On the Road (2012)

ON THE ROAD NYC PRESS JUNKET


INTERVIEW WITH DIRECTV




INTERVIEW WITH YOUNG HOLLYWOOD




ON THE ROAD FEATURETTE FROM ITUNES




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 http://www.robstendreams.com/)

ON THE ROAD PRESS JUNKET - INTERVIEW WITH SIDEWALKS



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

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.”


http://blog.fanhattan.com/2012/12/27/twilight-kristen-stewart-time-on-road/

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

SANTA BARBARA INTERNATIONAL FILM FESTIVAL Q & A

“On The Road”

Roger Durling with Actors Garrett Hedlund and Kristen Stewart

Roger Durling: Garret, you’ve been involved with this project from the get-go, how many years has it been?

Garrett Hedlund: Since 2007.

Durling: And I read that you gave up other opportunities with other films to be in this project. What was it that made you so adamant about being a part of it?

Hedlund: You’d be crazy not to, you know when Walter gave me this role, I thought it was one of the most incredible things that had ever happened to me. And also, you know, I was a big fan of the book. I read it for the first time, I was seventeen, and a lot of the other writers from the beats and just literature in general had such a huge influence on me. I felt that to be involved with something as iconic as this was an opportunity of a lifetime, really. And I could go as deep as I could in terms of research, I mean, we had time. The film wasn’t greenlit at the point when I signed on, so there was years of meeting the family members of the characters in the book. You know, Dean Moriarity was the alter ego of Neal Cassady, so I spent a lot of time with John Cassady, his son. I got to go to San Francisco and meet with some of the other beat writers and sit down with them. I spent a lot of time reading Kerouac and Cassady and all the letters, I read all of the writers that inspired them – Proust, and Nietzche and Wolfe. So it was, you know, really incredible.

Durling: And Kristen, you’ve also been involved with this project for a very long time, since, Into The Wild with Sean Penn?

Kristen Stewart: It was a little after that. I think it was in 2007, I was seventeen.

Durling: What was it that attracted you to this role?

Stewart: On The Road was my first favorite book. I read it as a freshman in high school. And then when I heard Walter was directing it I would have done anything to be involved. I would have been his assistant on it. I would have done craft service. The reason you love something, it’s so clear. I don’t even really remember the details of the initial conversation; I think I just drove away shaking. I mean I was fairly certain. Not necessarily that I would get the part, because it could have been decades and we still would have had to wait fifty years for it to begin, but that I wanted to commit to something like that. Which is obviously, at least the way I remember, so irresponsible of me. I wasn’t ready for that part yet, at all. I got involved when Garrett did, and if fifty years had gone by and we’d missed out then it would have been a really painful experience.

Durling: I had a question for Walter, and maybe you can answer this. Why did it take so long? I don’t know if everyone knows the history, but Francis Ford Coppola had the rights, correct?

Hedlund: Since 1979.

Durling: Did Walter share with you why it took so long to get the project going?

Hedlund: I mean it definitely wasn’t the natural arc that most films are made in. I think it was a struggle to formulate a script that captured the spontaneous style that these guys were living in. But there’s something extra all throughout you know, with the crazy cats, conversations, and crazy experiences. Godard was going to do it at one point. And obviously Francis Ford Coppola was going to direct it. Lots of others, I think Gus Van Sant at one point. And Francis had drafted a script all the way back in 79 or 80, and I think it was a big struggle for him to capture the internal rhythm that fueled these guys’ journey. Anyone that was going to direct this journey had to find out for themselves which subject matter was to be the most important in the production of the story. And that’s not to say, you know, you can read through the book and almost every moment stands out and we shot every scene and we always joked that the DVD was going to be very rich. Lots of cutting room floor material. Walter was initially approached at Sundance when he was there for The Motorcycle Diaries. Someone from Zoetrope, Francis Ford Coppola’s company, approached him with On The Road. He felt that as a Brazilian filmmaker, this wasn’t his territory whatsoever. While he’d read the book in 1974 and it inspired him so much, and helped make him want to be a filmmaker, it inspired him about the lands of America that had this sense of yearning and freedom. He was never going to agree to the film because he felt that for him it would be necessary to do a cross-country journey; retracing the steps of Kerouac and Neal and the other literary figures that were around. So he did a cross-country journey for four years, before we even shot the film and created, “The Search for ‘On The Road’”. In doing the documentary he took up so much passion for the people the book and the journey that he found it irresistible.

