DID YOU READ

“On The Road”: From Page To Screen

on the road riley hedlund

Posted by on

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.

Watch More
ISA_2017_Episodic_101

Forget Oscar

Find Your Spirit Animal

The Spirit Awards are LIVE this Saturday at 2p PT/5p ET.

Posted by on

In just a few precious days, the greatest, most epic, most star-studded awards ceremony of the year comes to IFC.

And please, we’re definitely not talking about the Oscars. We’re talking about the Spirit Awards. Hosted by iconic comedy duo Nick Kroll and John Mulaney, it’s a relatively under-the-radar awards show with serious cred. And if the past is any indicator, we’re in for a wild night.

If you feel like doing your homework, you can find a full list of nominees and performance excerpts here. It reads like a who’s who of everyone that matters – those larger-than-life personalities with status that borders on mythological. Our celebrity spirit animals, if you will.

This isn’t hyperbole. Literally everyone who takes the stage at the awards show is spirit animal material. Let’s see if we can help you find yours…

Do you

Live in someone else’s shadow despite shining like the sun? Do you inexplicably vandalize your pretty-boy good looks with a sloppy-joe man bun and a repellent pubic-hair beard? Do you think sounding stoned and sounding thoughtful are kinda the same thing?

Congratulations, your spirit animal is Casey Affleck.

He’s the self-canonized patron saint of anyone who’s got the goods but doesn’t give a damn.

Do you

Have mid-length hair and exude a certain feminine masculinity that is universally appealing? Are you drawn to situations that promise little to nothing in the way of grooming or hygiene as a transparently self-conscious attempt to conceal your radiant inner glow? Does that fail miserably?

Way to go, your spirit animal is Viggo Mortensen.

He’s the yoga teacher of actors, in that what should make him super nasty only increases his curb appeal.

Do you

Get zero recognition for work that everyone knows is unrivaled? Do you inspire greatness in others yet get shortchanged when it comes to your own acclaim? Are you a goddam B-52 bomber in an industry of biplanes?

Bingo, your spirit animal is Annette Bening.

What does it take for this artist to win an Oscar? Honestly now, if her performance in 20th Century Women doesn’t earn her every award on the planet, consider it proof that the Universe truly is a cold dark void absent of reason or compassion.

Do you

Walk into a room full of strangers and walk out with a room full of friends? Have you been hiding under the radar just waiting for the right moment to leap out into the spotlight and stay there FOREVER? Do you possess the almost messianic ability to elevate Shia LaBeouf’s on-screen charisma?

You guessed it (or not), your spirit animal is 100% Sasha Lane.

If you haven’t seen American Honey, then you haven’t heard of her. She came out of the blue with a performance both subtle and powerful, and now she’s going to be in all the movies from this moment on. Or she should be, at any rate.

Don’t see your spirit animal there? Worry not. There are many more nominees to choose from, and you can see them all (yes, including Shia LaBeouf) during the Independent Spirit Awards, this Saturday at 2pm PT/5pm ET only on IFC.

Watch More
carnotes3_thumbnail

Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

Posted by on

It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

Watch More
MAT_101_blog

Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

Posted by on

This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

Watch More
Powered by ZergNet