Sal Paradise SAM RILEY

Home , Arnaud Desplechin, Garrett Hedlund, Sam Riley

PERSMAP regie release 24 mei

ON THE ROAD

genre origine met “The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn...” - Jack Kerouac (On the Road)

New York, eind jaren veertig. Na de dood van zijn vader ontmoet Sal Paradise (Sam Riley), een aanstormend schrijver uit New York, de losbandige en avontuurlijke Dean Moriarty (Garret Hedlund). Verlangend naar vrijheid vluchten ze weg van de dagelijkse sleur en reizen door heel Amerika. Tussen wanhoop en vervoering ex- perimenteren ze met seks, liefde, drugs, alcohol en muziek. Ze zoeken de beroering, het wilde leven, de losbandigheid – de top- pen van hun emoties.

Zelden heeft een boek zo’n cultstatus bereikt als ‘On The Road’ van Jack Kerouac. Onvergetelijk is het beeld dat hij oproept van wat we de ‘Beat Generation’ zijn gaan noemen: altijd onder- weg, on the road, nooit ergens aankomen, nooit ergens wíllen aankomen.

Na ruim 50 jaar is deze klassieker nu verfilmd door Walter Salles (THE MOTORCYCLE DIARIES) met Garrett Hedlund, Sam Riley, Kris- ten Stewart, Kirsten Dunst, Amy Adams, Elisabeth Moss en Viggo Mortensen. Jack Kerouac ont- moette in New York de schrijvers William S. Burroughs en Allen Ginsberg. Samen maakten ze deel uit van ‘The Libertine Circle’ wat nu bekend staat als de ‘Beat Ge- neration’. Hun ﬁlosoﬁe was die van reizen en de aantrekkingskracht van het onbekende. Kerouac wilde het leven van de reiziger vast- leggen in een spontane stijl van proza: een oneindige stroom rauwe gedachten en obser- vaties. Zijn boek On the Road uit 1957 is hier het beste voorbeeld van. Hij schreef dit boek in minder dan 3 weken op een enorme rol papier van meer dan 40 meter lang. Zelden heeft een boek zo’n cultstatus bereikt als On The Road KRISTEN STEWART

Neal Cassady speelde een cen- De beeldschone en vrijgevoch- trale rol in de ‘Beat Generation’. ten LuAnne Henderson was Samen met Jack Kerouac maakte een van de eerste ‘Beat muzes’. hij de vele en lange autoritten Ze trouwde op 15-jarige leeftijd door de Verenigde Staten en met Neal Cassady. Als Jack haar Mexico. Deze reizen en zijn los- bij zijn vriend ontmoet valt ook bandige leven vormde de inspira hij als een blok voor haar. tie voor het schrijven van On The Road.

De schrijfster Carolyn Cassady is Allen Ginsberg is een Amerikaan- de tweede vrouw van Neal Cas- se dichter van Joodse komaf die sady. Terwijl hij nog getrouwd is samen met William S. Burroughs en met LuAnne ontmoet hij Carolyn. Jack Kerouac het begin vormde Na een heftige affaire trouwt hij van de ‘Beat Generation’. Zijn eerste met haar. Ook Carolyn komt vaak werk: ‘Howl And Other Poems’ riep voor als karakter in de boeken van heftige reacties op wegens ver- Jack Kerouac en bleef goed be- meende obsceniteit, maar werd vriend met Jack en Allen. een groot succes. Jack Kerouac ont- moette in New York de schrijvers William S. Burroughs en Allen Ginsberg. Samen maakten ze deel uit van ‘The Libertine Circle’ wat nu bekend staat als de ‘Beat Ge- neration’. Hun filosofie was die van reizen en de aantrekkingskracht van het onbekende. Kerouac wilde het leven van de reiziger vast- leggen in een spontane stijl van proza: een oneindige stroom rauwe gedachten en obser- vaties. Zijn boek On the Road uit 1957 is hier het beste voorbeeld van. Hij schreef dit boek in minder dan 3 weken op een enorme rol papier van meer dan 40 meter lang. Zelden heeft een boek zo’n cultstatus bereikt als On The Road KRISTEN STEWART

