A week before it premieres in competition at the Cannes Film Festival, On The Road has been acquired by AMC Networks. Picking up all U.S. rights to Walter Salles’ adaptation of Jack Kerouac’s Beat Generation classic, AMC Networks announced that its distribution labels IFC Films and Sundance Selects will release the film later this fall in theaters. The deal is estimated to be in the seven figures. Twilight star Kristen Stewart signed up in 2010 to play Marylou, the wife of the restless and free-spirited Dean Moriarty played by TRON: Legacy’s Garrett Hedlund. The film also stars Sam Riley, Kirsten Dunst Amy Adams, Tom Sturridge, Danny Morgan, Alice Braga, Elisabeth Moss and Viggo Mortensen. The screenplay is by Jose Rivera who worked with Salles on the director’s other roadtrip, 2004’s The Motorcycle Diaries. An On The Road film had been a long-term project of Francis Ford Coppola, who has been working on bringing Kerouac’s novel to the screen since 1978. Coppola serves as Executive Producer. The MK2 Production was produced by Nathanael Karmitz, Charles Gillibert, Rebecca Yeldham and Roman Coppola for American Zoetrope. Arianna Bocco, SVP of Acquisitions & Productions for Sundance Selects/IFC Films negotiated AMC’s purchase of On The Road with Cinetic Media’s Bart Walker for the producers.
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Uh, am I mistaken or is Kristen Stewart just a supporting role? This is Jack Kerouac’s story and one would think that the actor playing Jack would get more than a passing mention. That would be Sam Riley.
I don’t understand why this deal was made. Is the film really that small? I can’t believe it includes theatrical. I can definitely see how it would play really well for the AMC audience.
Can an expert please chime in and tell us why they didn’t wait for Cannes?
Thank you.
Listen, you crazy twi-hards, of course it includes theatrical…AMC’s networks owns IFC and Sundance Selects, which have distributed films by Werner Herzog, Wim Wenders, Lars von Trier, etc. It’s a great deal.
To clarify, I’m not a twi-hard. I was wondering why this film didn’t warrant a larger theatrical deal. I think IFC and Sundance Selects are great.
My apologies…I love Salles and know a few people who worked behind the scenes on this film. It really was a labor of love. It irritates me that some of the insane twi-hards (for some reason, some of them seem to really loathe Stewart past the point of thinking she’s not a good actress) are trashing and making up ridiculous rumors (VOD) about a film they have not seen and obviously has some merit (otherwise, it wouldn’t be at Cannes). I’m assuming it’s twi-hards, because of the over the top nature of the posts like the one below. I should know better than to read the comments section on the internet
I’m a Kristen fan and I also find it odd so many articles lead with her when Sam and Garrett are the leads. Kristen may have the largest female role but she is a supporting character.
It is getting a theatrical release in the fall via IFC and Sundance Selects. That’s what this article is about…
IFC and Sundance Selects sounds like straight to Video on Demand to me, or just right to cable, without even VOD. They aren’t well known for theatrical releases, are they? I’d heard the sex was so hard core that theater owners wouldn’t want to run it, and this lends creedence to that rumor.
Rumors also say they expanded the part Kristen plays from what was written in the book, to give her more to do. Hedlund has been trying to breakout for years, but this isn’t the role that’s going to do it, and Sam Riley doesn’t give an impressive performance, either. So maybe the lackluster performances and changes to the iconic book have doomed this movie to cable.
If you’re not on the Cannes committee or a higher up in a production company you haven’t seen it. Nice try.
Coppola had a screening in San Francisco in late April, and some people have seen OTR, and they weren’t impressed with any of the main performances or the changes to the book. Inclusion at Cannes doesn’t mean that much, they like Salles, not the film. He’s why it’s there, it didn’t get in because it’s so awesome. If it bombs at Cannes it may still get a theatrical release, but unless the reviews are stellar, it could go to cable. The book is so classic that the critics already have their knives out for it. Scowling Stewart and halfhearted Hedlund haven’t set off any bells yet.
Eh, the same thing happened with Cosmopolis. It was let into Cannes because of David Cronenberg. Early reviews aren’t stellar.
Uhm..are you telling the truth? I read some comments before and they said it was a very very Good film.
If you haven’t seen the film, then don’t give some false statement.
I have seen this film and i can clarify that the above poster is incorrect. The movie is a wonderful adaptation of a wonderful book with great performances all around.
Please, moderators, please please please ban these crazy twi-hards who know jack shit about the film industry. For the record, Twi-hard, a film at Cannes is not going to VOD. Secondly, IFC is respected and is doing a theatrical release in the fall like the article states. As I said before, they have distributed films with some very good directors including Wim Wenders, Werner Herzog, Ken Loach, Lars Von Trier, etc. Perhaps you need to lay off listening to rumors you hear about on Twitter.
Just ignore posters like Snow White and Elphaba (probably same person), they’re most likely rabid Rob Pattinson fans who hate Kristen Stewart and are waiting with baited breath for anything she’s in to fail. Comments like “Scowling Stewart” usually a good tipoff lol.
A movie premiering at Cannes is not guarantee of quality. You can hope, but crap like Southland Tales does get there and flop. Second, Melancholia went to VOD while also having a small theatrical release.
Garrett Tron Hedlund and Kristen Twilight Stewart are wooden actors with no screen presence. Suck it up.
Thank you. You took the words right out of my arse.
I’ve heard the script is terrible, and what can you say about the very weak lead actors. This sounds like a disaster waiting to happen at Cannes. It’s only there because of Salles, and it’s based on an iconic book. Small ten-market release and VOD I’d guess.
So I am guessing Enter the Void, Police, adjective, The Kid with the Bike, Melancholia and Antichrist don’t count to you, huh L? Gosh, for an “insider” you are pretty clueless.
What is twi-hard industry speak for, by the way? People who don’t sit on internet comment sections and pretend to be in the know?
The new issue of the French film magazine Premiere that came out this week includes reviews for several titles that will be at Cannes next week including Rust and Bone, On The Road, Moonrise Kingdom, etc.
Out of the films they got to see in advance the film with the highest score was Rust and Bone and On the Road was second with Moonrise Kingdom coming in third. All three films got great reviews from their panel of critics. So I’m optimistic. The French seem to like this film.
IFC pretty guarantees a small theatrical and VOD. Or did I imagine Melancholia doing exactly that last year?
If you are looking for wizardry and/or thrill-a-second explosions, OTR will not be for you. Adaptations are always complex, but this production has some great, artistic people on it. If Stewart’s “wooden” performance can live up to expectations of the novel’s fans, gain half of the mass appeal for a work of literature (a thought-provoking drama) that she did for TWILIGHT, then Salles and Coppola’s film will be respected by average Americans. As a previous poster stated, the French have a long history of respecting quality films. Americans tend to like violence, comedy, action, and T&A over substance, e.g. Hangover, American Pie, action hero movies, Transformers, etc. Sure, satire works, but OTR is not social satire. “Little’ art films will still be respected by people that seek them out, however the minority they are. Lively discussion, despite the ignorant name calling and cheap (easy) slings.