Garrett Hedlund is a name that you will be all too familiar with come December 2010. The 26-year old actor who first made his acting debut in 2004′s Troy, as Patroclus, alongside Brad Pitt, has since snagged impressive roles to fill his resume.

Hedlund has appeared in Eragon, Friday Night Lights (TV), The Four Brothers (alongside Mark Wahlberg) as well as Georgia Rule (alongside Lindsay Lohan and Jane Fonda). However, his next film, Tron: Legacy, in which he plays the lead role, Sam Flynn, is what most critics and avid movie fans predict will catapult his career into mind-blowing fame and stardom.

In Tron: Legacy, Garrett Hedlund plays Sam Flynn, a rebellious 27-year-old, who is haunted by the mysterious disappearance of his father Kevin Flynn (Jeff Bridges), a man once known as the world’s leading video-game developer. When Sam investigates a strange signal sent from the old Flynn’s Arcade — a signal that could only come from his father– he finds himself pulled into a digital world where Kevin has been trapped for 20 years.

About working with Oscar-winner Jeff Bridges, Hedlund said,
“I’ve always been such a fan of him and his kind of self character and his charisma and everything. And I knew I’d really get along with him and we did. It’s kind of…he’s got a very big portion of him that’s still just a kid. So it’s very easy for us…”

Tron: Legacy is scheduled to be released on 17th December 2010.

This December, Garrett Hedlund will be also be seen in Country Strong, a drama centered on a rising country-music songwriter (Hedlund) who sparks with a fallen star (Paltrow). He will be starring opposite Gwyneth Paltrow, Leighton Meester and Tim McGraw, among others. The film is slated for a limited release in the US on 22 December 2010, and the wide release for the film is set for 7th January 2011.

Garrett Hedlund is also currently filming On The Road, the film adaptation of Jack Kerouac’s novel of the same name. Hedlund will be portraying the lead role of Dean Moriarty opposite Kristen Stewart who will play Mary Lou.

What can I say? Hedlund has a lot going for him and I’m just hoping to see other sides of him in his upcoming films. I’m glad that he wasn’t chosen for the role of Captain America (which went to Chris Evans) and instead moved on to a film like On The Road. I personally think that he is definitely in the Top 10 list of under-30 actors out there to pay attention to.

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GATINEAU, QUE. – When a film crew asked Charles Séguin earlier this summer to shoot a scene in the colourful tavern his family has owned for decades, Séguin never expected to be rubbing elbows with Hollywood stars.

“At the beginning I had no idea of the size of the film,” said Séguin, owner of the Taverne Montcalm. “They never said it was a Hollywood production.”

Séguin was among dozens of Gatineau and Ottawa residents who got a firsthand glimpse of some of Hollywood’s hottest up-and-coming stars this week as an international film crew transformed part of Gatineau’s Hull sector into 1947 Denver, Colo., for On the Road, a $26-million (U.S) film based on Jack Kerouac’s classic novel inspired by his own travels.

The film stars Sam Riley as Kerouac’s Sal Paradise and Garrett Hedlund as Kerouac’s friend Dean Moriarty. But many of the stargazers who descended in droves on Gatineau were hoping for a glimpse of Kristen Stewart, who played Bella in Twilight and Viggo Mortensen—neither of whom were on hand for the Gatineau shoot.

However, that didn’t faze fans such as Lisa Lampron, 16, who spent Thursday on her grandmother’s balcony overlooking Eddy Street, watching the “hot” lead actors and texting her friends.

“Oh my gosh,” she said breathlessly. “They were super cute.”

Other fans secretly defied the rules against snapping photos and posted them to websites or shared accounts of what they were able to see.

Roch Brunette, general manager of the Ottawa Gatineau Film Development Corp., which helped director Walter Salles’ crew secure locations, says On the Road is the biggest budget film ever shot in the Ottawa-Gatineau area. He estimates the 125 members of the crew and cast that spent much of the week in Gatineau pumped between $100,000 and $250,000 into the local economy.

Gilberte Desrochers, owner of the Boutique Gloria gift shop on Eddy Street in the heart of the area where antique cars and actors in period costumes filled the street, said business was up over the three days of the shoot as onlookers wandered in to browse.

“It brought a lot of people in,” she said. “People wanted to know and asked us a lot of questions.”

Down the street at the L’Original Bistro Bar, staff opened the sliding full length windows facing the street and patrons vied for the best tables.

“They decided they were thirsty in order to come and see,” smiled barmaid Caroline Whissell.

Few people, though, got as close to the action as Séguin, whose tavern was transformed into the Red Shade Tavern and Bar for a scene in the movie where Paradise and Moriarty have a couple of beers and steal a car.

Séguin’s tavern, which dates back to the 1940s and where the Budweiser and Labatt Blue come in quarts, still has its period bar and wall of dark wood panelled refrigerators. Séguin said the film crew built a false wall in front of the bar’s modern video lottery terminal and replaced Séguin’s wall decorations. The one exception was a vintage sign reading “Craven A will not affect your throat.”

Riley and Hedlund even posed for pictures with Séguin and his wife.

The crew will soon wrap up in Montreal, where Kristen Stewart has been spotted dining with fellow Twilight actor Robert Pattinson at Old Montreal’s pricey Club Chasse et Pêche. However, Canadian stargazers will get another chance to catch a glimpse of the movie’s stars when they return to film in Montreal again this fall.

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One to watch The American actor Garrett Hedlund, 25, has the weight of expectation on his shoulders as the star of the most anticipated blockbuster this year: Tron: Legacy, the long-dreamt-of sequel to the 1982 film Tron, at cinemas in December. Hedlund plays the tech-savvy son of Kevin Flynn (Jeff Bridges), who finds himself drawn into a cyber universe where his missing father has been living for 25 years. Together they must navigate their way through gladiatorial games to survive. And Hedlund, who made his screen debut as Patroclus in 2004’s Troy, hones his cult credentials even further in Walter Salles’s adaptation of Jack Kerouac’s novel On the Road, in which he plays Dean Moriarty.

