DID YOU READ

“On The Road”: From Page To Screen

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Director Walter Salles impressed audiences and critics alike with his 2004 film about a young Ernesto “Che” Guevara coming of age in South America, so when the Brazilian filmmaker was chosen to direct “On The Road” – the road-trip story by Jack Kerouac that defined counter-culture youth in the ’50s – it seemed like a perfect match of project and filmmaker. Still, the process of bringing Kerouac’s seminal novel to the screen has left the last five decades littered with scrapped drafts and a long list of actors and directors attached to the project at one point or another – making this weekend’s premiere of Salles’ long-awaited film all the more impressive.

For Salles, the making of “On The Road” has been both a literal and figurative journey that’s occurred in fits and starts over much of the last decade, with the film proceeding along, then stalling out, then beginning again numerous times since he was named as director. The experience has involved multiple cross-country road trips, a revolving cast of actors, and more than a few obstacles that threatened to derail the project entirely despite the perseverance of its director and stars.

IFC spoke with Salles, screenwriter Jose Rivera, and stars Garrett Hedlund (Neal Cassady / Dean Moriarty) and Sam Riley (Jack Kerouac / Sal Paradise) about the process of bringing On The Road to the screen and how they approached the characters and narrative of the story in the film.

“It was a very unique process – one that allowed us to have access to the scroll, the original version that Kerouac wrote in 1951,” said Salles. “That version was so different from the published one. It started in the following manner: ‘I first met Dean not long after my father died.’ But in the published version, it started with the line, ‘I first met Dean after I divorced my first wife.’”

And it was that small but important difference, said the director, that formed (and informed) his particular vision for the film.

“It was a completely different starting point for that character [in the scroll],” he explained. “In one case, you have a more innocent, younger narrator who has gone through a loss that will propel him forward, and it creates the possibility of these young men who meet at the beginning of the story to have a common territory: their missing fathers.”

“And as the story unfolds and the scope is developed over that five-year span, the resonance of this motif only grows, to the point where at the end of the story they’re confronted with the necessity of themselves being fathers,” he continued. “Dean is becoming a father in a very literal standpoint, but his restlessness continues. And on the other hand, Sal is trying throughout those four or five years to father a book.”

And it was that father-and-son motif that became the core of the film, according to Salles – along with a focus on the original “scroll” version of the story that Kerouac had written on pages of paper taped together rather than the published version of the book, which gave pseudonyms to many of the real-life literary figures named in the book (i.e., Neal Cassady became “Dean Moriarty” and Kerouac became “Sal Paradise”) and changed various other elements, too.

“When I read the scroll version, it became clear that Kerouac’s original version of this story had more of an edge to it,” said Rivera. “It was more dangerous. It was more sexual. There was more drug use, and they were experimenting and living in a way more passionately in the scroll. And that felt like the right tone for the story.”

Arguably one of the most important – and tricky – elements of any successful adaptation is capturing the right tone for the characters that brings them to life without straying too far from what exists in the source material. With an adaptation of On The Road, however, the waters become even more difficult to navigate due to the characters’ status as fictional stand-ins for real-life people. The availability of countless photographs, audio and video recordings of Kerouac, Cassady, and the rest of the story’s real-world counterparts proved both good and bad for the film’s cast and creative team.

“I read everything I could on Neal and watched all the videos I could,” said Hedlund. “I watched video of him and Allen Ginsberg hanging out, and all of the footage from the Merry Pranksters. But what we really used from all of that research was the stuff from Neal’s childhood more than anything else. Walter made a huge point when he told me, ‘You’re not playing Neal Cassady. You’re playing Dean Moriarty.’ He told us to strip it all away, because when Kerouac wrote this, he wrote it half through personal experience and half through imagination. We had to understand everything and then tear it apart so that we could keep the spontaneous style of the book and live these moments and be able to improvise every day while we were filming.”

“I needed to be Sal, and not think of myself as Jack Kerouac,” agreed Riley. “That would be quite a burden on me psychologically. But it helped that there’s not nearly as much out there of these people when they’re in their early 20s, which is when the story takes place. Walter sent me CDs of Jack talking later in life, and there’s a lot of that, which helped. But this story comes before the fame and the alcoholism and the Jack Kerouac we all know.”

For Rivera, the distinction between writing for the real-life characters and their fictionalized counterparts manifested in a screenplay that had elements from both versions of the figures mingling in the film.

“With Neal Cassady, I felt that Jack had been so conscientious about capturing his voice that all I had to do was allow Jack to speak for himself,” said Rivera. “So for Neal’s character, I relied on the character Kerouac had written.”

“For the Kerouac character, however, I felt like Jack had diminished himself as a character in the story,” he explained. “The Sal Paradise we find on the page is more passive and more of an observer than I imagine the real Kerouac was. From what I understand, the real Kerouac was more intense and loved to talk and things like that. So when I did my research, I focused more on the historical Kerouac and the fictional Neal Cassady.”

No stranger to bringing the lesser-known years of famous figures to life, Salles found more than a few similarities in the experience of making “The Motorcycle Diaries” and that of “On The Road,” and he wasn’t alone.

“[With ‘The Motorcycle Diaries’] we tried to forget the mythological figure of ‘Che’ and focus on the young Ernesto,” he explained. “And Gael García Bernal did that brilliantly. He was an example for Garrett to find his own voice in this very charged terrain and be truthful to it.”

“The only way to be truthful to those young men is to feel the questions they were feeling,” Salles told IFC. “They had no certitudes at that point and were rambling in different directions in order to seek all the possible forms of freedom that would allow them to find a future for themselves at a time when it was difficult to do so.”

”On The Road” hits theaters December 21. The film stars Garrett Hedlund, Sam Riley, and Kristen Stewart, and is directed by Walter Salles from a screenplay by Jose Rivera.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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