Jack Kerouac’s mythical book, On the Road, beloved by millions of readers for over 50 years, has finally been adapted DIRECTOR’S NOTE for the screen. This quintessential road movie and vibrant ’ve been passionate about On the Road for 25 years. “OntheRoadisthestartingpoint song of freedom will be directed by Walter Salles. Bringing I It is the starting point of everything that interests of everything that interests me me in life and in cinema. It talks about the possibility together a fine cast and crew, the Brazilian filmmaker will to reinvent oneself, to explore internal and external in life and in cinema.” direct a truly modern film, while remaining faithful to the frontiers that have not been mapped before. It does For Sal, Dean, Marylou, Camille, and the rest of that so with an honesty and a degree of emotional reso- unique gang, it is about reinventing these concepts, original work and highlighting what has always made it a ti- nance that are hardly comparable to anything else I’ve reinventing family, reinventing sex, expanding your meless work of art. read. understanding of the world, “digging” new forms of music (Jazz). It is about the necessity to transcend the I’ve always had the impression that the world would frontiers of race, colour, and class. It is about truly not be the same if Sal and Dean (the characters of the existing, and finding a new place, in the world. book inspired from Jack Kerouac and his friend Dean Moriarty) hadn’t had the courage to abandon their pre- It is also about desire. Desire to see what no one has dictable lives and drift and experiment as much as seen. Desire to go where you shouldn’t be going. And they did. On the Road is about being 20-years old and they did that with an invigorating sense of humour. CAST AND CREW not accepting your parents’ understanding of what The humour that permeates the book, and that José Director: Walter Salles sex, family, and religion should be. Rivera has so cleverly transferred to the On the Road Screenplay: Walter Salles, José Rivera screenplay is one that makes us laugh in a way that Adapted from: On the Road by Jack Kerouac (1957) few contemporary stories do. Production company: Which brings me to underline the modernity of this sub- Cast: Sam Riley, Garrett Hedlund ject matter. Having been working on On the Road for se- Director of Photography: Eric Gautier veral years, I’m constantly impressed by the number of Production Designer: Carlos Conti young people who approach me in different countries, Locations: Canada, USA, Mexico wanting to know more about the film. The libertarian Languages: English (primarily), French (Quebec) and visceral essences of On the Road are, for me, the ex- Scheduled shooting date: Autumn 2010 planation for how well the book has transcended time, Budget: 22M€ affecting generation after generation.

In order to prepare for the film, I retraced the journey Neal Cassady and Jack Kerouac who inspired Dean and Sal that is at the center of the book: I drifted through Ame-

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In order to prepare for the film, I retraced the journey Neal Cassady and Jack Kerouac who inspired Dean and Sal that is at the center of the book: I drifted through Ame-