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Alot of guys dream of moving to Hollywood to make it as an actor. Most of them probably never even try, and those who do often have no idea what to expect once they arrive in Los Angeles. But Garrett Hedlund had a plan.
From the time he started high school in Arizona — where he moved from Minnesota with his mother following his parents’ divorce — Hedlund picked up modeling gigs while taking acting classes and studying the show-biz trade papers to learn about how the industry works. He managed to get an agent and over the next two years flew to L.A. dozens of times for auditions. The more experience he acquired and knowledge he absorbed, the more impatient Hedlund became, until he finally got so antsy that he graduated a semester early to accelerate the pursuit of his dream.
“I came out with about $600, a Tupperware container of cleaning utensils that my mom’s friends got me at Christmas and about ninety packages of ramen noodles,” he says.
It didn’t take long for his diet to improve, because within a month of his arrival in L.A., director Wolfgang Petersen cast him in the period epic Troy. In the film, based on Homer’s Iliad, Hedlund played Patroclus, the comrade of Achilles, played by another transplanted Midwesterner, Brad Pitt.
Soon afterward, he was cast opposite another star, Billy Bob Thornton, as a high-school football player in Friday Night Lights, which he followed with a role in the action drama Four Brothers, as one of Mark Wahlberg’s titular siblings.
At that point, Hedlund could have easily gone off the rails with too-much-too-soon excess. Instead, he kept working, landing parts in the adventure fantasy Eragon, the dysfunctional-family comedy Georgia Rule and the gritty thriller Death Sentence.
In all, that’s a solid resume with a number of interesting choices and an impressive list of costars. Yet even though Hedlund has built an avid fan base among younger (albeit female) audiences, he has remained below the radar to the public at large. But with two high-profile projects on the way, 2010 could be the year he goes from working actor to full-fledged star.
He’ll join recent Oscar winner Jeff Bridges in TRON Legacy, the long-gestating sequel to the 1982 sci-fi saga that starred Bridges as Kevin Flynn, a programmer who finds himself trapped inside a computer and must fight his way out. In Legacy, filmed in 3-D, Hedlund stars as Flynn’s son, Sam, who infiltrates a computer in search of his dad.
Bridges, who still remembers his days as an up-and-comer, took a shine to his young co-star. “I dug working with Garrett,” he says. “I admired the way he embraced the physical, emotional and mythological aspects of his role. He’s also a cool guy to hang with.”
Later this year, Hedlund will share the screen with another Oscar winner, Gwyneth Paltrow, in Country Strong, a romantic drama set in the world of country music.
True to his goal of always seeking out roles that are different from those he has played in the past, Hedlund is also attached to director Walter Salles’ adaptation of Jack Kerouac’s classic novel On the Road. The character he’ll be playing would be a gift to any young actor: Dean Moriarty, based on Kerouac’s brilliant but self-destructive friend, Neal Cassady, one of the major figures of the Beat movement of the 1950s.
Hedlund is clearly enthusiastic about the project.
“For the last three years now, [Salles and I have] been in constant communication with each other and ready to work on this project together,” he says. “It’s getting damn near time.”
And it’s damn near time more moviegoers got to know Garrett Hedlund.

You moved to L.A. after graduating from high school in Arizona, and within a month, you landed a supporting role in Troy. Is that just how your life goes, and do people hate you for it, or were you completely blindsided by good fortune?
Prior to moving out to L.A., I had been flying back and forth from Arizona for auditions for two years, and I had flown back and forth for about twenty-five auditions. The responses were all similarly crappy.

Why do you think that was?
Sometimes you don’t know what you’re supposed to do within the technicalities of things, like an audition process or even the filming process. I’d been auditioning for two years, and I’d had representation. When I finally drove out to L.A. after graduating, I parted ways with all my representation, and Troy was literally the first script I had gotten.
For all the auditions I went on, everybody in every one of the rooms looked like me, in one sense or another, and [I asked myself], “How are you going to separate yourself from all of this? I guess you have to be smarter than everyone.” So for two years I basically sat down and never really left my room. I’d turn on a pot of coffee as soon as my mom would go to bed, and read a book cover to cover, and then go straight to school and come back and rest, or go to work and stay up all night and write a whole short story for creative writing that wasn’t assigned — just something to keep me going. The creative route of things just really came on sTRONg. I don’t know what it was, but maybe it was reading something like [Aldous Huxley's novel] Brave New World, or reading [about] the concept of genetic engineering or something that really branched my mind off to a different place of wonderment. I started questioning the possibilities of, “If this is real…” And then I started questioning the possibilities of everything. So then my mind was going in all different directions, but all in good ways. I just wanted to learn. When I was sixteen, seventeen, I used to throw out the word “self-development” a lot because I was always trying to grow my mind. I wasn’t so concerned about what my body was.

And you attribute this to your current success and ability to break in?
Understanding yourself, and knowing what you have to offer. While a lot of my friends were in theatre and spending all their time reading Shakespeare, I was reading Stanislavski, Uta Hagen and Milton Katselas and splitting that time with going to Barnes & Noble and reading Variety and Hollywood Reporter, seeing who was who in the industry, knowing who the heads of the companies were, knowing who the best agents and managers were and who they represented, and who I would aspire to be with. So when I was in Arizona, I called Endeavor to try to get Edward Norton’s agent on the phone to try to talk to him about Motherless Brooklyn, a Jonathan Lethem novel, and now I’m with Endeavor. Then I tried to get Bernie Brillstein on the phone because I thought he was probably the most respectable manager around. They took my number down and said they would call me back. Three years later, when I was signed with Brillstein, I went to one of his book signings and he signed my book, “Now that you’re a client, I may return your call.”

What did you say when you called?
They’d say, “Who is this?” And I’d say, “My name is Garrett Hedlund. I’m an aspiring actor from Arizona seeking representation and I was wondering if you’d sit down with me.” [Laughs] You know… when I got here that script [for Troy] got into my hands, and I [already] had headshots,and they said, “Well, be patient, and we’ll see if we can even get you an audition for this.” Since I had the script, and I’d read it twice, I immediately started studying it. Then I got the audition and went in with the casting director’s assistant, and then the casting director, Laura Kennedy, then with her and the producer and [director] Wolfgang [Petersen], and then with Wolfgang, the producer and Brad [Pitt], finally, on Valentine’s Day.