Durling: Kristen, in the book the women, especially Mary Lou, are shall I say, underwritten. Were you involved in the process of expanding the character of Mary Lou?

Stewart: Yeah, she’s definitely on the periphery of the story. I think some of the people behind the characters thought it would be easier to not change the story necessarily and never add anything really. It was always just sort of felt. I think a really common idea in the book is that the women are treated as sort of playthings like they’re ambience or sexy wild things

Durling: Which seems like misogyny to some people.

Stewart: Yeah, which is interesting to me because I always hear men say that like, “So hey, don’t you think there’s a chauvinist feeling to the use of women in the story?” and I think that’s a kind of simplistic way of looking at it. They’re not on the forefront of the story so you don’t know where their hearts or where their minds are. But at the same time, getting to know Luanne especially, I don’t think anyone could have taken from her. She was so generous and giving and what she was getting in return was not leaving her empty. The same goes for Dean. She was an incredibly formidable partner and talk about a girl who doesn’t know fear. She was just a teenager and it’s not a very typical quality for a teenager to have. That like, really hungry and unselfconscious and self-aware thing. It’s not common. As soon as I met her daughter, she went into great detail; she’s got a killer memory as well, and everything just made sense. I think we were able to feel them instead of having to have to illustrate it. It sort of just came across as we got to know them and how we loved the people.

Hedlund: She’s wise beyond her years, this character. I mean, she’s the one who left me in New York at the beginning. I just thought Dean and MaryLou were so parallel because she was wise beyond her years, he was as well, and they were kind of just great travelling companions. She was kind of the mirror image of him in a way, because just like that she left him to go back to Denver when she reveals that she has a husband to return to.

Stewart: They kind of helped to raise each other.

Durling: You talked about the research you did for the roles. I read somewhere that Walter did a “Beat Camp” for you guys. Can you describe it? Was that sort of rehearsals or improvisation before?

Hedlund: All of the above. On this film, it went kind of fast. We only had six weeks of pre-production before going on the road for six months to shoot. And four of those weeks we spent in Montreal. We started in the middle of the summer and kind of camped out in this apartment where Sam Riley, Kristen, Walter, and I would all go to and we would have the family members come. John Cassady, Anne-Marie Santos (LouAnne’s daughter), and Gerald Nicosia who wrote Memory Babe, a Jack Kerouac biography, who also shared with us hundreds of hours of audiotape of MaryLou speaking of Jack and Neal, which was incredibly powerful. We watched old films that Walter would share with us, Shadows, John Cassavettes, and a film that just saw the light of day, The Exiles, which had been in archival footage for up until maybe five years ago, and it was shot in the fifties. All of the walls surrounding were filled with photos of the characters, the locations of the houses, the locations where we were gonna go, what it looked like then, what it’s going to look like now. Jazz was constantly playing. Dexter Gordon, Slim, Jack McQueen, Miles – playing all day along. And all the reading that we had to do. There was hundreds and hundreds of letters that all of these characters wrote to each other. More particularly, Neal Cassady wrote to Jack. They’re very personal and uncensored, and from then we got to sort of realize the thought processes and what made everyone tick.

Durling: Kristen, the Hudson is another character in the movie and you obviously spent a lot of time inside this car. What was that experience like, it seemed awfully claustrophobic.

Stewart: Really?

Hedlund: Remember Argentina?

Stewart: Yeah, that got old.

Hedlund: After Montreal we needed snow in August. So we went all the way down to Patagonia in Chile and shot for three days. I remember there was a banana on the backseat floor and that’s how you could tell how long the day was by the current state of the banana. Obviously the banana was getting squished on the backseat floor, and whoever was in the backseat would be you know…

Stewart: Making disgusting jokes about the state of the banana that don’t need to be repeated here.

Hedlund: They only made the Hudson for about six years; I think the last Hudson was made in ‘54. It’s a wonderful, wonderful car. I bought a ‘53 Hudson before we started shooting and this was a ‘49 Hudson but I just wanted to get used to the three on the tree and driving it. All these shots where everybody’s in the car, you had to know how to handle this thing. Like when we were shooting the blizzard scenes with my head out the window I was actually driving the car. The camera’s just out there, nobody’s around so we just did the scene driving down a blizzard road. Walter would be walking and say, “There’s a snowplow coming! Do you see the snowplow?” It was like, “I can’t fucking see anything just tell him to watch out for me.”