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Preparatory drawing : a road by night Garrett Hedlund photographed by Walter Salles Sam Riley rica interviewing real-life characters from the book “A muscular film, constantly in last scene of the book one of the most emotional, mo- Rebecca Yeldham, also a long-time friend, (the first per- and talking to poets of the Beat generation, whom I ving moments in any story I’ve read. It will make for son to believe in The Motorcycle Diaries, and whom, found to be younger in spirit than many young people I motion, pulsating with energy, a unique film ending. as a Film 4 director, played a major role in financing know. freshness and desire.” and producing the film) will be one of OTR’s producers. For more than twelve months we have searched for That Francis Ford Coppola’s American Zoetrope has This process of immersion has reinforced my desire to lives today be the same if the characters at the heart the actors that could give life to the main characters been behind this project for many years reflects the make a muscular film, constantly in motion, pulsa- of On the Road hadn’t had the courage to explore and of On the Road. This in-depth process has lead us to importance and essentiality of the material. The fact ting with energy, freshness....and desire. expand the frontiers of sex, religion, and family? Pro- cast extremely talented young actors who share our that a similarly unique production house in Europe, bably not. This is what makes this journey fascinating: same passion for the material: Garrett Hedlund (Dean) MK2, is now associated with the project, greatly am- The Motorcycle Diaries was about young men whose On the Road proves that there is always something to and Sam Riley (Sal). Since being cast in On the Road, plifies its reach and adds vitality to our efforts. It will lives felt too contrived, and so they decided to leave be found beyond the point that says, “Do not tres- both have been cast in potential blockbusters (such as be a privilege to collaborate with producers and ar- their home and explore a whole new continent. That pass.” the forthcoming Tron Legacy, in which Garrett stars tists who have created films that brought me to ci- continent, Latin America, and the people they met in There’s also an emotional quality that I find extremely alongside Jeff Bridges). Around them, we intend to cast nema, and who are continuing to do so today. the process would alter their lives forever, and rede- touching in this story. On the Road is about sons who a number of well-known actors for specific, unique roles. fine their place in the world. Starting with the same refute their fathers’ values, and have a hard time Walter Salles restlesness, Sal, Dean and the other characters of On being fathers themselves. It is also about the impor- I intend to make On the Road with the same family the Road search to explore the continents that we tance of friendship and the pain caused when that that made The Motorcycle Diaries possible. Jose Rivera carry within. That exploration would alter the world friendship is broken. When Sal and Dean part ways, wrote the screenplay, in a close collaboration with me. as much as the journey of The Motorcycle Diaries. after having explored America and shared so many ad- Long-time friends Eric Gautier and Carlos Conti will be Would all the behavioral revolutions that affect our ventures, it is as if the whole world shatters. I find this the film’s DP and the production designer, respectively.

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On the Road Walter Salles On the Road Walter Salles

PITCH SYNOPSIS After the death of his father, Sal Paradise, an aspiring New York writer, meets Dean Moriarty, a young and dangerously seductive ex-con. They hit it off immediately. Determined not to get trapped in a narrow life, the two friends burn their bridges and hit the road: thirsting for freedom, they discover the world, others and themselves.

“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn...” Jack Kerouac - On the Road ew York, the late 1940s. After his father dies, Sal ful Camille, whom he has promised to marry, Dean N Paradise, an aspiring 24-year old writer, meets goes to see Marylou, whom he still loves, after dark. Dean Moriarty, a 20-year old ex-jailbird with loose mo- Between the two women, he still manages to find rals and devastating charm. Dean lives with his very some time for Carlo, a friend of Sal’s he has been ha- beautiful and very outgoing sixteen-year-old wife, Ma- ving an affair with since his stay in New York. Unable rylou. Sal and Dean hit it off immediately: Dean is fas- to fit into this quartet, Sal heads for California. cinated by Sal’s obsession with writing; Sal is That’s when he in turn finds love: on a bus, he falls for fascinated by Dean’s unfettered freedom. They spend a young Mexican woman, Terry. Hungering for new ex- their intense, alcohol-fueled nights dreaming of ano- periences, Sal moves in with her and her son in a mi- ther world. When Dean returns to Denver, his home- grant worker’s camp. Despite the hard work in the town, Sal quickly decides to join him. But their reunion cotton fields, Sal and Terry carry on a torrid affair. But is not up to his expectations. Now living with beauti- their happiness is short-lived. When Terry decides to

