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 at the source (scroll down to last question).
Source: Film Review Online
Source: Twitter / OnTheRoadFilm
Kristen talks about Adventureland, the Twilight fandom, her inevitable fame and On The Road.
You’ve been incredibly loyal to this film, even through a period when you’ve been getting tons of press for other stupid reasons.
It’s hard because we’ve been working on this since we were in Cannes [in May]. When you’re promoting something like this, that you believe in, you want to be honest and open and empathetic, but when you get asked the same question …
Like, 35 times.
Right, exactly. And you give the same answers, which doesn’t mean that it’s fake or rehearsed. It can be something that you’ve thought about and you, like, totally believe.
You know, I’ve encountered that, where I’ve interviewed someone and then I read some other interview with them in a different publication where they say exactly the same things, word for word. And yet I believed at the time that it was a totally sincere conversation. And maybe it was!
It probably was. I’m going to do the same thing right now! [Laughter.] And it’s not on purpose. It’s not like you sit and remember those things. If you ask someone the same question over and over, the answer’s probably going to be similar.
Also, you’re an actor. You can deliver something over and over again and believe it. That’s one of your skills.
Yeah! Yeah, I guess that’s true.
You know, among some of my movie-watching friends, we’ve established a convention where we always refer to you as “the girl from ‘Adventureland.’”
Aw! That’s really funny. That’s cool! I love that.
And, you know, it’s not entirely a joke. Because I do know quite a few people who loved you in that movie and have very likely never seen those other somewhat more popular films that you did. [Laughter.]
Yeah, I get that.
I think of your career as something out of quantum physics, where you can’t predict a precise trajectory for a particle, only probability. There was a probable trajectory for you that’s way more plausible than what actually happened. It definitely leads from “Adventureland” to “On the Road,” and in between it includes “Welcome to the Rileys” and “The Runaways” and some other hip little indie films that never actually happened. It does not include the wildly unlikely thing that happened where you made a strange little vampire film for teenage girls and became the biggest movie star in the universe. Do you ever think about that?
Yes. It’s funny. I guess the time I think about that is when I’m asked if I’m pissed about being typecast, if I feel like people hold me to one idea. I would definitely have a huge problem with what happened if it kept me from doing what I’m doing — things that have really challenged me. Which includes “Twilight,” by the way.
I’ve never really been able to project myself into — see, when people ask me, “Where do you see yourself? What type of actor do you want to be? What type of movies do you want to do?” I can’t answer those questions. I have not been able to step outside and think about what I want it to look like. You get the right feeling, and you just sort of trudge forward.
Part of the “Twilight” legend is that when you and Rob and the other actors who signed on were cast in the first film, Catherine Hardwicke was directing, and you had no idea what you were getting into and how big it would be. Is that accurate?
Oh, yeah. Even within it, while it was happening — to expect something like that to sustain would have been crazy. We had no idea. As far as we knew, it was a one-off. Catherine Hardwicke did smaller movies. We had no idea going into it that we would even have a sequel.
Before I let go of “Adventureland” — and I would happily spend our 15 minutes just talking about that — I want to mention that even though it wasn’t a hit and was maybe poorly marketed, I think [writer and director] Greg Mottola should get credit as a talent spotter. You’re in that film, Jesse Eisenberg is in that film and Ryan Reynolds is in that film, and none of you was all that well known at the time.
That’s true. And look at “Superbad”! That had Michael Cera, sort of for the first time. I know he did “Arrested Development” and stuff. But in film, it was the first time anyone was like, “Oh, there you go! There’s that dude!” It had Jonah Hill, Emma Stone. It’s crazy, you’re totally right.
I was startled to realize, looking it up, that “Adventureland” came out less than four years ago. But a lot of stuff has happened for you since then! Does it seem like a really long time ago?
Actually, it does. I did that right before “Twilight,” so I was 17. It was right around the same time I met Walter Salles, who was already trying to make this film ["On the Road"].
Knowing what you know now about what would happen after you took that role with Catherine Hardwicke …
I mean, seriously, I can’t imagine what it must be like to be 22 years old and to pretty much have lost the degree of privacy and anonymity that 99.9 percent of us take for granted.
Oh, man – like, severely!
So would you do it over again if you could?
Yeah. Definitely. I mean, on a number of levels. I wouldn’t exchange the process of making the movies. Usually I’ve got five weeks, or five months tops, to go crazy and obsess about a character. If you had described the weight of it to me initially, I would have doubted being able to sustain the type of energy that it takes to make a movie. By the end of a movie, a lot of actors will go home and get sick; there’s a huge recovery period. It’s like, you expend all your energy. To find a project that allowed me to have that same feeling for five years — I would never, I can’t trade that. It’s mine! Obviously your experiences make you who you are, and that is such a huge part of me. I can’t imagine not having it.
And at the same time, I love movies, and I love having a strong foothold in this business. I definitely don’t deny the freedom that it’s given me, as an actor, to do whatever I want. To choose things that are really weird or things that are really cool and commercial. You know what I mean? Actors normally do what they can, and it’s great to not have to.
Do you hold out hope, now that the “Twilight” series is over, that the amount of ludicrous media attention that you’ve gotten at times will normalize?
Yeah. And, I mean, even in the most ludicrous times, I feel very normal. It’s hard to say in black-and-white terms, but on some level I suppose I have a unique perspective. I look through a really strange lens at the world because of all this. But it’s no less interesting. I’m not deprived of any bit of life, you know? It would be really stupid to deny how interesting it is to look at the world in this way.
Are you keeping notes? Are you going to write a book or something? I don’t know if that’s your instrument.
Yeah, I don’t know. I do love to write, but I don’t know if I’m the best storyteller. [Very low voice.] Basically, people are crazy.
