Tag Archives: Jose Rivera

My Year in Review: 2012

4 Jan

What a full year 2012 was! Here’s a quick little recap:::

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In January I announced that the rumors were true. But it took the full year for it to finally look like this.

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In February I joined Pinterest to discover how it may help me as a writer and have been happily pinning ever since.

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In March my personal essay was included in the book Creating Space.

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In April I was one of the editors representing the Burnside Writers Collective at the Festival of Faith & Writing. It was so special to get to catch up with the other editors and writers, whom I just adore. I also had the opportunity to teach a writing workshop while I was there.

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Image via On the Road with Bob Holman / Rattapallax

In April I also worked to create awareness about what we lose when we lose a language. My interview with poet Bob Holman appeared in BOMBlog.

In May I received my MFA in creative nonfiction from The New School. I had a fantastic thesis advisor and a beloved peer group, who challenged me to dig deeper in my memoir about growing up Greek American. After I read a snippet at our thesis reading, an instructor I’d never even had came up to tell me how much he liked my work!

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Image via The Human Tower / Rattapallax

In June I witnessed the world record being broken for the tallest castell on a rooftop.

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In July I heard Amber Tamblyn read for The Paris Review at the Strand. Afterwards we somehow ended up on the elevator together, and I didn’t say anything to her. I never know in those situations if it’s polite to say something like “nice reading” or if the person just wants her privacy. I know she’s involved in the Beat literature community, though, so I should’ve probably talked to her about that.

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Image via The Millions

In August an article I wrote about a funny incident I had related to Jack Kerouac sparked a fiery debate and went viral, getting mentioned everywhere from The New Yorker to The Paris Review.

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Photo via RA Araya

In September I had one of the most surreal moments of my life–reading with David Amram. I got to hear him perform again, this time as an enthralled audience member, in December.

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Photo via RA Araya

That month I also read for poet Miguel Algarin‘s birthday bash.

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I also road tripped through northern and central California, visiting Cannery Row, City Lights Bookshop, The Beat Museum, and attending my college friend’s wedding.

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In October Hurricane Sandy hit New York, and I spent a lot of time in bed.

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In November I failed miserably at NaNoWriMo, but I had a lot of fun creating this ever-evolving Pinterest board for the book I never wrote.

I also gave a reading that got upstaged by a wedding proposal.

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In December there was a flurry of Jack Kerouac-related activities to promote the film adaptation of On the Road, and I got to see author Ann Charters and film director Walter Salles in person at IFC. I also got to take a writing class with screenwriter Jose Rivera at 3rd Ward.

I also went out to Lowell and got to meet Jack Kerouac’s friend and pallbearer Billy Koumantzelis.

 

What were the highlights of 2012 for you?

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List of Reviews of “On the Road”

19 Dec

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[official film still from On the Road]

Yesterday, I posted my review of the On the Road film adaptation. As LeVar Burton used to say on Reading Rainbow, “But you don’t have to take my word for it.” Here are some other reviews of the film On the Road:

The Beat Museum: “Everyone knows a  book is not a movie and a movie is not a book.  The genius of Jack’ Kerouac’s novels is his prose. It’s not the story, it’s not even the relationships, it’s the prose with the language that he uses to sketch the scene to move the story and to describe the relationships.”

Buzz Sugar: “The plot at times drags, but there is so much energy in the production that I didn’t mind. … This is the role Sam Riley has been waiting for — he’s talented and looks great on screen.”

The Film Pilgrim: “Where Salles really shines is the party/drug scenes, capturing the beatnik life style beautifully.”

Film School Rejects: “For a tale which so obviously values hedonism and free expression, On The Road is ultimately joyless and unengaging, and for a self-discovering road movie to fudge the journey so much and lose almost all lasting meaning is downright criminal.”
The Guardian: “The film is stiflingly reverent towards its source material, and indeed towards itself. It’s good-looking and handsomely produced, but directionless and self-adoring, richly furnished but at the same time weirdly empty, bathed in an elegiac sunset glow of male adoration.”
Hollywood.com: “Incorporating more of Kerouac’s writing as voice-overs or something similar would have given it more life, the kind of vivacity Kerouac sought out in spades, which is why he tolerated Dean’s vagaries for so long. More than most movies, it feels like On the Road could have gone in any direction, expanding or reducing characters, shortening the trips to concentrate on the characters more, emphasizing the effects of their missing fathers or not, and it’s this wishy-washiness that undermines the movie.”
The Hollywood News: “Visually, Salles’ ON THE ROAD is a thing of beauty. Eric Gautier’s cinematography is a wonder to behold: the colouring, the tracking of the characters, and the close quarters filming take the audience to Denver, New York and San Francisco like never before. The images conjured by Kerouac’s words come to life in a way never thought possible. But whilst it looks ravishing the film is full of problems, the first of which is a glaring problem: Hedlund is not Dean Moriarty.”
The Hollywood Reporter: “A beautiful and respectful adaptation of Jack Kerouac’s landmark novel that intermittently leaves the ground to take flight.”
Honi Soit: “Too often unnecessary scenes were included while others were not given the time to become poignant, such as Moriarty’s very brief search for his vagrant father in Denver. I’m happy to concede that part of the frenzy is intentional, to replicate the experience of its addled protagonists, but some tighter editing would not have gone astray.”
The Independent: “Walter Salles takes an orthodox approach to Jack Kerouac’s classic text. As with his adaptation of Che Guevara’s Motorcycle Diaries, Salles seems as preoccupied with the mundane as he is with the tales of threesomes, drugs and broken friendships.”
Indiewire: “The atmosphere of his travels comes first, establishing the book’s searching nature ahead of its loose plot. From that early point, “On the Road” adopts a serious, low-key approach to establishing Sal’s world that keeps the characters grounded.”