That’s still remarkable. Did you envision getting the role?
When there’s a situation like that, where it’s really a big deal but can be kind of nerve-wracking, I always found it easier to not be nervous about everything, and be confident about that, because if you show any nerves it’s only going to take away from your audition. I figured if everybody was already cast, and they were all A-listers, if I want to get into a film with A-list actors, then I’d better walk into the room pretending to be one.

That’s hard to do — to show no fear. So it wasn’t really a month in town and, boom, you got the role of a lifetime, so fellow actors shouldn’t hate you.
No. No. I got to be the struggling actor who had to pay $400 to go to an audition when these other guys got to roll out of bed and drive to it for $5 in gas money. So that’s what was always on my mind. I almost ran away to move out here a year before I actually did, just because I didn’t think I’d be able to spend another year in Arizona going to high school and lettin’ everything that goes on out here go on out here. I was really eager.
When I got Troy it was a great validation, and then I was out filming in Malta as my class was graduating [from] high school.
Is there someone’s career that you admire or aspire to emulate?
It’s never been one person’s career; it’s been more like a moment out of a lot of actors’ careers. I really admire John Malkovich. I really admire Peter Sellers. I really admire Jack Nicholson and Sean Penn for doing all the films they’ve done, and Johnny Depp for doing all the films he’s done. I admire a melting pot of about twenty different actors for about twenty different reasons. Maybe I could just try and be one of those for each film.
One thing that is notable about your work is you’re very chameleon-like. You never look the same in any film. There are actors, who shall go nameless, where you go, “Oh, there’s so-and-so.”
Being so-and-so with a different name.
When you see them, they bring you out of the experience.
That’s why I hope, after all this, I can maintain the amount of privacy I’ve been able to maintain. So when it comes to a certain role, maybe a character dealing with this or that, you can completely dive in and believe the character rather than what everybody’s photographing on the streets.
You’re referring to your eighth film, the big-budget studio franchise TRON Legacy, out in December?
I’ll let the excitement of the film speak for itself. I’m probably just as excited as everybody else is to see the film. With TRON, it was a long shoot, but wonderful to go through working with Jeff Bridges and Olivia Wilde and to work with Joseph Kosinski on his first breakthrough into the feature world. He’s such a brilliant director. A lot of people were surprised when they hired a, technically, first-time director to work on this film, but all you have to do is look at http://www.josephkosinski.com and you go, “Of course, this is the only director capable of doing this film.” I believe everyone is able to see that now.
Jeff Bridges said he brought on a consultant to add a spiritual element.
The Buddhist element. His character, more specifically, is more within that Buddhist realm. So that helped that. Stephen Lisberger’s [writer-director of the original 1982 version of TRON] approach to this has always been a mix of humanity and technology. So bringing in someone like that on Jeff’s part only helped add to the pot of diversity this actually does deal with. Instead of it just being a sci-fi film or something that’s 3-D, and cool to watch for a couple of hours, it deals with a much grander spectrum. Even in terms of the disc, it’s a circular shape, which is the circle of life.
3-D films: rip-off or renaissance? Renaissance.
I know a lot of people who feel this is now going to be [part of] every film. I met a director who just told me in a meeting recently that all he wants to do from now on is 3-D films. I guess it’s more fun to watch, sort of. I don’t feel the same. I want everything to go back to film. I want everything to have the flaws and not every gate to be clean.
Country Strong has a lot of the same echoes that Crazy Heart has.
The music has a lot to do with both films. Music can add in a great way to these films, and both of these films have wonderful soundtracks, but in different directions. Ours is a little more diverse because you have me singing, you have Gwyneth Paltrow singing and Leighton Meester singing.
Did you talk to your TRON costar Jeff Bridges about it while making it?
I didn’t. I haven’t seen Crazy Heart yet. I didn’t want to watch it for the sole purpose of not having that in my mind. The only similarity is you’re following someone on a downward spiral, or after that’s already happened, and that’s probably the only way it’s similar. This film is so strange. I don’t even know how to explain Country Strong, really. You just have to watch the film. Because I can say I play guitar, and I sing in it, but I don’t believe myself saying it right now because I feel so different, you know?
I saw the first twenty minutes yesterday, and I was just like, “Wow, this is great.” It looked really fantastic. I was so proud. It doesn’t feel like it was me, though.
What is your process when deciding upon your next role? How much of your representatives’ advice do you weigh?
“If you’re going to play dark characters, play a light one, because we can’t even get you in the room for this unless they see something light.” I don’t know. My thing has always been doing the complete opposite of everything I’ve done. When I was doing Georgia Rule, [director] Gary Marshall had said [deadpan Gary Marshall voice], “I know you can play dark, but can you play a nice boy?” And I was like, “I’ll guess we’ll see.” [I went from] being on that set and having the long hair and playing this Mormon, nice-boy character [to Death Sentence]. I’d been seeking out Death Sentence for awhile. The offer was out to somebody, but then immediately they just turned around and they offered it to me. So to do Death Sentence was such a relief a month after doing Georgia Rule. I had gained about twenty-five pounds within that time, then shaved my head and formulated the look of the character. I went to a leather shop and found this great duster, watched documentaries online, added the scars to the face…
Did you go into public as your character?
Oh, yeah. When I was out in South Carolina, and I’d pass a mother and her daughter on the street, the mother would pull her daughter in closer to her. I’m just a harmless guy walking thirty feet toward her, you know. Seeing that effect, you see that you really don’t have to work that hard. But then also, it’s great to find a film like Country Strong and work just as hard mentally as I did physically for TRON — to work as hard mentally, and gain the guitar ability, and be in the [recording] studio day in and day out to keep working on vocals.
Captain America. It was reported you were considered, but passed on it. Why? I met with the director last year before going to shoot Country Strong. Then, when they’d come in and talked to me about it, we’d just continually pass on it because of scheduling. Also, to be in something that had a second and a third film following it, we felt that TRON already had that, you know. To mix in another heroic character with that was not necessary. In short, we kind of always passed on it. I didn’t really think that was my gig.
You haven’t done any TV so far. Would you ever consider doing a great cable show?
When I first started auditioning, flying in from Arizona, I would’ve taken anything. After flying out and being rejected for two years, I just knew that I really didn’t want to do TV because you get to see the same person every week on television. If I had to do the same person day in and day out I know I get bored with myself. I just wouldn’t want verybody else to, you know?
I just knew I wanted to do film because I knew that film affected me. When I went into a theatre, it could change something that was going on with me. I always thought, when I was seventeen-eighteen, that I want to affect somebody the way that this affects me. I want to be the healer if I can. Be a piece of this puzzle that helps somebody through whatever they’re going through, or helps them get away from whatever they’re going through for two-and-a-half hours.
Are you happy with the pace your career is at right now?
Yeah, I definitely enjoy the pace it’s at because people will say I’ve done a lot, but that’s not even the case. I’ll do one film, and then I won’t work for ten months. Then I’ll get another film just in the nick of time, just before I’m completely broke. Then I won’t work for
another ten months. Then maybe I’ll get to do a couple of projects near each other, and that will be a little strange for once. I had two years off after Death Sentence and before TRON, because I’ve been attached to [On the Road] and I swore to the director [Walter Salles] that I wouldn’t do another film until we did this. Finally, after two years rolled around of not working, and studying and studying and studying for this role, TRON came around and this film hadn’t yet been off the ground, so I was able to do TRON.
So you’re hoping On the Road is next? It’s my dream role.

