Showing posts with label On the Road. Show all posts
Showing posts with label On the Road. Show all posts
RobSten in NOLA: A First Hand Account?
ll has been quiet on the Robsten front over the past couple months. That's because Robert Pattinson and Kristen Stewart have spent little time together, both busy with new movies and new projects.
But despite ridiculous tabloid headlines, the couple is doing just fine. In fact, Rob recently visited Kristen on the set of On the Road in New Orleans. Someone working on that movie recounted his visit to Perez Hilton:
"He was very professional while she was filming. He obviously knows the process. Everyone on the crew loved him. He was chatty, mostly talking about sports, London and getting ready for the next Twilight film. He couldn’t stop staying how happy he was to have some time off and how relaxed he felt!
Rob and Kristen would hang out on-set more times than not, but they also spent time in her trailer. There was no real canoodling or PDA’ing, but it was obvious they were together, a couple.
At the end of each of the three days, she and Rob would leave together. Because there were quick turnarounds for the day everyone just assumed they went straight home. They would return together to the set in the mornings."
source KillerCortez/ KStewartResource / kstewartfans
via RobStenation
LA Times: Seven Intriguing Movie Storylines for 2011
latimes | pattinsonstewartfans
Kristen Stewart's "On The Road" Co-Star Michael Sarrazin has passed away.
Michael Sarrazin, best known for his role as Jane Fonda's marathon-dancing partner in Sydney Pollack's 1969 drama They Shoot Horses, Don't They?, died of cancer earlier today at a Montreal hospital. Sarrazin was 70.
Less well known is that Sarrazin was offered the role of Joe Buck in John Schlesinger's Oscar-winning Midnight Cowboy. Eventually, Jon Voight became a star - and earned a Best Actor Oscar nomination — for his performance as the hick-turned-urban sex worker.
Curiously, Sarrazin was bypassed at the Oscars that year, even though fellow They Shoot Horses, Don't They? players Jane Fonda and Susannah York (who died earlier this year) were both nominated, and Gig Young was chosen as the year's Best Supporting Actor.
Sarrazin (born May 22, 1940, in Quebec City) was also effective as a young man whose life is changed after he accidentally knocks down and kills a woman in Robert Mulligan's underrated 1971 anti-establishment drama The Pursuit Happiness, co-starring Barbara Hershey. And he was a likable straight man to Barbra Streisand in Peter Yates' 1974 comedy For Pete's Sake. (Yates also died earlier this year.)
Among Sarrazin's other notable film appearances were those in Harvey Hart's The Sweet Ride (1968), playing a surfer opposite Jacqueline Bisset and Anthony Franciosa; John Huston's The Life and Times of Judge Roy Bean (1972), once again with Bisset, in addition to Paul Newman and Ava Gardner; and Ted Kotcheff's 1985 film adaptation of Mordecai Richler's Joshua Then and Now.
Sarrazin also co-starred with off-screen romantic partner Bisset in the dismal melodrama Believe in Me (1971), in which he plays a doctor with a drug problem.
Perhaps most notable of all of his post-They Shoot Horses work was his "prodigal" son who returns to his family of fiercely independent loggers in Paul Newman's film version of Ken Kesey's novel Sometimes a Great Notion (1971), which starred Newman, Henry Fonda, and Lee Remick.
On television, Sarrazin scored a hit by playing The Creature in Frankenstein: The True Story (1973), but his film career lost impetus as the '70s came to a close.
His last film role was in Walter Salles' upcoming On the Road, in which he plays a priest. Based on Jack Kerouac's novel, On the Road stars Kristen Stewart, Sam Riley, and Garrett Hedlund.
Less well known is that Sarrazin was offered the role of Joe Buck in John Schlesinger's Oscar-winning Midnight Cowboy. Eventually, Jon Voight became a star - and earned a Best Actor Oscar nomination — for his performance as the hick-turned-urban sex worker.
Curiously, Sarrazin was bypassed at the Oscars that year, even though fellow They Shoot Horses, Don't They? players Jane Fonda and Susannah York (who died earlier this year) were both nominated, and Gig Young was chosen as the year's Best Supporting Actor.
Sarrazin (born May 22, 1940, in Quebec City) was also effective as a young man whose life is changed after he accidentally knocks down and kills a woman in Robert Mulligan's underrated 1971 anti-establishment drama The Pursuit Happiness, co-starring Barbara Hershey. And he was a likable straight man to Barbra Streisand in Peter Yates' 1974 comedy For Pete's Sake. (Yates also died earlier this year.)
Among Sarrazin's other notable film appearances were those in Harvey Hart's The Sweet Ride (1968), playing a surfer opposite Jacqueline Bisset and Anthony Franciosa; John Huston's The Life and Times of Judge Roy Bean (1972), once again with Bisset, in addition to Paul Newman and Ava Gardner; and Ted Kotcheff's 1985 film adaptation of Mordecai Richler's Joshua Then and Now.
