, Kristen Stewart is sitting in front of me and we're not talking because Hedlund still hasn't shown up and what small talk can you make with the 22-year-old, tabloid-tormented star of Twilight. In person, she's pretty but severe, as though her face is all elbows.

When her co-star finally arrives, Stewart offers a sisterly hug with a sense of relief that suggests she's acutely aware of how awkward it is to be interviewed by people who know every uncomfortable (and possibly spurious) facet of your existence.

Hedlund is her opposite. If Stewart is shy and pallid, and balsamic salad-thin, Hedlund is broad-shouldered, farmer-tanned and blond.

The 28-year-old Midwesterner has the loquacious confidence and aw-shucks ambition of a young congressional chief of staff.

As a movie star, he is in the Armie Hammer–as-Winklevii mold. She is an L.A.-born goth locker pinup for kids who define old-school as before Instagram arrived on Droid phones.

The question before them is: What is On the Road even supposed to mean when you can Google Earth and Yelp your way across the heartland?

"I think [the Internet] gives people the urge to travel to further and more remote locations to get their kicks ... to find lands that are untouched by human hand," Hedlund says, with slang indicative of the time he spent researching the Beat muse Neil Cassady, Kerouac's model for Moriarty.

There was the cast's three-week Beat boot camp, which included Skype tutorials from an old Kerouac colleague about the proper way to break Benzedrine capsules with beer bottles.

In order to get into the spirit of the book, Hedlund estimates that he filled up about 100 notepads on multiple treks across the country's surviving backroads.

Stewart was originally cast at 17 to play Mary Lou, née Luanne Henderson, the sexualized child bride worshipped and scorned by Moriarty and Paradise.

"I'm 100 percent nostalgic for times that I haven't lived in ... when there was less insignificant stimulation," Stewart says, tapping her foot with nervous energy, jangling the copper bangles around her wrists, folding her T-shirt with her hands and mostly looking down.

"If you're not watching a TV show or downloading something, you're bored," she adds. "Back in the day, there was less to do, people had to use their minds."

Stewart speaks infrequently and with caution, cognizant that even her most banal sentences are parsed with vice presidential scrutiny, or at least NBA All-Star. After all, most basketball franchises can't sell merchandise like Team Edward.

Hedlund, whose previous big credit was Tron: Legacy, handles most of the talking — staying true to the dynamic of the film.

"I've always romanticized the late '40s and '50s — the cars, jazz, the open roads and lack of pollution," he says, business-casual in a navy blue dress shirt, the top button unbuttoned; his chest is nearly hairless. "Now there are more vehicles, less hitchhikers, more billboards and power lines and stuff.

"People wrote wonderful long letters that took months to receive, and now everything is email. "

Both reiterate the idea that the book's timelessness is immutable. Even though a contemporary Kerouac could have seen Cassady's conquests on Facebook, the actors point out that young people will always be hypnotized by the amphetamine prose and intoxicating ideas of freedom and rebellion.

"Anybody that wants to walk out that door and leave home for a few months and rely on themselves instead of fate might have some interesting stories to tell," Hedlund says.

"I don't think there's ever going to be a point when there aren't a group of people who have varied expectations of what they want from fate. You gravitate toward those people and you do things you couldn't do alone," Stewart, also a big Henry Miller fan, adds. "That's why the book has never been not popular amongst people pushing and running after something."

We talk for a little while about the characters, their models, jazz, their Beat reading list. Inside the Actors Studio stuff — none of it is very interesting, and neither is entirely unaware of that. Then Stewart's publicist whisks her out and she says "nice to meet you" with more sincerity than she needs to.

Hedlund talks a little more about his road trips and research. But what really stands out isn't one of his own stories but one from Salles, the director, via Hedlund, about a pilgrimage to the Bay Area to meet Beat poet and Kerouac comrade Lawrence Ferlinghetti.

"They were on the streets of 'Frisco and they looked over and there's cars and traffic jams, and all these billboards and signs and advertisements and bright lights," Hedlund says, jabbing at why On the Road's ideas are indelible yet inimitable. "Then Ferlinghetti pointed and said, 'See ... there is no more way."