Will you look back on some of the books you’ve read and perhaps option, produce or even adapt one of them? Oh, sure. I have a couple of things in mind. It’s all about approaching the right people at the right time. But I’ve never been much on writing a screenplay. Where I live there are independent bookstores. I’d go title-shopping for books that I thought had a great title that I’d never seen made into a film before, like The Human Exile, and then another one called A God Strolling in the Cool of the Evening. [Laughs] I had completed my objective. So I went home and started reading A God Strolling in the Cool of the Evening and it was about Marcus Aurelius and all the Roman times, and I was like, “This is going to be a rough read.” I haven’t passed page twenty-five yet. I’ve been trying to read it for four years. I read everything if it catches my interest. I probably have the most books on my shelves [that are] compendiums of useless information. That’s actually what they’re called. It just tells you things, like bats only fly left out of a cave, crocodiles eat rocks so they can dive deeper. [Laughs]

If you had to describe your master plan, what would you say?
I don’t know. I can’t really foresee it. I can’t say, “Well, I’m going to do this project and then I’m going to do that.” Because every day when you think storylines have plateaued, or it’s just all sequels now, or remakes, there’s another script that comes in completely from left field, and it’s something that you never believe could have been written, and you probably can’t believe yourself ever being involved in, but you’ll fight for it. I never foresaw that I would be involved in TRON. Then again, I never saw a sequel to TRON being made. Real surprises like these come along that sort of fill in the gaps.

Yes, but obviously you had the goal back then to come out here, and you achieved that goal. You had a goal to land feature films. You achieved that goal. So now what?
My goal that I just set for now, moving forward, is to be careful. That’s the only thing that I can think of.

Be careful of what?
Be careful of what you do, what you say around TRON time; all that stuff will be… I don’t know. Just be careful, I guess. Be careful so I don’t hurt myself. Be careful so I don’t say something that will make it so I don’t work ever again.

Isn’t that living in fear?
No. I’ve always had a longstanding dream, ever since I was a kid, where I was running on a big lake of ice and I kept running and kept running, just about to where I was trying to get to, and I fell through the ice, and then I couldn’t find the hole where I fell through to get back out again. It was always like this certain thing where I could only get so far before everything collapses. So I guess it’s a bit of living in fear. But I don’t try to put it that way, because I feel that is going to pull everything you fear toward you. It’s about acknowledging the fear for about five percent, and then ninety-five percent goes into shrugging it all off.

Are you prepared for the caliber of fame that might ensue worldwide, and all that comes along with it — for example, the media intrusion? Everybody always asks if you’re ready for it, but I’m not sure what you would do to prepare for it. Buy some armor? Carry a shield? If so many people are asking me if I’m ready for this when I haven’t asked myself yet, then obviously I’m not ready for it. I don’t know.

Most artists claim that it’s the people around them who change.
I can see that. You probably gather a lot more yes men around you. I’ve had much more of a secluded lifestyle than possibly a lot of people. When I get back to L.A. from shooting, or even when I’m on location, all I think about [is] not vacationing here or here — Tahiti or the Bahamas — all I can think about is my brown couch from IKEA [laughs] in my living room that I can get back and sit on and not move for awhile. My place here in L.A. is where I’m able to get a lot of work done, and when I’m off on location I don’t have a lot of time to express a lot of the things I like to express. So when I’m at home I’m able to read all the books that I hope will inspire me to get me through and out of this mind frame, to another mind frame, or back to myself a little more.

What’s been the best piece of advice you’ve gotten since starting in the business?
Tricky one. [Laughs] I guess there’s the classic one: “Be careful who you talk shit about, and who you’re talking it to, because the person you’re talking it to may think that one day you might be talking shit about them.” It’s always funny because I have actor pals who are like, “Screw this guy, he got that role. Man, what’s this town coming to?” And then the next film that guy does is with that guy. Then he calls back and he’s like, “Oh, I’m chillin’ with so-and-so, and we’re going to the casino.” It’s like, “You were just busting his balls three months ago.” I just tell them, “Watch what you say.”

Here’s a question Tweeted to us by LifeisDolce: What advice would you give to those who are interested in following your path: Three things you should never do if you want to make it in the business?
1. Throw in the towel. 2. Grow incredibly concerned with what everyone else is doing. 3. Never go to a club with a line of paparazzi out front because that’s not where you want to be.

Is there one thing you’d change about your life right now if you could?
I’d make L.A. a helluva lot cloudier every day. [Laughs]

Why?
I prefer the clouds. I’m happier when it’s cloudy. I don’t know why. I can wake up on a cloudy morning and be the happiest person around. I can be in a bad mood, walk outside and go, “Dang, are you serious? All right!” Maybe it evokes more. Maybe I’m able to concentrate a little better without the sun shining so bright.

