Kristen Stewart hadn't read Stephenie Meyer's Twilight when the role of
Bella Swan was offered to her. She was more interested in Jack Kerouac's
1957 Beat classic On the Road. She could relate to its sense of daring.
''It's rare to meet characters in fiction that live so much, that
breathe so much,'' the sharply intelligent 22-year-old says. ''I
thought, 'I've got to find people like this, people who push me and
share my ambitions.' Not that I'm that unconventional, but I have
slightly different limits and boundaries than most people, and the book
says that is OK. The book celebrates it. I slept with On the Road on my
dashboard when I got my licence. It was the first book that got me into
reading.''
Kerouac's jazzy prose - which created uber-cool characters embracing
drugs, alcohol and experimental sex as they travel the United States
between 1947 and 1951 - had long been deemed unfilmable. Just after the
novel's publication, Kerouac wrote to Marlon Brando hoping the star
would play Dean Moriarty (based on Kerouac's friend Neal Cassady) while
Kerouac would play Sal Paradise - based on himself.
Francis Ford Coppola also tried to make the movie after buying the
rights in 1979. Yet it wasn't until The Motorcycle Diaries' Walter
Salles came along that a film version finally went ahead.
About the time of Stewart's breakthrough role in Sean Penn's Into the
Wild, Penn and Babel director Alejandro Gonzalez Inarritu suggested her
to Salles for the role of Dean's wife, Marylou (based on Cassady's first
wife LuAnne Henderson). The pair married when LuAnne was 15, and while
they divorced and he had children with his second wife Carolyn (played
by Kirsten Dunst), Cassady continued to hit the road with LuAnne and
they remained close until his death.
By the time On the Road went into production, Stewart had become a
household name and was keen for the women in the story to have more
prominence. She points out that Kerouac's original tome featuring real
people's names (he was forced to change them as well as parts of the
story to get it published) was
far closer to the truth, particularly in terms of the women, and most notably LuAnne.
''It's funny because in the novel a lot of people's first impression is
that LuAnne is just a plaything, that she is just f---ing and isn't
getting much in return,'' Stewart says. ''[But] she just loves to love
and is able to balance all of her desires, whereas the boys have a much
harder time doing it. I think she [had] this beautiful, unique view of
the world and was very ahead of her time.
''Afterwards the book's success definitely became something that a lot
of people capitalised on … For LuAnne it was just so personal. It was
never something she wanted to turn into a commodity or something she
wanted to continue. It was just a stage of her life.
''She always said that it was so funny to her that people thought she
was courageous. It was different for everyone, but LuAnne wasn't
rebelling against anything. She was just unabashedly being herself.''
While fearlessly being herself is something the media-shy Stewart
aspires to as well - ''I think it's so ridiculous when actors suddenly
find themselves so interesting that they're willing to sell themselves''
- she admits having more in common with the book's narrator, Sal.
''As LuAnne I was a little worried that I wasn't going to be able to
lose control; that I wasn't going to be able to let go. Luckily I did,
but I don't think you can claim that you are suddenly a different
person.
''Actors are playing characters … but I do find that you're just sort of unleashing qualities that are buried pretty deep.''
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