Durling: You know, you mentioned Argentina. A lot of these landscapes have disappeared in the United States because of the commercial sprawl and so you had to travel to other parts of the world. Can you tell us about that?

Hedlund: Yeah, after we started in Montreal for about three weeks, went down to Argentina. Flew over to Chile; shot there for three days. Flew up to New Orleans; shot for two weeks. Flew over to Arizona; shot for two weeks. Down to Mexico City, for another three weeks, and after we finished that they said, “We’re halfway!” Then there was Calgary for three weeks, Montreal for another month, and then we finished in San Francisco for the last four days of shooting, which were mostly either the interiors with Dean and Camille or driving through Russian Hill. Then, Walter and I went on a three week journey with a five man crew where we took the Hudson from New York to Los Angeles, because with the principal photography we couldn’t possibly get all the lands of America throughout the schedule we had. So Walter and I shot the Harlem rooftop scenes there then went out to the Adirondacks to get more snow shots, broke down in Utica, drove through a blizzard to Erie, Pennsylvania, with my head out the window. We didn’t have a speedometer or windshield wipers, and our gas can was in the trunk of the car so obviously there was some gasoline high going on as well. We drove with no brakes from Cincinnati to Lexington, Kentucky, then over to Nashville where we tried to find brakes on a Sunday in the Bible belt. We were driving only on back roads too, so it took us eight hours to get to Memphis where it would have taken two hours by freeway. Broke down in Texarkana, Arkansas. Broke down in Lubbock, Texas. Broke down in Las Vegas, New Mexico for three days. Then up through Arizona, down to Phoenix and then where it would have taken five hours by freeway, it took us eighteen hours to get from Phoenix to Los Angeles and that’s where we found that railroad that you see in the end credits between California and Arizona. We just stopped to take a photograph and we saw this wonderful railroad track over there. And if anybody knows Neal Cassady or his life, he had died, or was found dead walking from Temple Town, New Mexico on the railroad tracks. And was found between towns where he had gone to revisit the ties that him and Kerouac had had in the city when he was down there for a wedding. So, it was very special that we at least got to have that footage. I didn’t even know it had made the cut.

Durling: Kristen, you mentioned MaryLou’s daughter…Has the family seen the film? And what was their reaction?

Stewart: Yeah, I think Anne Marie saw it a few weeks ago, we were in San Francisco and she attended a screening with her husband and daughter. I think she’s really happy with it. The thing that Luanne always did with her daughter, and probably with many other aspects of her life as well, was that she really kept things separate. Which is why I got a really interesting perspective through her daughter. Her values, and desires, and ideals were pretty varying. And yet she was able to provide herself with the life she wanted to live. I mean afterwards, she was just smiling a lot. Her mother had just passed away right before we were about to get this thing going. Out of a lot of characters in the book, she would have been one of the ones that would have been really enthusiastic and into it and would have loved to talk to us, and it’s too bad that it was timed badly. But yeah, I think she’s happy with it. She said that she’s always really shocked and surprised by that aspect of her mom’s life because she came right after. She would tell us stories about people coming back to the house and her mom would never explain to her who they were, so one day she was sitting there, she was sixteen years old and she answered the door to Neal Cassady. He looked at her and–he could always never accept the fact that she wasn’t his daughter. So he was always like, “Oh look! She’s got my eyes!” when she was a little baby, and Luanne would be like, “Uh, no, she doesn’t.” Which is crazy, it’s always insane to me that they never had a child together after all that. But anyway, Neal looked at her and said, “Oh, you’re not as pretty as Jack said you were. Where’s your mom?” and she was like, “Who are you?” Then she found out years later who he was, and he had shown up on the bus actually.

Hedlund: Oh yeah, the bus from the Electric Kool-Aid Acid test days. But it’s also special, Anne Marie the other night had given each of us a vinyl from her mom’s personal collection. Her mom, appreciated her vinyl so much that all of these had her initials on the back in the top right corner so…

Stewart: Yeah, there’s a little “Lu” and it’s really cute.

Durling: So the jazz, I wanted to ask Walter about the music but one of my favorite moments in the movie is your dance sequence. Was that choreographed, or could you explain how that scene was shot?