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The start of filming the movie adaptation of the legendary romance Jack Kerouac, “On the Road,” was scheduled for early August
2010, with Sam Riley, Garrett Hedlund and Kristen Stewart confirmed in the leading roles. “On The Road” will be filmed on roads in the U.S. and Canada, as well as the cities of San Francisco and New Orleans, and also in Mexico. The assembly will take place in Brazil.

Sam Riley, who won international recognition for his work on “Control” by Anton Corbijn, and it will be next to John and Helen Miren Hurt in novel adaptation of “Brighton Rock” by Graham Greene, interprets the alter ego of Jack Kerouac’s Sal Paradise.

Garrett Hedlund was assigned to the second lead role as Dean Moriarty. Hedlund will work alongside Jeff Bridges in fiction film scientific “Tron – Legacy” and is also the protagonist of “Love Don’ Let Me Down”.

Beside the two main actors, will be Kristen Stewart (“Into the Wild,” “Twilight”), who will play the wife of Dean Moriarty, Marylou. ”Kristen Stewart invited to ‘On The Road’ for nearly two years, after being impacted by his performance in ‘Into the Wild’, Sean Penn, “says Walter Salles. “She knows the book Kerouac in depth, and remained faithful to the project during the entire time that the film sought funding. It’s not an actress who refuses to risk, such as incandescent character that she will live. She might be starring projects with much larger budgets, but has the option of participating in an independent film, produced by a French company, so the movie says. These days, there is little.  The same can be said of Garrett Hedlund, a young actor who participated in the long casting process carried out to the film, and did a great test for the character of Dean.”

The cast was chosen by Salles during the project development. The novel is a favorite of the director, who traveled throughout the United States, following in the footsteps of Kerouac to address adaptation, filming the documentary “In Search of On the Road” as part of their work process.

“While” The Motorcycle Diaries “is about a social-political awakening, On the Road defines the beginning of a behavioral revolution,” says Salles. ”Both films deal with what Lawrence Ferlinghetti calls ‘youth revolt d’. If Sal and Dean had not had the courage to abandon their predictable lives to dive on this experience, our lives would probably be different today. On The Road I see as a movie very contemporary. ”

On the Road is a project that the production company American Zoetrope, San Francisco, began developing 30 years ago. And now, with Salles, cast, script and production team finally set, a new partnership was made with the French production company MK2, which is acquiring the rights and will produce the film in association with Film 4 (UK). ”Following the recent acquisition of rights, we are proud to collaborate with American Zoetrope in one of the last great adventures film of the 20th century to be brought to the screen, “say the producers and Charles Gillibert Nathanaël Karmitz of MK2. ”It took four years of research and work for the film became possible in the example of what happened with ‘The Motorcycle Diaries’. And as in ‘Diaries’ was a European company that believes in independent film making that is ‘On the Road’ as possible. In this case, the MK2 French film production company of authors such as Kiarostami and Kieslowski. Directing a movie based on the work of Kerouac and produced by MK2 and Francis Coppola’s American Zoetrope is a privilege. The technical team is basically the same as ‘Motorcycle Diaries’, and will be helping me this adventure, “says Walter Salles.

Text legendary on youth and freedom, the romance of Jack Kerouac, “On the Road” was first published in 1957. The novel has sold millions of copies worldwide and continues to inspire new generations. Considered one of the great modern American classic, “On the Road “was voted as one of 100 best novels written in English in the 20th century by Time magazine.”

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New entries in the “Indiana Jones,” “Die Hard,” and “Rambo” franchises can attest, not to mention recent revivals of The A-Team, Karate Kid, and Smurfs, that Hollywood is high on an ’80s revival train right now. As a child of the eighties it is certainly strange to see so many of your formative icons being mined for box office dollars, but when we all sat down in the Tron Legacy production office we were greeted by something quite apropos of the period…VIEW-MASTERS! The same little red ones every ’80s kid had, and when we took a peek through them we got our first taste of the full-fledged world Joe Kosinski & company had been creating here in Vancouver…

Jeff Bridges kneeling meditatively in a safe house room with lit glass floors like something out of the end of Kubrick’s 2001.

The same laser machine that originally catapulted Flynn into the computer, now in a cobweb-infested attic.

Little touches like the View-Masters are meant to make a set visit more pleasant and enjoyable, but also to send off a very clear message: “We know EXACTLY how to tickle your nostalgia bone!”

Inside the War Room we saw lots of artwork, including a look at Flynn in two opposing outfits, and also his ageless digital avatar Clu, who unlike Flynn is clean-shaven and whose suit glowed a neon orange, indicating a possible antagonist. They will be using the “Benjamin Button” technology to de-age Jeff Bridges for his scenes as Clu, some of which were briefly glimpsed in the trailer (watch below). Other characters seen in artwork on the wall include Quorra (loyalist), Castor (fixer), Siren (gem), Rinzler (Clu’s primary attack dog), and so on.

It is very clear that Kosinski is aiming for realism in the design work, not a stylized look ala 300. Things look PRACTICAL. There is atmosphere, rain, fog, distant mountains. The streets are shinier, there’s more grime and reflections. There is a real-world shipping crate that reads “Dumont,” a nod to David Warner’s villain character. An updated Solar Sailor. There are new, updated Recognizers, black and sleek. When asked if they still come apart into separate pieces, the producer answers, “not on purpose.”

Everything is the same but evolved, as if the universe was still on an old Cray computer like a contained Galopagos, disconnected and evolving. They even brought in Syd Mead, the great visual futurist who was on the original’s design team, for a day to inform these new worlds. Some new additions to the arsenal are also glimpsed, including a four-wheeled dune buggy, Clu’s throne ship, a giant crane on the roof of Encom, and some other vehicles which were only hinted at that really let our imaginations FLY.

There is still an ’82-era light bike in Bridges’ safe house, but whether it will be used or not remains to be seen. Unfortunately, for those of you hoping for a return of the cute “YES” & “NO” companion, we are “sad” to report “BIT” will not be returning.

One of the biggest criticisms leveled at the original TRON, from critics to even vocal supporters like Pixar’s John Lasseter, is that the film did not engage the audience enough emotionally. Given this widely-held opinion, it’s no wonder the producers Justin Springer and Sean Bailey, who have been on the project since 2004, give us a pep-talk about the emotional direction the film will take, with Sam Flynn going into the computer to search for his father. This is a far better anchor for an audience than the first one, where everything hung on Flynn searching for a piece of information.