Sarrazin also co-starred with off-screen romantic partner Bisset in the dismal melodrama Believe in Me (1971), in which he plays a doctor with a drug problem.
Perhaps most notable of all of his post-They Shoot Horses work was his "prodigal" son who returns to his family of fiercely independent loggers in Paul Newman's film version of Ken Kesey's novel Sometimes a Great Notion (1971), which starred Newman, Henry Fonda, and Lee Remick.
On television, Sarrazin scored a hit by playing The Creature in Frankenstein: The True Story (1973), but his film career lost impetus as the '70s came to a close.
His last film role was in Walter Salles' upcoming On the Road, in which he plays a priest. Based on Jack Kerouac's novel, On the Road stars Kristen Stewart, Sam Riley, and Garrett Hedlund.
New Pic of Kristen, Garrett and Sam at the 'On the Road' Bootcamp + Article from the NY Times
Gerald Nicosia, second from left, and the cast of “On the Road,” Garrett Hedlund, Sam Riley and Kristen Stewart at boot camp.
In July, before filming began near the primary sets in Montreal, the cast and crew went through Beat boot camp — three weeks of immersion with Kerouac experts.None of the cast and crew were old enough to remember the Beat era, so Mr. Nicosia, of Corte Madera, approached the sessions as if he were teaching ancient history, “like I was bringing them the Holy Grail.”
He said the actors were especially intense, knowing they would upset a lot of people if they didn’t portray the characters accurately."
NY Times article by Scott James Trepidations Aside. 'On the Road' Becomes a Movie at Last.
Many consider Jack Kerouac’s “On the Road” sacred text. The novel was, after all, originally typed on a scroll. Translated into 40 languages, millions of copies of the Beat generation classic have sold worldwide since the novel was published in 1957, placing it among the 20th century’s most influential books.
When it comes to the big screen, however, “On the Road” has faced a Kerouac curse. Past efforts by Hollywood to adapt the author’s work have been failures. Now, somewhat quietly, “On the Road” has finally been made into a movie. The $25 million production, shot in San Francisco, Montreal and other locales, is scheduled for release this fall.
The movie is expected to be of keen interest in San Francisco where the Beats and their old hangouts are a cottage industry. Each year, thousands of people flock to North Beach to visit the City Lights bookstore and the bar Vesuvio or to gawk at Kerouac artifacts in The Beat Museum.
But with so much interest comes anxiety. Adapting any beloved book for film is perilous and apt to irk fans, especially when it’s a literary classic where the language itself played a starring role — something not easily translated onto the screen. “On the Road” is particularly daunting since the provocative ideas that defined the novel — casual sex and drug use and a rejection of materialism — are unlikely to raise eyebrows with today’s multiplex audience.
The creative team from another counterculture road movie is leading the project: the director Walter Salles and the screenwriter Jose Rivera from the award-winning Che Guevara biopic “The Motorcycle Diaries.”
The cast is peppered with actors with box-office appeal, including Kristen Stewart of “Twilight” fame, Kirsten Dunst, Amy Adams and Viggo Mortensen. The two male leads, characters based on Kerouac and his fellow flâneur Neal Cassady, are played by lesser-known actors, Sam Riley and Garrett Hedlund.
In July, before filming began near the primary sets in Montreal, the cast and crew went through Beat boot camp — three weeks of immersion with Kerouac experts.
One “drill instructor” was Gerald Nicosia, author of “Memory Babe: A Critical Biography of Jack Kerouac,” considered by many (including William S. Burroughs) to be the definitive Kerouac account.
None of the cast and crew were old enough to remember the Beat era, so Mr. Nicosia, of Corte Madera, approached the sessions as if he were teaching ancient history, “like I was bringing them the Holy Grail.”
He said the actors were especially intense, knowing they would upset a lot of people if they didn’t portray the characters accurately.
At the camp, Mr. Nicosia played an audio interview that he recorded in 1978 with Lu Anne Henderson, Neal Cassady’s young wife, on whom the book’s character Marylou is based. That conversation is also the basis of “One and Only: The Untold Story of ‘On The Road,’ ” a new book by Mr. Nicosia out this fall.
Could the cast and crew dig, er, relate? “They’re all very unconventional in their own lives,” Mr. Nicosia said of the actors. “If you’re an outsider, you understand what counterculture is about.”
This striving for authenticity is a stark contrast to many past efforts to film Mr. Kerouac’s work.
His novel “The Subterraneans” about an interracial love affair was turned into a 1960 movie starring George Peppard and Leslie Caron (note: they’re both white). And in 1980 “Heart Beat,” about Kerouac’s life, was derided by critics as having about as much literary substance as a Tic Tac.
Mr. Nicosia said concerns that “On the Road” would be similarly botched have thwarted past attempts to make such a movie. (The film’s producers did not respond to requests for comments.)