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Entirely broke, the foursome uses their wits to find NY as soon as possible, Dean abandons him to his sad ways to pay for gas. Once they reach Louisiana, they fate. Aware that, to Dean, the quest for pleasure takes stay a while at the home of their friend Bull Lee, where precedence over all else, Sal holds no grudge. Once he Ed finds his wife, Galatea, whom he had abandoned gets well, he hitchhikes back to NY where his mother to go on the road with Dean. Writer, family man and once again takes him in, no questions asked. junkie, Bull Lee entertains his friends with readings or showing them his unusual inventions. Unable to re- The two former traveling companions lose track of one main in one place, Dean, Sal and Marylou leave Ed to another. One evening, Sal, who now leads a conven- hit the road for California. For a time they form a merry tional life, runs into Dean, in tatters. Though moved to threesome, travelling naked and freely enjoying them- see each other again, the two friends have little to say selves. For them this a suspended moment in time, to each other because their live on the road is now be- free of all constraints. hind them. Each goes his separate way. In the days that follow, Saul feverishly writes the story of their But everything changes once they arrive in San Fran- wild days on the road. cisco: Dean abandons Sal and Marylou suddenly to return to Camille and their child. Distraught, Sal and find the father of her child, Sal hitchhikes to his mo- Marylou go to a hotel where they finally enjoy their speed, encounters and sensations. Exhausted but ther’s and moves back in with her in order to write. first night of tender, passionate lovemaking. But the happy, the two friends disembark once again at Sal’s In New York, Sal and Dean finally meet up again: ac- next morning, Marylou is gone, leaving only a note: mother’s house. companied by a friend named Ed, Dean and Marylou full of tender feelings for Sal, but incapable of knowing turn up at the home of Sal’s mother at Christmas. De- Dean is not far with another woman, she has gone Their minds full of their recent experiences, Sal and lighted to see them again, Sal joins them in a total im- back to Denver. Broke and alone, takes a difficult Dean think they can now settle down for a while: Dean mersion in New York nightlife. Attracted from the start packer’s job. Dean finally invites him to the little takes a small job. Sal goes back to college. But they by Marylou, Sal contents himself with her mere pre- house where he lives with Camille, who is again pre- soon become aware that this life doesn’t suit them. sence. Aware of his friend’s desire for his wife, Dean gnant. Sal doesn’t have to say anything: Sal has only Having the feeling that they’ve scoured the territory of invites him to sleep with her one night: embarrassed, to see Dean again for Dean to decide to abandon his the United States, they decided to discover Mexico. Sal refuses. The trio feels the need to get some air. As quiet domestic life. After a wild night listening to jazz, Highly excited, the two men approach Mexico as an Ed has to meet his wife in Louisiana, they offer to drive the two men decide to head for NY. On the road they earthly paradise of drugs and women. But Sal falls se- him there. keep trying to stretch their limits, in a quest for more riously ill. Determined to find his new companion in

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BIOGRAPHY WALTER SALLES FILMOGRAPHIE Foreign Land in Rio’s favelas. Walter Salles returned to the road movie 1997 WALTER SALLES with The Motorcycle Diaries, a human portrait that de- 1998 Central Station picts a young Ernesto Guevara’s formative years along Golden Bear, 1998 AND THE ROAD MOVIE Berlin International Film Festival the routes of South America. The film was selected for Walter Salles has already directed three road movies: competition in the 2004 Cannes Film Festival and won 2001 Behind the Sun Foreign Land, his first film, Central Station, and The critical acclaim before going on to become an inter- 2004 The Motorcycle Diaries Motorcycle Diaries. It is no surprise, then, that the di- national success (see on following page). With Dark Official Selection - In Competition, rector presents the road movie as an influential genre Water (2005), Walter Salles completed his first genre 2004 Cannes Film Festival for him: film before returning to a more personal work in 2008 2005 Dark Water “Road-movies brought me to cinema. Films like Anto- with Linha de Passe, which once again won him honors 2006 Paris, je t’aime at Cannes. (segment «15th arrondissement») nioni's The Passenger and Wenders's Alice in the Cities. I couldn't explain at first why they touched me so pro- 2009 Linha de Passe Official Selection - In Competition, foundly. Little by little, I realized it had to do with cha- 2008 Cannes Film Festival racteristics that were particular to this form of storytelling, which is based on the unpredictable.” Box Office Results for fter an initial career as a documentary filmma- The source of these characteristics can be traced back The Motorcycle Diaries On the Road ker, Brazilian director, Walter Salles, achieved to the novel , a seminal work in the genre. A Released in France on 8 Sep- Easy Rider critical success in 1998 with his second fiction film, Indeed, emblematic road movies like (Den- tember 2007, the film sold Badlands Central Station, which won him a Golden Bear at the nis Hopper, 1969), (Terrence Malick, 1973) or 790 368 tickets, or grossed Paris, Texas Berlinale. The film is a Brazilian road movie centering (Wim Wenders, 1984) were all made after $1.4 M. On the Road on the poignant relationship between an older woman the publication of (1957). By adapting Jack and a young boy. Inspired by his own documentary, Kerouac’s mythical novel, Walter Salles confronts the The film was also released in over forty countries, In a time where human Soccoro Nobre (1995), the film denounces the often-mi- very origins of the road movie. including: relationships are increasingly virtual, Salles sees serable living conditions of the Brazilian population. USA: $17 M gross this challenge as nothing short of a reappropria- With his tragic Behind the Sun (2001), the director at- England: $3.5 M gross tion of the American landscape. tacked the blind respect for tradition before taking up Italy: $1.5 M gross another cause the following year by producing City of Brazil: $2 M gross God by Fernando Meirelles, a shocking film taking place