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NEW STILL




ON THE ROAD SCREENING - NYC - 12/12/2012

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Πολύ ωραίο φόρεμα αυτό. Δε μπορούσε να βάλει κάτι τέτοιο και στη συναυλία;

ROUGH CUT MTV INTERVIEW











THE DAILY SHOW WITH JON STEWART - 13/12/2012







ON THE ROAD NYC PREMIERE INTERVIEWS - 13/12/2012


ASSOCIATED PRESS




MOVIE BYTES




REFINERY29

It would be hard to end 2012 without a few final reflections from this year's most talked about young actor, Kristen Stewart. Luckily we caught up with her at the IFC Films/Sundance Selects premiere (presented by Grey Goose Vodka) of On the Road, the film adaptation of the beloved Jack Kerouac novel. Though our primary intention may or may not have been to see that dress up close, we chatted up the starlet, discussing her favorite On the Road scenes, the joy of showering, and more. We walked away thinking that, after a year of very public ups and downs, starring in this art-house adaptation might just provide her with a perfect capper to 2012 and a pleasant segue into a more stable 2013.

Was On the Road influential for you as an adolescent?

"I read it for school. I'd always really done well in school and enjoyed it, but I was never floored by it, in that way. Up until that point, I did it because I wanted to be a good kid, and then it sort of kickstarted something in me. It probably coincided with the age that I was — it's a moment when you look up and actually choose your surroundings, you actually choose the people that you're going to call your friends. At that time, I thought, 'I need to find people that are going to really push me.'"

How did you get the get the rough look of your character, Marylou?

"She was just really simple. One really remarkable thing about her is she's so completely un-self-conscious. Vanity was the last thing on her mind. She was a beautiful girl, and everyone who talked about her said that. She was infectious and disarmingly present. I wasn't going for rough. I was going for real."

Do you have any favorite looks that you've gotten to wear this year?

"I liked everything I wore this year…I think. I don't want to offend any of the dresses."

What aspects of the film did you relate to?

"I think I always really identified with Sal Paradise [played by Sam Riley]. As much as Marylou offers so much of the vitality, so much of what you are hungry for during the read, I didn't really identify with her initially. It took a lot to pull it out."

What was your favorite on-set moment with your co-stars Garrett Hedlund and Sam Riley?

"I think probably at the end of the shoot. It's funny, one of my favorite moments is Garrett not being there. He had to go do something and I had finished doing a scene that his character was not present for, and it was just kind of perfect. His absence was very poignant. The fact that it was my last scene in the entire the movie, saying goodbye to Walter [Salles, director] and taking a picture in the middle of a completely empty road in the desert. It was excruciating, but at the same time, kind of what I instantly think about."

Everybody on the set was smoking and drinking, did you look forward to showering at the end of every shoot?

"I did enjoy showering at the end of the day. If we were actually taking that trip, it would be the grimiest. I used to think about that all the time. So, I was glad to not go there."


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OTR NYC PREMIERE AFTER PARTY - 13/12/2012





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OTR NYC PRESS JUNKET - INTERVIEW WITH CLEVVER TV



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ON THE ROAD NYC PRESS JUNKET - INTERVIEW WITH HITFIX




OTR ROUND TABLE INTERVIEW - COLLIDER FROSTY

Directed by acclaimed filmmaker Walter Salles (The Motorcycle Diaries) and based on the iconic novel by Jack Kerouac, On the Road tells the provocative story of Sal Paradise (Sam Riley), a young writer whose life is shaken and ultimately redefined by the arrival of the free-spirited and fearless Dean Moriarty (Garrett Hedlund) and his girl, Marylou (Kristen Stewart). As they travel across the country on a personal quest for freedom from the conformity and conservatism that engulfed many during that time, the duo encounter a mix of eclectic individuals who forever change them. The film also stars Viggo Mortensen, Kristen Dunst, Amy Adams, Tom Sturridge, Elisabeth Moss and Alice Braga. Click here for all our previous coverage.

At the film’s press day, co-stars Garrett Hedlund and Kristen Stewart talked about why they were so passionate about this project, how challenging it was to stay attached over the years, how they broke the nudity in the film to their parents, the ideals of the time period that they can most relate to, their favorite locations on the shoot, what the younger fans of Twilight might think of this film, and what can make a great road trip. Check out what they had to say after the jump.

