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.

Neurotica_105_MPX-1920×1080

New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

Posted by on

Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

IFC_CC_Neurotica_Series_Image4

IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 

Neurotica_series_image_1

IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

Posted by on
Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

via GIPHY

Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

via GIPHY

via GIPHY

Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

via GIPHY

And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

PL_409_MPX-1920×1080

Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

Posted by on
GIFs via Giffy

In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

via GIPHY

Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

via GIPHY

Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

via GIPHY

Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

via GIPHY

Self Defense

You can’t throw a download like a ninja star. Think about it.

via GIPHY

If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.