From Collider – Kristen’s longer answers can be read at the source.

Garrett Hedlund Talk ON THE ROAD, Watching Nude Scenes with Parents

Directed by acclaimed filmmaker Walter Salles (The Motorcycle Diaries) and based on the iconic novel by Jack Kerouac, On the Road tells the provocative story of Sal Paradise (Sam Riley), a young writer whose life is shaken and ultimately redefined by the arrival of the free-spirited and fearless Dean Moriarty (Garrett Hedlund) and his girl, Marylou (Kristen Stewart). As they travel across the country on a personal quest for freedom from the conformity and conservatism that engulfed many during that time, the duo encounter a mix of eclectic individuals who forever change them. The film also stars Viggo Mortensen, Kristen Dunst, Amy Adams, Tom Sturridge, Elisabeth Moss and Alice Braga. Click here for all our previous coverage.

At the film’s press day, co-stars Garrett Hedlund and Kristen Stewart talked about why they were so passionate about this project, how challenging it was to stay attached over the years, how they broke the nudity in the film to their parents, the ideals of the time period that they can most relate to, their favorite locations on the shoot, what the younger fans of Twilight might think of this film, and what can make a great road trip. Check out what they had to say after the jump.

As much as you wanted to do it, how hard was it for you guys to stay attached to this, as time went by? How did that life seasoning, during that time, help inform things for you?

HEDLUND: Well, it wasn’t hard to stay attached, at all. This was, for me, something that I so eagerly wanted to do. When Walter [Salles] cast me in this, I was so unbelievably proud to be a part it. I was such a fan of the book and, from eight years after reading the book to now, to be on set was insane. But, from the time I was cast, I had this faith that it would get made, and this fear that it would. Everybody grew a bit too old. That was one of my fears with it because, with this part of the book, Dean is 21 and Sal is 24. We started filming it when I was 25. I turned 26 on it. Now, I’m 28. When I first read with Walter on it, I was 22 years old. Now, looking back with four years in between, with that life experience and life seasoning, you gain much more knowledge and wisdom of the world, the ways things work, the people and how to get what you want, and to know America a little bit more. Obviously, doing drives across the country enhanced the wisdom behind the wheel, of all these remote locations, being broken down and not having a penny to your name. It helped me to be comfortable with those scenes.

Because getting comfortable with the intensity of some of the physical scenes between the two of you, just so that you could do those scenes yourself, were there teams of managers and agents debating whether you should do it or not?

HEDLUND: No. The torture for them wasn’t having to accept the fact that your ass would be out for anybody to see, but with the internet, it will never go away. But, it wasn’t really that. It was the fact that for two or three years, I was saying no to everything that came across the table, and they were just like, “All right, you go off and do that film. I hope Mr. Salles is happy. Where have you been for the last three fucking years?” That was the only thing. Agents and managers despise passion projects sometimes.

Did you talk to you parents about the nudity in this film, before they saw it?

HEDLUND: My mom and sister watched it next to me.

STEWART: Yeah, that was really an interesting experience.

HEDLUND: There were a lot of laughs. I don’t know if that was a good thing or a bad thing. I don’t know if the laughs were out of nervousness or because the actual text was really that humorous.

HEDLUND: I think the only thing harder for a parent is having to sit down and watch you do a dying scene. I’ve died in three films, and my mom begs me, “Just tell me you don’t die at the end.” To get her to go watch I Am Sam, I told her it was a comedy. She came back with her best friend and pockets full of Kleenex and said, “You son of a bitch!”

How old do you think a younger Twilight fan should be, before they see On the Road?

HEDLUND: I think the rating limits that a little bit.

Which beatnik ideals could you personally relate to?

HEDLUND: Within that time, there was such a sense and yearning for freedom. These guys were trying to explore all aspects in life, when few others were. So many had these concrete boundaries set up, and they had this yearning for adventure. Especially for me, growing up in such a small town in the middle of nowhere, the desire to be away was incredible. I wanted to see new lands, meet new people from the city, and meet people that were in much less fortunate situations than I was, so that I could be more appreciative of my present. At least I had food on the table. It was just the yearning to live and be on your own, and to journey and get away. These guys were able to do that by the expansion of free love and drugs. They expanded not only psychologically and spiritually, but also geographically.