After having our run of the War Room we made our way to The Quantum Room, which is where all the wardrobe are kept. As some readers pointed out after our previous article, the lit-circuit look on the 1982 costumes was not achieved with computers but rather through painstaking frame-by-frame optical backlit compositing. It is no secret that studios farm out more time-consuming work like this to Asia as a standard cost-cutting measure, which explains the large number of animators literally credited in Taiwanese!

These new suits, however, are lit practically. The costume repair shop had many of the distinct character suits (136 costumes total), all of which have paper-thin, radio-controlled lights integrated into the black molded rubber. The wiring is safe, and is described as being almost like silkscreening with light, run on nanolithium batteries that can power an electric car. The “lamps” are all Velcro so they can come off and be replaced when necessary. Sean’s suit also has a built-in light disc, a parachute, and the legs have little round grenades in them, in case you’re curious.

Neville Page, the brilliant young creature designer responsible for, among other things, the Cloverfield monster, ventured out of his usual beastly wheelhouse to design these new suits. With his head shaved bald for an appearance related to his Romulan designs for Star Trek, Page explained the new suits for which light was “the glue” that held them together.

“The thrust of my efforts were really the specialty costumes,” he said. “This is considered specialties to a degree because of the lighting but it’s still kind of sewn together and fabricated in that respect. But the ones that are the foam suits so the black guards, Rinsler, Jarvis, those kind of costumes are the ones I had the most time spent on.

“As you know the original was leotards with black tape, and the helmet was a hockey helmet with black tape on it. So it’s risky to homage it and have it work. Particularly since the technology that we had to use was going to be practical lighting within the suits. In the first one, where the technology is nowhere near what we have today… we weren’t able to do the thin precision lines that they were able to do, simply because of the fact that our lights had to be bright enough for the camera to pick them up. So our lines kept getting bigger and wider, and when it got bigger and wider the potential for them to break was higher so we’d have to break it at the legs. It was an interesting awareness that we couldn’t do as much as they could do back then graphic design wise. But clearly we’re able to do more in terms of sculpture.”

We got to really see these suits in action entering the soundstage housing the massive set for the End-Of-Line Club, a bustling bar filled with many colorful denizens of the electronic world. The whole set must have been at least 3-stories high, with huge diagonal columns. There is a big LED panel under the floor connected to a laptop running footage of clouds to surreal, trippy effect. There is a bar stocked with blue liquid in large bladders, a partially-bluescreened staircase (the steps will float) leading to a stage, and a DJ booth housing none other than French house music duo Daft Punk, who are also creating the soundtrack for the film. Guy and Thomas were wearing Tron-World iterations of their usual black-helmet outfits, and piping in a droning, rhythmic cut they had created for the scene that completely fits the New Wave cyber-punk, proto-fascist vibe.

Michael Sheen walked (or rather WAS walked) onto the set looking like Ziggy-era David Bowie, with shocking white hair, tight-white leather outfit, pale skin, piercing white neon contacts, and, of course, a pimp cane! His suit was so tight he had to be assisted to merely lean on a tall stool to talk about his nightclub impresario character, Castor.

“Well I remember when I first met Joe he was saying that this character is a showman,” said Sheen in his chipper English accent. “Wants to have big energy, for it to be very colorful and vivid and very different than everything else that has come before in the film. He’s a kind of chameleon character so you’re never quite sure who the real him is and keeps changing all the time. There’s a little bit of Frank-N-Furter, a little bit of Ziggy Stardust, a little bit of Joel Grey from ‘Cabaret,’ there’s all those kind of things in here.

“He owns this club and he’s supposedly the coolest cat in the city. He entertains in the club as well as being the owner of it. Apparently he’s also part of a resistance movement within the world of Tron, and Sam Flynn gets sent my way because there’s some cackle who might be able to help him, and if you want to get to him you have to go through me so that’s about all I’m going to tell you.”

In the scene being shot, Sam Flynn is being given a flamboyant tour of the club by Castor, who ascends the staircase, exclaiming “Have a drink, courtesy of the End-Of-Line Club. Libations for everyone! Change the scheme, ELECTRIFY THE BOYS AND GIRLS!” A tall, statuesque female clubgoer grabs Sam and sleekly directs him towards the bar, where TRON creator Steven Lisberger is bartending. Castor points his cane at Lisberger and gives him a little salute. An appropriate cameo.

The suits look glorious onscreen, but clearly painful in real life.

“I like the way it looks, and that is it,” Sheen explained. “There is nothing else I like about it. There is not one bit of it that is comfortable, but it looks fantastic and the work that’s gone into it… all the work on the wardrobe department on this film has just been incredible. You know, they’ve worked so hard and I’ve had about six costume fittings over a series of, you know, a whole slew of months. Each time it gets tighter, each time I think I have to lose a little bit more weight. The fact that it lights up, all that kind of stuff is incredible.”

Olivia Wilde, who plays Quorra, was also on hand during the shooting, and while she was not as agitated by the costume, she also happened to not be in hers at the moment, appearing in her street clothes and looking very at-ease.

“I won’t complain ’cause we’re really lucky to get to wear them,” she said, “but they’re not easy. So whenever we’re sitting there straining or, you know, figuring out how to move in them, Jeff says, ‘Well, you know, in the first film, we wore basically white, you know, white leotards.’ Not easy for any man or woman.”

Apparently her character does more than her fair share of ass-whupping in the film, which required a lot of acrobatics and martial arts training. She also trained on a flight simulator at the U.S. Air Force base in Arizona for the A-10.

“I play Quorra,” she continued. “I’m a close confidant of Jeff Bridges’ character Flynn. Close, personal confidant. I don’t think it will give anything away to say that Joan of Arc was a major inspiration for my character. As far as other films I think there’s something to be said for Natalie Portman’s character in ‘The Professional.’ So I don’t know if you can imagine a mixture between that little girl and Joan of Arc…”

The camera glides through the crowd and around the set on a long crane running on an electric track hanging from the ceiling. A Sony F-35 dual lens camera is contained inside a single metal box on the end of the crane, to enable the 3D shooting. Unlike many recent films that have opted to cheat and post-convert to 3D, Kosinski is shooting with the same Cameron-Pace system used to shoot “Avatar.” It is actually on a motion control rig, the first time its been used, which was mainly installed for a big fight sequence so they could get clean plates.