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.


(http://www.robstendreams.com/ http://fiercebitchstew.livejournal.com)

OTR NYC PRESS JUNKET - INTERVIEW WITH ITN/SHOWBIZZ411





(via http://www.robstendreams.com/)

NEW BTS PHOTO



"Garrett Hedlund (who plays Dean Moriarty), Kristen Stewart (Marylou), and Sam Riley (Sal Paradise) inside Dean's Hudson, which is practically a character in the film. Garrett actually bought his down Hudson before shooting started. He could literally drive it with no hands, he was so at one with that car. There were times when he was going 100 miles an hour while acting—and, apparently, not looking at the road. But he always kept control."

http://www.robstendreams.com/2012/12/new-bts-picture-of-kristen-garrett-and.html



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."


http://www.moviefanatic.com/2012/12/on-the-road-kristen-stewart-and-garrett-hedlund-talk-kerouac/

(via http://www.robstendreams.com)



BTS PHOTO





(via http://kstewartnews.com)



NYC PRESS JUNKET - INTERVIEW WITH ET CANADA




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Τι σκυλάκι είναι αυτό? Από τα γυρίσματα του OTR είναι?

Naί είναι Behind the Scenes. Δεν ξέρω αν το σκυλάκι εμφανίζεται στην ταινία ή απλά ήταν στο πλατό. Αν με ρωτήσεις τη γνώμη μου νομίζω τυχαία βρέθηκε εκεί.
Τώρα για την ράτσα, μου μοιάζει για πεκινουά, επειδή έχει κοντή μουσούδα, αλλά δεν ξέρω κιόλας.

Όμορφη φωτογραφία είναι.

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.

Kristen was asked if she hoped her Twilight fans would read On the Road?

Listen to her answer HERE

http://filmreviewonline.com/2012/12/18/on-the-road-kristen-stewart-garrett-hedlund/


(via http://www.robstendreams.com)

KRISTEN'S INTERVIEW WITH INDIEWIRE

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’s a very key thing in terms of taking a role like this. I saw “Welcome to the Rileys,” too. And obviously, the character you play in that requires a lot of open sexuality.

But she’s so much more closed off. The amount of walls that that girl has up was so… This was much more difficult, personally, just because I’m… not that way. But “Welcome to the Rileys” was difficult because it was fucking awful subject matter, it was pretty morbid. This was definitely more fun.

When you’re thinking about choosing roles, and you know that you’re going to be doing things like that and bringing out that part of yourself — especially if it’s not particularly natural to you — where do you bring that from?

Actors that say that they want to really step outside of themselves and play characters that are very unlike them…

Like villains. You’ll hear someone say, “I can get all my rage out…”

See, that’s the thing. They have the rage, though. Do you know what I mean? You can’t not have it. Even if it’s buried really deep. That’s sort of what happens when you read a script and it provokes you on some level that surprises you. You go, “What the fuck was that? I need to find out why that moved me because that’s not who I am.” Usually, those aren’t the aspects of yourself that are clear to you, but they’re still there. So making a movie, it’s always about finding out why reading it was such an experience.

So…?

[laughs without answering]

Without putting too fine a point on it, what did you find out?

That I can let my face hang out. It’s definitely not my go-to deck of cards but… you deprive yourself of life as soon as you start putting those walls up. I’ve never met another character/person in my life that squeezed every last drip out of it like she did. Not to say that I’m just like Marylou now. It’s not like, ‘Ooh, I can now finally be free…’ I don’t know. I definitely tasted it, so I know I have it in me. D’you know what I mean?

It would be easy to focus on the sexual aspect of it, but it sounds like you’re taking it in a broader sense.

Yeah, doing that, though? Honestly? The dancing scene was so much more terrifying than any of the sex scenes were for me. I was so scared of it.

It’s hard to dance in front of your friends. How do you do a dance from another time in a giant movie?

We crammed, I think, 60 extras into a tiny little room. Literally, I could feel the floor vibrating. It was so fucking cool. But I was terrified.

So that was actually more impactful or intense than any of the sex scenes?

100 times. 100 times, yeah.