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CAST

The two charismatic protagonists of On the Road will be played by two young rising stars: Sam Riley and Garrett Hedlund.

Sal Paradise Dean Moriarty SAM RILEY GARRETT HEDLUND Sam Riley was revealed to the public with his feverish Accustomed to playing supporting roles in large-scale interpretation of Ian Curtis in Control (Anton Corbijn, Hollywood productions, Garrett Hedlund will soon be 2007), which won him numerous awards, including in the spotlight when he shares the screen with Jeff Most Promising Newcomer at the British Independent Bridges in the much-anticipated 3D remake of the 80s Film Awards. Having achieved international status cult film, TRON. with only one film, Sam Riley will return to the screen The young actor is very excited about the role and will Garrett Hedlund Neal Cassady with the American remake of Géla Babluani’s 13 Tza- passionately interpret the complex and fiery charac- meti and will act alongside Helen Mirren in the action ter of Dean Moriarty, a selfish and provocative sedu- film, Brighton Rock. cer, bursting with energy. His delicate appearance and withdrawn acting style make him the ideal actor to embody Jack Kerouac’s Filmographie : double on screen, Sal Paradise, who is much more of 2004 Friday Night Lights by Peter Berg an introvert than his turbulent fellow traveler, but 2004 Troy by Wolfgang Petersen also sensitive and curious, always open to the world 2005 Four Brothers by John Singleton and to others. 2006 Georgia Rule by Garry Marshall 2006 Eragon by Stephen Fangmeier Filmographie : 2008 Death Sentence by James Wan 2007 Control by Anton Corbijn 2010 Tron Legacy by Joe Kosinski Prochainement 13 by Gela Babluani Prochainement Brighton Rock by Rowan Joffe Sam Riley Jack Kerouac

On screen, Sam Riley and Garrett Hedlund will play Sal Paradise and Dean Moriarty, the literary doubles of Jack Kerouac and Neal Cassady

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CAST

The two charismatic protagonists of On the Road will be played by two young rising stars: Sam Riley and Garrett Hedlund.

On screen, Sam Riley and Garrett Hedlund will play Sal Paradise and Dean Moriarty, the literary doubles of Jack Kerouac and Neal Cassady