As each take happens, Kosinski watches the realtime footage on a polarized 3D monitor set up in video village. We got to try out the glasses ourselves, and all agreed the 3D delineates the levels of foreground, middle ground, and background in a way that adds depth and realism. The 3D will only be used in the Tron World, the transition to which will be very similar to the transition from black & white to color in “The Wizard of Oz.” When the director is not there he casually talks shop with his actors and crew, a very calm, assured presence on the set. Occasionally he will consult with Lisberger, who in his costume is enthusiastic, smiling, clearly enjoying himself and in his element.

This is a fully populated sequence, giving the appearance of a speakeasy. You will get to see a cross-section of different inhabitants/programs. Just from the few shots we see, the elegance and restraint of Kosinski’s style is evident. “Lots of energy on this one, lots of crosses… lights on!” he bellows. The lights are controlled by radio, and it is fun to watch everyone’s costume turn on at once.

After the debut of the trailer, and what we saw on set, there is no longer any doubt Tron Legacy will be a milestone visual achievement. Whether this film will ultimately have the emotional impact on audiences the original missed the mark on remains to be seen, but Wilde is very hopeful.

“The first one was more of a cautionary tale,” she says. “So this one is sort of what happens when that cautionary tale has not been heeded. When there’s been 30 years of technology becoming increasingly powerful, where are you left at that point?

“Just in the three months I’ve been working on this, I feel what I’ve learned is like I was saying to Jeff, you have to treat it like it’s a character piece, like it’s any other film. And that it’s fun. I mean this movie should feel like a ride. It should feel like an adventure, and that’s what I think what we’re making, something that people will want to see again and again because it’s enjoyable. It does have emotional weight to it, but it should still feel like a fantastic ride. So I think that’s what we’re doing. And I think — God I’m just so excited!”

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Olivia Wilde is getting ready to escape the shadow of her breakout role in “House.”  She’s already shooting Jon Favreau’s upcoming “Cowboys and Aliens” alongside Daniel Craig, but she was well aware of her new standing in Hollywood almost a year ago when she spoke to HitFix on the set of “Tron Legacy” in Vancouver.  The 26-year-old New Yorker has done action before – sort of – in the horror-thriller “Turistas,” but wielding futuristic weapons is a far cry from engaging with the crotchety Dr. Gregory House on Fox’s venerable drama.

“I use the sword.  I’m the only one who uses the sword and then we have the disc and shields as well as weapons,” Wilde reveals excitedly. “So, it’s kind of cool.”

And then, of course realizing it’s a Disney movie, Wilde smiles and adds, “You will be able to buy them soon.”

Stopping by with co-star Garrett Hedlund in skintight black suits highlighted by electric and glowing looking accents before shooting a major action scene, Wilde says she was “amazed” at how the original “Tron” filmmakers were able to be so forward thinking way back in 1984.

“It’s really amazing to me that they didn’t know what they were talking about when they said programs or bits, bits or anything like that,” Wilde insists. “It was all gobbledy-gook for them.  And they were able to make it sound fluid.  So, that’s pretty impressive to me even when they’re using the desk, the flat computer with the touch screen thing.  That to them must have just been so insane and implausible and to us now, it sort of holds up as well.  I’d still like a desk that could do that.”

Not much is known about Quorra, Wilde’s character in the long awaited sequel except that she’s connected to the missing Kevin Flynn (Jeff Bridges) and teams up with Flynn’s son, Sam (Garrett Hedlund), to take down an out of control Master Control Program.

Secrecy is important even on an embargoed set visit and Hedlund admitted its easier to keep his lid shut than he expected, “I find it’s a little more therapeutic not being able to talk about it.  Cause it’s harder always trying to– like we’d love to share everything.  But when you’re constantly– you got the mouse behind you.”

That “mouse” is Disney of course, the studio that was willing to take a big chance that a return to the virtual world of “Tron” could work over a quarter century after the first film became a cult phenomenon.  Luckily, director Joseph Kosinski’s vision is aligning for exactly the sort of experience audiences are looking for after James Cameron’s immersive “Avatar.”  That’s made “Legacy” one of the most anticipated films this holiday season, but even pre-“Avatar,” Wilde was awed by the 3-D technology the production was using.

“I think what’s cool is that we’re going so far beyond the 3-D,” Wilde says. “[They are] really utilizing all the new technology, technology people haven’t heard of yet so it won’t just be the 3-D that makes it special.  I think that’s kind of exciting.  We’ve been saying that the movie should– the movie will feel like a ride, which is what people expect now from a film. I mean, people’s home entertainment systems are now so advance why do go to the movies?  But ‘Tron’ will be a great reason to go. And I think that’s really fun.”

Audiences will have to judge for themselves with “Tron Legacy” opens nationwide and in IMAX on Dec. 17.

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Garrett Hedlund only got as far as his plan A, which was to drive his Chevy S10 to LA and be cast in his first film before the age of 19. All went according to plan, and by the time he flew off to Malta to shoot for Troy, he had already put plans B and C behind him, along with the life on his parents’ farm in Minnesota. Now at 25, Garrett is onto his second blockbuster film, but this time as the lead character in the film Tron Legacy.

What did you think of the original Tron movie when you saw it?
I watched the original in 2003 when I was filming Troy in Malta. I remember thinking how crazy people’s minds were in those days, to be able to create a film dealing with a man being sucked into a computer. I never thought that one day I would be involved in this.

Did you have any hesitations in accepting the role of Sam Flynn?
I’ve always been hesitant of being involved in a big commercial blockbuster because there is a lot of fear involved. The fear of massive exposure, that all the visual effects will be as grand and as impactful as they’ve been promised to be, and hoping that the story will come across well. But this film was perfect to jump into without fear. The director was fantastic and the cast are amazing. I’ve always wanted to work with Jeff Bridges, and now we’re playing father and son. I’ve known Olivia Wilde for years prior, and it was just as big a deal to her as it was for me because neither of us had starred in a big commercial vehicle, and it was cool to share and take this step forward with her.