Jodie Foster always said that about “The Accused.” That the rape scenes were difficult, yes, but the hardest thing was the dance before it, when she had to dance all sexy.

Oh. Totally, of course. That would be so much more difficult. That is really interesting. It makes total sense to me.

Has your approach to why you would take a role in an independent film changed in the last few years?

It’s a very particular thing, it’s a very strange job to do. You’re pretending to be another person and you’re letting a bunch of people watch you do that. A lot of people that are attracted to the job can sort of step outside of it and view their career as a whole and kind of shape it, and go, “I want to end up here…” I have absolutely no clue what I want to do until it’s right in front of me. So I’ve just been really lucky, everything’s been quite varied.

Right. But presumably, at any one time, there’s not just one thing that you’re responding to, so you still have to choose. You also have agents and managers who weigh in for their own reasons and agendas.

That’s true. I think if they’re weighing in, then they’re geniuses — and I don’t think this is happening — in terms of funneling things unbeknownst to me.

Convincing you it was your idea…

Or maybe just not showing me everything, showing me only things they want me to do. That actually sometimes does freak me out. But to be truly honest with you, I can’t do things like that. Sometimes movies start out as ideas. Especially big studio movies. There’s a concept before there’s a character, and they’re completely empty.

OK, but to play devil’s advocate: where are you going to go with your character in a “Snow White” sequel?

Oh, it’s gonna be fuckin’ amazing. No, I’m so excited about it, it’s crazy.

Can you give me a hint of where it goes?

I’m not allowed. The other day I said that there was a strong possibility that we’re going to make a sequel, and that’s very true, but everyone was like, “Whoa, stop talking about it.” So no, I’m totally not allowed to talk about it.

But it’s fair to say that there are ideas that have been discussed that totally justify it for you.

Oh my God. Fuck, yeah. Absolutely. And we’ve got a really amazing… [smiles] So, yeah. It’s all good. [laughs]

What’s it like watching yourself have sex? Putting aside the possibility that you have home recordings or anything?

Right. [laughs] Well, I wasn’t really having sex. To be honest, I think if you were to isolate the scenes, it’s fairly ridiculous watching yourself fake have sex. But within the movie, watching the movie, I do get so caught up in this one. I’ve seen it three times, and that’s not typical for me. I have to complete the process, I need to watch the movie at the end of it. But three times?

Why this one then?

I don’t know. Walter could have cut together a 24-hour movie. I watched the movie, and it’s funny, I remember those moments like they’re parts of my life. And that typically happens when you watch a movie, but this one’s strange just because I can’t identify any scene. There are parts, moments, where I don’t feel like I’m watching a movie, I feel like I’m watching a home video. And I know that sounds like crazy talk.

That’s also the way he shot it. It’s meant to be lived in.

100%. So it doesn’t feel that weird to me. I felt like watching “Welcome to the Rileys” was more weird. But that was the point — it was to be a little bit like, you didn’t really want to watch that.

Because in this one, Marylou’s enjoying it.

It’s fucking fun! Exactly. It’s definitely full of love, this one.

What’s your sense of awards campaigning? It must be a weird thing for someone in your position where there are companies trying to make money, and there’s a certain business aspect to this time of year and a movie like this. It’s probably the most important film IFC Films has ever released. That means for someone like you, you’re put out there to kind of peddle it. What’s your sense of your role in that piece of the process?

I would follow Walter anywhere. I’m so proud of him. I would peddle his stuff to anyone in the world. I feel like it makes total sense — standing next to Garrett and Walter and Sam and Tom and everything, like when we were at Cannes, that makes so much sense to me. I’ve never felt stronger. I really like talking about the movie, so doing press for it is actually kind of fun — I’m not bullshitting.

It doesn’t feel like a different kind of press than something like “Twilight?”

It does, it’s just a little less monotonous because people actually want to have conversations about it.

Rather than, “Oh, my God, you’re Bella… I can’t breathe.”

[laughs] Yeah, exactly. Or like, “How is it to be a vampire?”

How many times would you say you’ve heard that one?

Honestly? Hundreds. I’m not kidding.

http://www.indiewire.com/article/honor-roll-2012-kristen-stewart-sex-dancing-on-the-road-awards?page=1#articleHeaderPanel



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