Concerns remain. Joanna McClure, a Beat poet who was immortalized as a character in Kerouac’s novel “Big Sur,” is curious about the new film, but said: “It was the writing that was so exciting. How do you make that into a movie?”
Ms. McClure also wondered whether today’s young movie audience, which she described as obsessed with “trying to get into corporations,” could grasp a story about shunning worldly possessions.
“It must make a nice fairy tale for them to think about,” she said. “People wished they lived in a world where that could happen.” Yet in San Francisco such wishes still resonate. Gravity Goldberg, editor of the local literary journal Instant City, said many of the submissions she receives today are inspired by Kerouac.
“I think his influence, consciously or not, slips into the work of all these semi-autobiographical bar-hopping, nirvana-through-a-bottle-of-J.D.-seeking writers,” Ms. Goldberg said. Whether Hollywood success finally comes, or not, the beat goes on.
Many consider Jack Kerouac’s “On the Road” sacred text. The novel was, after all, originally typed on a scroll. Translated into 40 languages, millions of copies of the Beat generation classic have sold worldwide since the novel was published in 1957, placing it among the 20th century’s most influential books.
When it comes to the big screen, however, “On the Road” has faced a Kerouac curse. Past efforts by Hollywood to adapt the author’s work have been failures. Now, somewhat quietly, “On the Road” has finally been made into a movie. The $25 million production, shot in San Francisco, Montreal and other locales, is scheduled for release this fall.
The movie is expected to be of keen interest in San Francisco where the Beats and their old hangouts are a cottage industry. Each year, thousands of people flock to North Beach to visit the City Lights bookstore and the bar Vesuvio or to gawk at Kerouac artifacts in The Beat Museum.
But with so much interest comes anxiety. Adapting any beloved book for film is perilous and apt to irk fans, especially when it’s a literary classic where the language itself played a starring role — something not easily translated onto the screen. “On the Road” is particularly daunting since the provocative ideas that defined the novel — casual sex and drug use and a rejection of materialism — are unlikely to raise eyebrows with today’s multiplex audience.
The creative team from another counterculture road movie is leading the project: the director Walter Salles and the screenwriter Jose Rivera from the award-winning Che Guevara biopic “The Motorcycle Diaries.”
The cast is peppered with actors with box-office appeal, including Kristen Stewart of “Twilight” fame, Kirsten Dunst, Amy Adams and Viggo Mortensen. The two male leads, characters based on Kerouac and his fellow flâneur Neal Cassady, are played by lesser-known actors, Sam Riley and Garrett Hedlund.
In July, before filming began near the primary sets in Montreal, the cast and crew went through Beat boot camp — three weeks of immersion with Kerouac experts.
One “drill instructor” was Gerald Nicosia, author of “Memory Babe: A Critical Biography of Jack Kerouac,” considered by many (including William S. Burroughs) to be the definitive Kerouac account.
None of the cast and crew were old enough to remember the Beat era, so Mr. Nicosia, of Corte Madera, approached the sessions as if he were teaching ancient history, “like I was bringing them the Holy Grail.”
He said the actors were especially intense, knowing they would upset a lot of people if they didn’t portray the characters accurately.
At the camp, Mr. Nicosia played an audio interview that he recorded in 1978 with Lu Anne Henderson, Neal Cassady’s young wife, on whom the book’s character Marylou is based. That conversation is also the basis of “One and Only: The Untold Story of ‘On The Road,’ ” a new book by Mr. Nicosia out this fall.
Could the cast and crew dig, er, relate? “They’re all very unconventional in their own lives,” Mr. Nicosia said of the actors. “If you’re an outsider, you understand what counterculture is about.”
This striving for authenticity is a stark contrast to many past efforts to film Mr. Kerouac’s work.
His novel “The Subterraneans” about an interracial love affair was turned into a 1960 movie starring George Peppard and Leslie Caron (note: they’re both white). And in 1980 “Heart Beat,” about Kerouac’s life, was derided by critics as having about as much literary substance as a Tic Tac.
Mr. Nicosia said concerns that “On the Road” would be similarly botched have thwarted past attempts to make such a movie. (The film’s producers did not respond to requests for comments.)
Concerns remain. Joanna McClure, a Beat poet who was immortalized as a character in Kerouac’s novel “Big Sur,” is curious about the new film, but said: “It was the writing that was so exciting. How do you make that into a movie?”
Ms. McClure also wondered whether today’s young movie audience, which she described as obsessed with “trying to get into corporations,” could grasp a story about shunning worldly possessions.
“It must make a nice fairy tale for them to think about,” she said. “People wished they lived in a world where that could happen.” Yet in San Francisco such wishes still resonate. Gravity Goldberg, editor of the local literary journal Instant City, said many of the submissions she receives today are inspired by Kerouac.
“I think his influence, consciously or not, slips into the work of all these semi-autobiographical bar-hopping, nirvana-through-a-bottle-of-J.D.-seeking writers,” Ms. Goldberg said. Whether Hollywood success finally comes, or not, the beat goes on.
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