How did you prepare for the role?
The character I play is an extremist full of adventure and life, so basically we had to go through a lot of extensive physical training in order to prepare for the stunts. I had to get my motorcycle licence and train every morning from 7am to 9am, and then go do physical combat training: punches, knees, and kicks. And afterwards I would go into hard- core training – jumping over things and doing weight-lifting for an hour.

So you made a movie and got into shape?
[Laughs] Yeah, I guess, but then for my last role I played a country singer, and as much work that I put into getting in great shape, I had to put into getting in the exact opposite shape.

Tell me about your film where you played a country singer
The film’s called Love Don’t Let Me Down, and it was just as difficult emotionally as Tron was physically. I play a young country singer that goes on tour with Gwyneth Paltrow’s character, who is one of the biggest country stars out there but who has fallen down too many times. She gets taken out of rehab to go on tour and she wants me to open for her because she’s fallen for me and finds an extreme amount of promise in me. So we go on to this tour, and one thing after another starts to fall apart.

How did you prepare for Love Don’t Let Me Down?
We filmed in Nashville for two months, and I got there a month early and stayed in a cabin on a ranch, where I kept up with all the guitar rehearsals, ‘cause I never knew how to play a guitar before.

Is the guitar something you’ll keep up?
Oh yeah, not publicly performing, but as a private passion, just like writing.

What kind of writing do you do?
Anything really. If I have a great night, I sit down and use a pen and pad as a pal to whom I’m really excited to tell it all too. It’s kind of like documenting my time, so maybe one day when I’m a grandfather, my grandchild can look at it and say, “Look at the life he was able to live.”

What about your life in LA; what do you do when you’re not working?
When I get home I really just kick my feet up and ready everything I’m meant to read, and write what I couldn’t write, or watch what I just couldn’t get myself to the theatre to watch when I was filming in a different city.

What is the hardest lesson you’ve learnt since you began acting?
My biggest thing has always been privacy. It’s always been a struggle for me to express myself when the questions are personal. I prefer the ambiguity. For every interview I would almost prefer saying the opposite of what’s true about me and keep people guessing, rather than giving them facts that they can formulate an opinion or judgment of me based on what they’ve heard is true.

So it’s easier to be in front of a camera as a character rather than yourself?
Oh of course, big time. Even though you’re right there, there’s a big mask to hide behind.

Have you always been so private?
I guess so, I grew up on a farm in a small town where you do or say one thing and everybody knows about it. So I learned at a very young age just to keep my mouth shut. You see it happen. People talk around town; there’s always the town gossip: “Oh did you hear about so and so?” or “Did you hear what went on in this household?”

It must be hard to remain private when you are making movies. How do you deal with the criticism?
I think the best way to deal with negative comments is to just not respond to them. I’m not the one who’s had to deal with a lot of that right now. I mean, when Troy came out, people were saying this and that online. Yeah it’s crazy, but it blows away. I just never really cared about what people say.

Would you ever go back to living on a farm?
Yeah. I feel that everything that pulled me to the city slowly pushed me away from it. The peace and quiet and the freedom that I never realized meant as much as it did. We didn’t have any neighbours for miles, woodland to run around in. life is too short when you fine yourself sitting in a car for four hours everyday trying to get from East LA to West LA to Hollywood and then back to East LA.

If you had to give up acting today what would you do?
Be a country singer. [Laughs] I don’t know, I grew up with country music all my life, and I was never a good country singer and I could never play an instrument, but from this experience out in Nashville, I just feel in love with it.

Tron Legacy will be in cinemas in December.

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Ever since Francis Ford Coppola bought the rights to Jack Kerouac’s beloved beat generation road trip novel On The Road in the seventies, he’s been trying to get it made into a film. The latest development? Tron Legacy’s Garrett Hedlund is in talks for one of the lead roles.

The book is closer than ever to getting filmed, though it’s still taken ages. Despite Coppola hiring Motorcycle Diaries director Walter Salles and scriptwriter Jose Rivera to handle it in 2005, very little has been heard of it since then, beyond rumours of Control’s Sam Reilly getting the part of Sal Paradise, the character Kerouac based on himself.

According to Production Weekly, Hedlund is circling the other leading part, that of Dean Moriarty (whom Kerouac took from real-life beat hero Neal Cassady) and the film might actually get to shoot this summer. Emphasis strongly on the might…

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SourceAgain, you’re working with buzzy young talent on Love Don’t Let Me Down.You’ve got Garrett Hedlund, who’s the star of the upcoming Tron Legacy…
I know. When I met him, he was shooting Tron. Who knows what Tron is going to be? I think it’ll be a huge success and people will know who he is, but it’s like when I met Carey. She had done An Education and we didn’t know what that would be, but there was something special in her. When I met Garrett, I felt the exact same way.

I saw a video of Gwyneth doing karaoke at the wrap party.
[Laughs] Yeah, yeah. Gwyneth singing. I mean, that’s another cool thing about this movie, is that Gwyneth, Leighton, and Garrett are all really singing in the movie. We’re not revoicing any of them. It’s all original songs. Gwyneth — as you saw — even in karaoke when she’s just having fun, she has a beautiful voice.

How did you know Garrett could sing?
I went to karaoke with Garrett.

Where at?
Koreatown, I think?

The Brass Monkey?
Yeah! [Laughs] We went to the Brass Monkey, we both got really drunk, and we did karaoke.

So for actors who have to audition via karaoke in the future, what would you and Garrett recommend?
I think he did a Pearl Jam song. It really wasn’t the best showcase ever of his voice, but Garrett went to school for us. Literally, he took four months off and started learning how to play the guitar, took voice lessons, went to Nashville early, started working with Nathan Chapman, a record producer in Nashville who produces Miranda Lambert. I mean, he became a country singer.

It sounds like you took a leap of faith in casting him. He had a long ways to go.
It was definitely a leap of faith, and there was definitely a point where we thought, “OK, are we going to have to revoice him? Is he making enough progress?” And then when you hear him sing and you hear the songs in the movie, I think everyone is gonna be blown away. I don’t know if you’ve ever met him, but he has a beautiful speaking voice. I just knew out of that voice, there had to be something special.

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