Hedlund: Yeah, it was maybe choreographed in the way of memorizing your lines and knowing what to say but having the freedom to improvise. Because at that point, and I know that later we found out that Luanne’s favorite dance was the jitterbug but that would have been a little too cliché for this moment, and at that period we couldn’t find any reference of dance because they were coming out of swing and moving into be-bop. So we just interpreted that and learned a few interesting steps and what to do, and it was much more on the seductive side. Really we just learned a few steps and Walter would film ten minutes without calling cut. So of course we had to use a song that was cut to ten minutes so those were some of the most exhausting days of the shoot. We were just being maniacal on the dance floor and a big sort of bash was going on but after ten minutes, cut. Then we’d run outside to catch our breath.

Stewart: There was no air in the room either. It was totally like a vacuum. It was hot.

Durling: Well it was a really enjoyable moment. Garrett, this is not a very likeable character. Was it difficult to inhabit for such a long period? I mean he’s very seductive and attractive and you’re a good looking guy, but he’s ultimately despicable.

Hedlund: I think the energy was the most exhausting thing. You know when I first read the book, I always empathized with the Kerouac character, Sal Paradise, because at that time, I was doubling up on credits to move out to Los Angeles and literature was a big thing. I was going through Creative Writing and World Lit at the same time, so seeing his kind of spontaneous prose and his never ending riff on people and places and all aspects of life. Just anything he observed and not being the attraction, but writing about what’s attractive and writing about the beautiful imperfections of life. And then when I met with Walter I was so nervous, because reading the book you’re so attracted to this energetic nut who had this genius mind that goes on and on and on about how Twain said this and Proust said this because he really wanted to be a writer and he wanted to go to Columbia like Kerouac. So, I remember trying to put these words in my mouth for the first time and it was nerve-wracking, but I had a lot of coffee.

http://sbiff.org/on-the-road-qa/
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TRAILER ΜΕ ΕΛΛΗΝΙΚΟΥΣ ΥΠΟΤΙΤΛΟΥΣ



Η διανομή θα γίνει από την Rosebud & την Odeon.

(source: @odeon_gr)

Το "On The Road" θα βγεί στους κινηματογράφους στις 14 Μαρτίου

http://www.odeon.gr/site/index.php?option=com_fabrik&view=details&tableid=5&fabrik=6&rowid=22500310&lang=el

Η έκδοση που θα προβληθεί στην Ελλάδα είναι αυτή που προβλήθηκε στο Toronto International Film Festival (διάρκειας 124 λεπτών) & όχι εκείνη που προβλήθηκε στις Κάννες (διάρκειας 137 λεπτών)

(via @f_daifron)

INTERVIEW WITH NEW TORONTO (TIFF)

Kristen Stewart swears a lot. This instantly makes her a human being rather than the tabloid icon she’s unwillingly become at age 22 thanks to the Twilight saga and its constant media presence.

Stewart’s at the Toronto Film Festival with On The Road, an adaptation of Jack Kerouac’s classic beat novel in which she plays Marylou, the sexually adventurous child bride of the charismatic Dean Moriarty. (Yes, there are nude scenes. No, they aren’t explicit.) She’s been paired with Garrett Hedlund, who plays Moriarty, and the two of them are at their most animated when discussing the freewheeling, improvisational style director Walter Salles encouraged during the rehearsal process.


“I tortured myself in the most amazing, wonderful way for four weeks,” she says, “and then as soon as the four weeks were done it was like, ‘You need to stop thinking, because if you don’t you’re gonna regret this entire experience. You’re gonna look back and say: I fucked up. I thought too much.’”

Stewart says the fact that she was playing a real person – the aforementioned Henderson, who was the basis for Kerouac’s fictional Marylou – made her a little more careful about her own improvisations.

“It’s always fun to have freedom and have, like, happy accidents where you go, ‘Wow, that’s cool, I didn’t expect that,’” she says. “But when you’re playing somebody who’s [actually] existed, you know.…” And she stops herself, rethinking her position on the fly.

“I don’t want to discredit what it feels like to play a character who’s been written by somebody,” she continues. “You feel just as responsible to the writer and to everyone who’s been affected by that character.”