I remember seeing you a couple of times, like across the room, at parties at Sundance when you were there with “The Runaways,” and it did seem like you were doing a pretty good job of having a normal experience — despite the fact that there were 80 photographers standing outside waiting for you to leave.
Yes. And at Sundance it’s really disconcerting. It’s like, “Come on! Let me have this!” That actually does bug me — situations like that, where it’s inappropriate. That’s what really pisses me off.
Well, you were the person that year who was bringing the star power. Because at Sundance, you can just run into people on the street at random. I once walked right into David Bowie, and no one was even paying attention to him.
Right, it’s true. And the problem at Sundance for me, at that point, was that you would show up at a place and people would go [exasperated sigh], “Oh, God. Great!” There’s all these people and it’s crazy. You’re like this cloud — you’re at Sundance and you smell. You’re not indie anymore, you know? You’re bringing the paparazzi. I’m like, “I fucking grew up here! What the hell!” [Laughter.]
Maybe this is an odd thing to say given how much money and how much adulation you’ve gotten out of the “Twilight” series, but I wonder if you feel like the difficulty of the acting challenge has gone underappreciated by critics and non-fans. I mean, they’re not my favorite movies or anything, but they’re a lot better than the books! The cast in general does good work, and your character feels very well thought-out and precisely crafted. Do you feel like people don’t notice that?
I don’t know. I feel like people think that’s me! [Laughter.] It is pretty funny. I say this all the time, and I don’t want to contradict myself: I feel really close to all the characters I play. I’m not the type of person who hides behind a role. I’m not a character actor. The reason I’m ever able to do the job is, like, you read a bit of material that reveals yourself. It can be shocking and surprising, and there are aspects that are a little bit more buried than what seems to be apparent. But at the same time, it is crazy for people to think that I was vicariously having this experience, just dipping along through “Twilight”-land.
But then, a lot of your fans think that, too, am I right?
Oh, for sure! People think that that’s me, that that’s who I am, that I am Bella. It is crazy. Because I am — quite different, in so many ways. Just the other day, somebody asked me in an interview, “So, does it bother you that you’re definitely no critics’ favorite or whatever? Don’t you feel like you want some validation or recognition, a pat on the back?” And, I mean, oh my God. It is so not the issue. It’s kind of the same answer that I had about being typecast. If I suddenly started hitting walls, if I felt like I wasn’t being challenged anymore, if I felt stagnant, that would be one thing.
But I feel like I’ve been so lucky to keep moving. As soon as you start doing things for that reason, it’s so crazy. Plus, then you talk to people who really want to talk about your movies and are really into it. So, it just doesn’t feel like his general perception, which was pretty much that I’m the “Twilight” girl that everyone shits on.
Had you read Kerouac’s “On the Road” before taking this role? [She nods yes.] Because it is so much a boy’s story.
It’s a boy book.
I mean, the girls are there for sex, for sure. [Laughter.] But he’s not overly concerned with their individuality, their inward thoughts, their personal journeys. And somehow, you found a real person there, a very physical person, but a person who seems alive and present and at least somewhat in charge of her life.
It’s not their story, and I was definitely scared about playing a caricature, somebody who was just serving as ambiance, setting the tone for the wild and crazy party scenes. Reading the book, there are all these little details that make Marylou seem just a little curious. You wonder about her for sure, but you do not know where she is emotionally or personally at all. To play the part, it put it on a completely different plane as soon as we got to know the people that these characters were based on.
In your case, you’re talking about Luanne Henderson, who became Marylou in the book.
Yeah. The reality of the situation is definitely not on the screen, but I think it’s felt, and more so than in the book. I don’t know — for anyone who might read the book and think that the women are used up, that they’re used and abused and taken from in a way that leaves them empty — you couldn’t do that to this girl. Like, it was impossible. She was the most formidable partner for him; it was such a push-and-pull. They knew each other until the end of his life, and he couldn’t stop going back to her.
Knowing some of those things and hearing the way she recalled her life — it was so personal to her, and she was so unaware of the movement she was part of. It was really rare to find a character who was that young, and a girl of that time — not to sound super-obvious about it — who was so proactively living her life as her own. She wasn’t crippled by the fear that comes with being a teenager and not knowing where you’re going and not really knowing yourself yet. She had this trust in herself and was so self-aware and so unself-concious. She lacked any bit of vanity, which was, especially for a pretty girl — she had no idea. She was literally the most empathetic, generous, awesome person.
You know, when you read the book you can get the feeling he got around these people. How much he loved them and how remarkable they were. It’s great. But when we listened to these tapes, it was just so uncanny. We’re five minutes into listening to this woman speak, and we were laughing; we were giddy about it. She’s amazing! We were in love with her instantly, and she hadn’t said more than a few sentences. That’s what Kerouac was talking about; he was not fucking around. He was right! That was what made it so much fun.
“On the Road” opens Dec. 21 in New York and Los Angeles, with national release to follow in January.
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Kristen’s New York City makeup artist, Beau Nelson, gives insight into how he created Kristen’s ‘On the Road’ Premiere look! She had the most gorgeous pink lips to match her Erdem ensemble and neon Louboutins.
“I wanted to create a sexy cat eye that was a bit ’60s, and modernize it with a soft pink lip,” said her makeup artist Beau Nelson, who used a combo of the Chanel Lip Definer in Pink Sugar and Rouge Coco Sheer Lipshine in Parfait…
Nelson traced Stewart’s lips with the pencil, then carefully blended the color and layered the airy pink balm on top. “I patted the product in with my finger to make sure it looked lived-in,” he added.
You can find the lip balm and pencil at chanel.com
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!”
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.”
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