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CREW Selected Filmography: Production Designer 1996 My Sex Life... Or How I Got Into an Argumen by Arnaud Desplechin CARLOS CONTI 1996 Irma Vep by Olivier Assayas French by adoption, but born in Argentina, Carlos Conti’s 1998 Those Who Love Me Can Take the Train career has been international, alternating between by Patrice Chéreau French productions and collaborations with directors César for Best Cinematography from all over the world (Marc Forster, Emanuele Cria- 1999 Pola X by Léos Carax lese, Sally Potter…). 2000 Les Destinées sentimentales by Olivier Assayas Selected Filmography: 2000 Esther Kahn by Arnaud Desplechin 1993 My Favorite Season by André Téchiné 2001 Intimacy by Patrice Chéreau 1995 Nelly and Mr. Arnaud by Clauby Sautet 2002 A Housekeeper by Claude Berri 1996 Pédale douce by Gabriel Aghion 2003 Son frère by Patrice Chéreau 2000 The Man Who Cried by Sally Potter 2004 The Motorcycle Diaries by Walter Salles 2003 Les Marins Perdus by Claire Devers Independent Spirit Award 2004 The Motorcycle Diaries by Walter Salles The Motorcycle Diaries by Walter Salles for Best Cinematography 2006 The Price to Pay by Alexandra Leclère For his most important crew members, Walter Salles called upon two talented technicians he 2004 Kings and Queen by Arnaud Desplechin 2006 Golden Door by Emanuele Crialese had already worked with on the set of The Motorcycle Diaries. 2004 Clean by Olivier Assayas David di Donatello Award for Technical Grand Prize at Cannes Film Festival Best Production Design Director of Photography common trait of featuring stunning landscapes but, 2005 Gabrielle by Patrice Chéreau 2007 The Kite Runner by Marc Forster ERIC GAUTIER paradoxically, Eric Gautier explains that, “Both Walter 2005 One Stays, the Other Leaves by Claude Berri 2008 Inner Circle by Laurent Tu Salles and Sean Penn were expecting me to bring some- 2006 Loin du 16e by Walter Salles Having worked as cinematographer with some of France’s thing from the French films, something very intimate and (episode de Paris je t'aime) greatest directors (Arnaud Desplechin, Olivier As- close to the characters.” 2006 Private Fears in Public Place by Alain Resnais sayas, Patrice Chéreau, Alain Resnais…), Eric Gautier Since these two prestigious collaborations, Eric Gau- 2007 Into the Wild de Sean Penn first collaborated with Walter Salles in The Motorcycle tier’s career has become international. While remai- Lumière Award for Best Technical Achievement Diaries, which won him a BAFTA nomination in En- ning faithful to the French filmmakers he admires, he 2008 A Christmas Tale by Arnaud Desplechin gland and an Independent Spirit Award in the US. Sean is now sought out by directors around the globe, such 2008 Summer Hours by Olivier Assayas Penn was very impressed by the cinematography of as Wong Kar Wai for a Lacoste commercial, or Ang Lee 2008 Wild Grass by Alain Resnais the film and contacted him for another great road for his comedy, Taking Woodstock. 2009 Taking Woodstock by Ang Lee movie: Into the Wild. These two films both share the Into the Wild by Sean Penn

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ON THE ROAD, A LEGENDARY WORK