There is no doubt in my mind that she’s referring to Bella Swan. And I have to respect her instincts; given how many millions of people worship the Twilight movies and could turn on her in a second for a valid observation taken out of context, it’s the savvy thing to do. But it’s also crap, and she knows it, because as soon as she’s finished that statement, Stewart returns to her real point and her energy shoots right back up.
“I’ve played Joan Jett,” she says, “and because she was on set every day I couldn’t improv. I couldn’t. Everything I said, I spoke to her about it. You know – you can’t put words in their mouths unless you know. Unless you really feel it, and it’s coming from the right place.”

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

INTERVIEW WITH TIME WARNER CABLE - NYC PRESS JUNKET



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

Ειδα την ταινια και δεν μου αρεσε. Τη βρηκα λιγο ασυναρτητη. Δεν εχω διαβασει το βιβλιο και δεν μπορεσα να πιασω πολλα..
Η αληθεια ειναι οτι εχουν αρχισει να με κουραζουν αυτες οι ανεπιτυχεις προσπαθειες να φιλμογραφησουν βιβλια τα οποια πολυ απλα δεν γινονται ταινιες.
Ετσι και με το Cosmopolis ( και αλλα)
Η Κριστεν δεν εχω καταλαβει με ποια κριτηρια επιλεγει τις ταινιες της...Απο τους κοριτσιστικους παντοτινους ερωτες περναει στους τσουλιστικους-τα-παντα-ολα-κανω ρολους. Ροκ συγκροτηματα, στριπτηζ και απενοχοποιημενο σεξ. Και ολα με την ιδια εκφραση στο προσωπο της-γουσταρω-που-παιζω-αυτον-τον-ρολο, παρα οτι τον βιωνει πραγματικα και τον υποδυεται.
Ξενερωσα. Και τη συμπαθουσα η αληθεια ειναι. Αλλα δυσκολα θα ξαναδω ταινια της...

Ελπιζω η ταινια να μην ειναι τοσο μαπα...γτ πραγματικα το βιβλιο ειναι καλο.Τωρα να πω πως περιμενα πολλα απο την Κριστεν...ψεματα θα ναι.

θα ηθελα πολυ να διαβασω το βιβλιο το οποιο φανταζομαι οτι θα ειναι πιο ροκ και ατμοσφαιρικο απο την ταινια. Δεν μπορω ομως να κρινω τη μεταφορα του γι αυτον ακριβως το λογο. Απλα με κουραζουν οι ασυναρτητες σκηνες και η ταινια ειχε πολλες τετοιες..

Αυτο ειναι οντως μαπα....και για αυτο καθυστερω να δω την ταινια...εχει κοντα δεκα χρονια που διαβασα το βιβλιο...δεν το θυμαμαι απολυτα...και δεν θελω την καλη γνωμη που εχω να μου την αλλαξει ετσι απλα.

Δεν θα σου τη χαλασει!! Αν ειναι μαπα απλα θα την προσπερασεις και θα θυμασαι για παντα το βιβλιο, αν ειναι καλη- ολα καλα!!! Εγω ετσι επαθα με τη Χαραυγη 2. Επειδη δεν μου αρεσε, το προσπερασα και κρατω στην καρδια μου τις εικονες απο το βιβλιο..

εμενα η χαραυγη μου αρεσε πολυ...τωρα αυτο δεν ξερω ποτε θα το δω...οταν δεν θα εχω κατι καλυτερο να κανω υποθετω.

