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“It’s not so shocking to do drugs and have promiscuous sex anymore,” Stewart says.
“It’s not too shocking to see people naked. I hate to put it this way, but when I read the book I was 15, I think I was maybe a little more fascinated with pushing myself a little bit farther and being a bit of a rebel, or whatever at that age you do. You want to push yourself.”
Brazilian director Salles, who spent many years working to get the rights to On the Road and also getting a satisfying script written, says Marylou is a fascinating character and Stewart was exactly the right woman to play her. As soon as he met Stewart, after seeing her perform in Sean Penn’s maverick drama Into the Wild, he knew he’d found his Marylou.
“She knew On the Road very well, but she also understood Marylou in a way that was very, very unique. And I didn’t think twice. I invited her at that point, because I wanted somebody who could understand what motivated that character more than anything else.
“The fact that she had the passion and the desire but also the understanding of that character and what made her complex was very interesting.”
Salles was also impressed by how much Hedlund was already inside the mind of Moriarty/Cassady, when the young actor first auditioned for the role in 2007. Hedlund took a three-day bus trip from Minnesota to attend the casting session, during which he kept a journal.
“He said, ‘Do you mind if I read something to you?’ And he read what he’d written during his journey. It was if I was listening to Neal Cassady’s prose in his letters. He was so much in synchronicity with it.”
Hedlund says everything about On the Road was profound.
“I think it opened us up to having the ability to express ourselves in a much freer way and open way. I think before doing this film, if you asked me a question, I probably would have asked you to write it down and I would have been able to write you a response in the next few days rather than express myself better.”
Adds Stewart: “I’m still in that position!”
Stewart says the fact that she was playing a real person – the aforementioned Henderson, who was the basis for Kerouac’s fictional Marylou – made her a little more careful about her own improvisations.
“It’s always fun to have freedom and have, like, happy accidents where you go, ‘Wow, that’s cool, I didn’t expect that,’” Stewart says. “But when you’re playing somebody who’s [actually] existed, you know …” And she stops herself, rethinking her position on the fly.
“It’s always fun to have freedom and have, like, happy accidents where you go, ‘Wow, that’s cool, I didn’t expect that,’” Stewart says. “But when you’re playing somebody who’s [actually] existed, you know …” And she stops herself, rethinking her position on the fly.
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“I’ve played Joan Jett,” she says, “and because she was on set every day, I couldn’t improv. I couldn’t. Everything I said, I spoke to her about it. You know – you can’t put words in their mouths unless you know. Unless you really feel it, and it’s coming from the right place.”
“Unless you felt trust,” Hedlund says.
“Precisely,” Stewart says, nodding emphatically. “Because of the time that we put in initially [with the material] and because of the heart that Walter, like, shoved down all of our throats, into our chests, it had to show up. It was impossible for it not to. “
Hedlund picks it up. “And once you know what your character’s instincts are, what their wants and needs are, it can free you up – there can be carelessness, recklessness. There can be emotion.”
“Yes,” Stewart agrees. “Then you can forget everything, and just do it.”
“Unless you felt trust,” Hedlund says.
“Precisely,” Stewart says, nodding emphatically. “Because of the time that we put in initially [with the material] and because of the heart that Walter, like, shoved down all of our throats, into our chests, it had to show up. It was impossible for it not to. “
Hedlund picks it up. “And once you know what your character’s instincts are, what their wants and needs are, it can free you up – there can be carelessness, recklessness. There can be emotion.”
“Yes,” Stewart agrees. “Then you can forget everything, and just do it.”