ith ten million copies sold around the world “The book quickly became a re- Jack Kerouac and Canada W since first publication, translated into do- zens of languages, worshipped by the younger ge- ference for the American youth Jack Kerouac pays homage to his French-Canadian nerations, studied in universities, On the Road was roots in On the Road because most of the conver- voted one of the 100 greatest English-language no- who saw it as a symbol of free- sations between Sal Paradise and his mother are vels of the 20th century by Time Magazine. in Joual, a Quebec dialect spoken by the writer’s dom.” parents. The use of this popular francophone pa- tois is reproduced in the screenplay. It is a sign of Writing and Publication: the Rise of the Myth beat generation, the countercultural movement that the complicity between Sal and his mother. Largely autobiographical, the novel was inspired by questioned 1950s conspicuous consumption. But the In 2007, it was discovered that Jack Kerouac had the wild years that Jack Kerouac and Neal Cassady writer did not see himself as the spokesperson of a begun to write On the Road in Joual, before conti- (respectively named Sal Paradise and Dean Moriarty movement. nuing to write it in English. Later, he wrote two un- in the book) spent On the Road together. Between 1947 Map of journeys taken by Kerouac in On the Road: Indeed, in On the Road, Kerouac never advocates any published short stories in his mother tongue and 1951, the two friends zigzagged across the USA (cf. Red: 1947 ideology. It is first and foremost the story of an expe- which, in a certain sense, foreshadows the work map) in an unbridled quest for freedom that would ins- Blue: 1949 rience: one that is intense, thrilling, and absolute, but of the celebrated Quebec novelist, Michel Trem- pire young people and the counterculture for decades Green: 1950 disconnected from all political context. blay. to come. Completed in 1951, the manuscript was initially refu- This is why the work has remained universal and ti- Captivated by this experience, Kerouac feverishly sed by publishers for being too innovative and sulfu- meless. It has effortlessly transcended generations artists over the past 50 years, have claimed to be the wrote a first draft of On the Road during long sessions rous for the time. Finally, in 1957, Viking Press chose to and borders because its only message is a vibrant call direct heirs of Kerouac and, more particularly, of On of what he would call “spontaneous prose”. With this publish the book. It was an immediate success. The for freedom. the Road: in literature, Hunter S. Thompson, Thomas impassioned story of his years On the Road, Kerouac book quickly became a reference for the American Pynchon or, even, Japanese author, Haruki Murakami; created a wildly free writing style, partly inspired by youth who saw it as a symbol of freedom and the pur- Influences in music, Jim Morrison, Bob Dylan, Tom Waits, and his love for jazz and improvisation. suit of pleasure. Jack Kerouac was dubbed king of the In the wake of the beat generation, a great number of Kurt Cobain, to name only a few.

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ON THE ROAD, A LEGENDARY WORK ith ten million copies sold around the world “The book quickly became a re- Jack Kerouac and Canada W since first publication, translated into do- zens of languages, worshipped by the younger ge- ference for the American youth Jack Kerouac pays homage to his French-Canadian nerations, studied in universities, On the Road was roots in On the Road because most of the conver- voted one of the 100 greatest English-language no- who saw it as a symbol of free- sations between Sal Paradise and his mother are vels of the 20th century by Time Magazine. in Joual, a Quebec dialect spoken by the writer’s dom.” parents. The use of this popular francophone pa- tois is reproduced in the screenplay. It is a sign of Writing and Publication: the Rise of the Myth beat generation, the countercultural movement that the complicity between Sal and his mother. Largely autobiographical, the novel was inspired by questioned 1950s conspicuous consumption. But the In 2007, it was discovered that Jack Kerouac had the wild years that Jack Kerouac and Neal Cassady writer did not see himself as the spokesperson of a begun to write On the Road in Joual, before conti- (respectively named Sal Paradise and Dean Moriarty movement. nuing to write it in English. Later, he wrote two un- in the book) spent On the Road together. Between 1947 Map of journeys taken by Kerouac in On the Road: Indeed, in On the Road, Kerouac never advocates any published short stories in his mother tongue and 1951, the two friends zigzagged across the USA (cf. Red: 1947 ideology. It is first and foremost the story of an expe- which, in a certain sense, foreshadows the work map) in an unbridled quest for freedom that would ins- Blue: 1949 rience: one that is intense, thrilling, and absolute, but of the celebrated Quebec novelist, Michel Trem- pire young people and the counterculture for decades Green: 1950 disconnected from all political context. blay. to come. Completed in 1951, the manuscript was initially refu- This is why the work has remained universal and ti- Captivated by this experience, Kerouac feverishly sed by publishers for being too innovative and sulfu- meless. It has effortlessly transcended generations artists over the past 50 years, have claimed to be the wrote a first draft of On the Road during long sessions rous for the time. Finally, in 1957, Viking Press chose to and borders because its only message is a vibrant call direct heirs of Kerouac and, more particularly, of On of what he would call “spontaneous prose”. With this publish the book. It was an immediate success. The for freedom. the Road: in literature, Hunter S. Thompson, Thomas impassioned story of his years On the Road, Kerouac book quickly became a reference for the American Pynchon or, even, Japanese author, Haruki Murakami; created a wildly free writing style, partly inspired by youth who saw it as a symbol of freedom and the pur- Influences in music, Jim Morrison, Bob Dylan, Tom Waits, and his love for jazz and improvisation. suit of pleasure. Jack Kerouac was dubbed king of the In the wake of the beat generation, a great number of Kurt Cobain, to name only a few.