Πληροφοριακά πάντα η Kristen είχε πεί ότι ήταν ερωτευμένη με το βιβλίο από τότε που το πρωτοδιάβασε όταν ήταν στο σχολείο (στην ηλικία των 14) & όταν της πρότειναν να παίξει σ' αυτήν ενθουσιάστηκε. Η πρόταση έγινε το 2007 (πριν το "Twilight"), μετά το "Into the Wild". Η ταινία έκανε 3 χρόνια να γυριστεί & η Kristen έμεινε attached στο project, δεχόμενη ν' αμοιφθεί τελικά με λιγότερο από 200.000 δολάρια, εξαιτίας μεγάλων περικοπών στον προϋπολογισμό της ταινίας. Αρχικά για τον ρόλο της Marylou είχαν υπόψη τους τη Lindsay Lohan.
Για τα κριτήρια που επιλέγει τους ρόλους της το πιο πιθανό είναι κάθε φορά να ποικίλλουν. Δε νομίζω να έχει ένα μπούσουλα σύμφωνα με τον οποίο να διαλέγει τους χαρακτήρες & τα είδη των ταινιών. Γεγονός ότι έχει μια τάση στους δραματικούς ρόλους, αλλά έχει κάνει & θρίλερ & περιπέτεια & κωμωδία. Και καλά κάνει γιατί ένας ηθοποιός δεν πρέπει να τυποποιείται σ' ένα είδος & το κοινό να μην μπορεί να τον δεί σε κάτι άλλο, αυτό είναι το χειρότερο.
Προσωπικά για τον συγκεκριμένο χαρακτήρα θ' απέφευγα να βάλω ταμπέλες που χαρακτηρίζουν, γιατί μιλάμε για ένα υπαρκτό πρόσωπο & μπορεί ως ένα σημείο να θεωρηθεί προσβλητκό.
Τέλος την ταινία δεν την έχω δεί, οπότε δεν μπορώ να εκφέρω γνώμη, αλλά ούτε έχω διαβάσει & το βιβλίο για να πώ αν μεταφέρθηκε καλά στον κινηματογράφο. Απ' όσο έχω ακούσει οι κριτικές ήταν mixed, σ' άλλους άρεσε & σ' άλλους όχι.

Vanina σεβομαι την αποψη σου αλλα για καποιο λογο δεν μπορεσα να το δω ετσι με την Κριστεν. Ειχα διαβασει αυτο που λες για το οτι ηθελε να παιξει το ρολο απο καιρο αλλα νομιζω οτι δεν της ταιριαξε. Οσο για τη Μαριλου δεν ηξερα οτι ειναι υπαρκτο προσωπο, ομως αυτη ειναι η αποψη μου για τη συμπεριφορα των ανθρωπων αυτης της εποχης..

εμένα προσωπικά μου άρεσε και η ταινία και η Κρίστεν

έπαιξε όσο απαιτούσε ο ρόλος αλλά όπως είπα και στα σχόλια μου σε προηγούμενες σελίδες, είναι μια δύσκολη ταινία και ή θα την λατρέψεις ή θα πεις το κλασικό ( ???? ... τι θέλει να πει ο ποιητής;;; )

όσο αφορά τους ηθοποιούς στο σύνολο τι να λέμε τώρα
εκείνος ο ξανθούλης (κλασικά, δεν θυμάμαι το όνομα του) με στιγμάτισε και η Κρίστεν έδωσε πάρα πάρα πολλά περισσότερα σε σχέσει με τις υπόλοιπες ταινίες της και δεν μιλάω για τις ερωτικές σκηνές αλλά για το σύνολο της στο παίξιμο
αλλά πάντα αυτή είναι η δική μου άποψη

Garrett Hedlund

Γενικά νομίζω καλά κάνει η Κρίστεν να παίζει διαφορετικούς μεταξύ τους ρόλους. Η ταινία δε με ενθουσίασε, νομίζω ότι δε μου άρεσε γενικά το κλίμα της Αμερικής στη δεκαετία του '50. Πάντως, οι ηθοποιοί ήταν πολύ καλοί (συμπεριλαμβανομένης και της Κρίστεν, η οποία είχε ένα σχετικά μικρό αλλά κομβικό ρόλο, τον οποίο απέδωσε πολύ ρεαλιστικά) και η ταινία ήταν γεμάτη συμβολισμούς.
Γούστα είναι, βεβαια, αυτά...

ειναι τανια που δεν ειναι για τους πολλους γνκ....

Μάλλον η ταινία δεν θα προβληθεί στην Ελλάδα απ' ότι φαίνεται. Θα έβγαινε στις 14 Μαρτίου, την άλλη Πέμπτη, αλλά πριν από 2 - 3 βδομάδες η Odeon την έβγαλε απ' τα προσεχώς της.

Vanina έγραψε:

Μάλλον η ταινία δεν θα προβληθεί στην Ελλάδα απ' ότι φαίνεται. Θα έβγαινε στις 14 Μαρτίου, την άλλη Πέμπτη, αλλά πριν από 2 - 3 βδομάδες η Odeon την έβγαλε απ' τα προσεχώς της.

γιατι?????

ταρω θα βγει κινηματογραφους...?μετα παο τοσα χρονια....?

Και στις άλλες χώρες τώρα βγαίνει. Δεν είναι & πολλά χρόνια, το '10 ή το '11 γυρίστηκε.