Jack Kerouac’s text is a love letter to Dean Moriarty. Was that what you got when you read the book, for the first time?

HEDLUND: Well, this book is very similar to a lot of the letters that they exchanged with each other, from Neal [Cassady] to Jack [Kerouac], and from Neal [Cassady] to [Allen] Ginsberg. The brotherly love was there. The love between Ginsberg and Neal was there. There was honesty through expression of absolutely everything that was going on around them, mentally and physically, from where they were coming from to where they were going. They had such an eagerness to express everything, from the deepest parts of their souls, to each other. 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. That’s what I was really attracted to within this. Dealing with such a wonderful era – the late ‘40s and ‘50s – was something I romanticized the most. Peter O’Toole said once that his idea of heaven was walking from one smoke-filled room to another, and that’s what this time period always seemed like. There are all these black and white photos of people sweating their asses off, in these incredible outfits. All the men wore suits and hats, and all the women wore these fantastic dresses, and they were dancing without a care in the world, or so it seemed. We think that, if we see a photo in black and white, it can’t possibly exist today because everything os in color, but did they see it that way?

You guys had the opportunity to travel to a lot of remote and interesting areas for this film. Which location was your favorite?

HEDLUND: I don’t know. They were all kind of unique. Mexico was amazing. Because we were on such a move, right off the bat, in late summer and fall, Montreal was really beautiful with all of the cobblestones and everything. And then, we got to catch the snow, in the winter of Chile, and then book it down to Argentina and head over to Patagonia and up into No Man’s Land. We got to drive the Hudson through blizzards, in the mountains of Chile, for just three days while we were staying at this bed and breakfast on a lake that always had fog over it.

STEWART: It’s crazy to hear that it was just two or three days because, in my head, it was a huge chunk of time.

HEDLUND: And then, New Orleans was incredible, as well. We went out to the Bayou, and that was special.

STEWART: Just being in the city there was amazing.

HEDLUND: And the deserts of Arizona and Mexico were all so great. Those scenes led to even more excitement. Some of the deserted landscapes that Sam and I got to experience in Mexico were just so unique. Just to be in the deserted streets of Tehuacán, Mexico, where all the buildings were made of clay and straw, it was beautiful to see those parts of the world.

What do you love about a good road trip, and what can potentially derail a road trip?

HEDLUND: Well, what I love about them is that, if you don’t have a time frame or a destination, what could derail it is a passenger that does. For this film, Walter [Salles] and I got to take the 49 Hudson from New York all the way to Los Angeles. The greatest thing about that was that we didn’t have a time when we had to get home. We knew that any footage we got out of the wonderful landscapes of all of America were only going to help us with the film or help us as people, to find strength within ourselves to experience this and to be on this journey. We broke down over nine times across the country, in different locations, and met some of the most wonderful mechanics across the States. It was one of the greatest adventures because none of us cared when we got home, and that’s really so rare to find, even when we broke down in the middle of nowhere New Mexico, on a blacktop divide in a hay field in a cow pasture. It took a mechanic two hours to get to us, and he had to close down his shop, so we just sat on the highway and pulled out our sandwiches and turned the music up.



Using a Jack icon since Garrett mentioned dying in movies and you guys all know how I feel about Jack dying :(   — Laura

Garrett Discusses Road Trips, Mechanics, and a Bygone Era
16 Dec, 2012

This entry was posted on Sunday, December 16th, 2012 at 7:36 pm and is filed under On The Road. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

3 Responses to “Garrett Discusses Road Trips, Mechanics, and a Bygone Era”

Comment by Robin Rose Bicoff
In December 16, 2012 @ 12:40 pm

Road Trips? what happend to on the road? and he should do a movie with Chuck Hunnam


Comment by Laura Stolarz
In July 18, 2013 @ 3:40 am

TY for posting Tini.


Comment by Robin Rose Bicoff
In August 1, 2013 @ 5:26 am

this is really old..I got to see the movie after all. Very good;. I also have the book.


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