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“The seven years between writing and publication seem like a blink of an eye when you consider that Francis Ford Coppola has been working on adapting it to The History of On the Road “ On the Road has effortlessly the following film for nearly 40 years now!” decades, several in a Few Statistics Blog de Drake Lelane transcended generations and names were tos- 2007 4 the number of years Jack Kerouac spent on the sed around: Michael road, which he then describes in his novel. borders because its only message Herr (Apocalypse Now), Barry 118 the length of the scroll of paper in feet on is a vibrant call for freedom.” Gifford (Wild at Heart), or the novelist Russell Banks which Kerouac wrote the first draft of his book. for the screenplay; Coppola himself, Joel Schumacher, 100 000 the number of copies of On the Road still one might ask why the book has never been adapted or Gus Van Sant as director; Brad Pitt or Ethan Hawke sold today every year in the world, more than 50 into a film. Yet again, the story behind the rights to for the lead… In the end, to the great despair of the years after its publication. adapt On the Road is as legendary as the book itself. fans, none of these projects would see the light of day. 2.2 million the amount paid for the original ma- Apparently, while watching The Motorcycle Diaries, nuscript in dollars at an auction in 2001 The Adaptation of On the Road: the Legend conti- Coppola decided to trust Walter Salles with the pro- nues… ject. Touched by this road movie, also an adaptation 10 millions the number of copies sold since 1957 Why has no adaptation of On the Road ever been of a legendary book, the historical owner of the rights made? The question has been fodder for Kerouac fan to On the Road was finally convinced that the project Paris, Texas (Wim Wenders, 1984), Thelma and Louise blogs for several years. After the great success of the would be in the right hands. (Ridley Scott, 1991), or Into the Wild (Sean Penn, 2007) first Godfather, Francis Ford Coppola bought the rights Taking up Zoetrope’s torch, today, mk2 is more than Jack Kerouac would probably never have been made. According to to the novel in 1972 through his company, American determined to complete the adaptation of On the Road But, the influence of On the Road can be possibly felt French academic Stéphane Benaïm, a specialist On the Zoetrope. But, despite his admiration for On the Road, and bring the legend of the book to the screen. most acutely in cinema, given that the novel is at the Road movie, what he calls the genre of American “drif- published when he was 18 years old, Coppola was never heart of the road movie genre. Without Kerouac’s ting cinema” is directly linked to Kerouac’s cult novel. able to bring together all the necessary elements for novel, films like Easy Rider (Dennis Hopper, 1968), If the book’s influence has been so great on cinema, an adaptation that was equal to his ambition. During

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“ That’s not writing, BEAT it’s typing” VUE PAR : ALLEN GINSBERG | CAROLYN CASSADY LARRY KEENAN | JOHN COHEN | Truman Capote Coïncidences. La scène se passe à Cannes, en plein festival, où nous bouclons tant bien que mal ce second hors-série over de Trois Couleurs, consacré aux Doors à l’occasion de la sortie du documentaire When You’re Strange de Tom DiCillo. Sur une terrasse ensoleillée, Pharrell Williams, le plus influent producteur des années 2000, présente à une flopée de ‘On the Road’ journalistes le nouvel album de son groupe funk-rock, N.E.R.D., intitulé Nothing. En guise d’introduction, le musicien lance, tout de go : « Ce disque est un trip hippie et Flower Power. présente à une flopée de journalistes le nouvel album de son groupe funk-rock, N.E.R.D., intitulé Nothing. En guise d’introduction, le musicien lance, tout de go : « Ce disque est un trip hippie et Flower Power. e, tout de go : « Ce disque est un trip hippie et Flower Power.

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