LitKicks: “Jack Kerouac would have loved this film version of On The Road.”

Movie News: “As a work of narrative semi-fiction, Salles’ version of Kerouac’s book is appropriately graceful, dirty, and enigmatic. He’s a sensitive director and a good storyteller. What doesn’t come across, though, is why the story matters. Who are these Beatniks?”

The NewStatesman: “Once the beats’ credo of philosophy and pharmaceuticals is established, the film starts noticing those people exasperated or excluded by the party. Sal and Dean may be kings of the road behind their scratched windscreen, but Salles is meticulous in balancing the ledger. There is no liberation in the film without suffering, no beat generation without its beaten-down counterpart (usually female).”

The New Yorker: “I found Garrett Hedlund’s teen-idol depiction of Dean Moriarty particularly unsatisfying. … Hedlund’s performance neuters the book’s animating Mephistophelian spirit.”
The New York Times: “The cinematographer Eric Gautier has done brilliant work elsewhere and doesn’t seem capable of taking a bad shot. But everything tends to look too pretty here — the scenery, sets and costumes included, especially for the rougher byways and more perilous interludes, like the Benzedrine nights that feel more opiated than hopped up.”
NPR: “In fact, any film in which all the characters seem utterly convinced of their own importance and coolness from the outset has the same battle. … There is the Ginsberg-like Carlo (Tom Sturridge), a character drawn here as so self-consciously writer-like that his every appearance inspires twitches. He actually says at one point, while pondering how to describe his feelings, ‘Melancholy’s too languorous!'”
Ropes of Silicon: “The tedious result of this adaptation of Jack Kerouac’s famed novel is, however, unfortunate considering Eric Gautier’s rich, smoke-filled cinematography, Walter Salles’s direction and stand-out performances from most of the cast.”
The Telegraph: “Despite its pretty cast and sun-ripened colours, the film quickly settles into a tedious looping rhythm of Sal Paradise (Sam Riley) experiencing some kind of beatnik debauchery with co-wanderers Dean Moriarty (Garrett Hedlund) and Marylou (Kristen Stewart), before retiring to a shady corner and scribbling wildly in a notebook.”
Time Out London: “Freewheeling spontaneity is tough to convey on screen, and the drink- and drug-fuelled carousing lacks Danny Boyle-style zing. But the bull-nosed cars, jazz soundtrack and soft light of a bygone era are a joy.”
Total Film: “Even if the film has a patchwork quality, Rivera’s script mines some much-needed humour from events – from Stewart giving new meaning to the phrase ‘two-hander’ to the priceless scene where Dean drives Sal’s mother back to New York.”
Variety: “Yet despite the high level of craft here, it’s an inadequate substitute for the thrilling, sustaining intelligence of Kerouac’s voice. Admittedly, any definitive adaptation would have to adopt a radically avant-garde approach to approximate the galvanic impact Kerouac’s novel had on literary form. But even audiences content with an easy-listening version may be put off by the weak conception of Sal’s inner life.”

Welcome to Beat Week!

12 Dec

The people behind the On the Road film are uniting a community of angel-headed hipsters. They’ve organized lots of fun activities leading up to the release of the film in the States. Welcome to Beat Week!

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Those of us who are passionate about Jack Kerouac’s literature may cringe at the use of the word “beatnik” and the commercialism of the events–the supper club event costs $95 and is a far cry from the cafeteria food Kerouac typically described in his writing; I’m not sure what haircuts have to do with the book or the film adaptation of On the Road and I’m pretty sure Kerouac wouldn’t have been able to afford the prices there–but perhaps these are simply fun events that will inspire a new generation to check out Kerouac’s book for themselves to see what the buzzzzzz is all about. And I must say, the chance to see Jose Rivera and Walter Salles in person is too good to pass up!

What do you think: Is this crass commercialism or an inspired way to engage the Millennial Generation? Is Jack Kerouac finally getting his due or are we headed into Maynard G. Krebs territory?

On the Road Trailer

29 Mar

 

In case for some reason you haven’t seen the trailer for Walter Salles’ On the Road, screenplay by Jose Rivera, here it is.  It will star Sam Riley as Sal Paradise, Garrett Hedlund as Dean Moriarty, Kristen Stewart as Marylou, Kirsten Dunst as Camille, Tom Sturridge as Carlo Marx, Viggo Mortensen as Old Bull Lee, Amy Adams as Jane, Alice Braga as Terry, and Danny Morgan as Ed Dunkel.

Cast your opinions in the comments section….

From a purely cinematic standpoint, the landscape looks beautiful.  I’ve been following the production of the film for a while and paying particular attention to filming locations.  If you think about it, The United States is a character in the book and in the film so it deserves attention, and I think Walter Salles, who directed The Motorcycle Diaries, can accomplish that.

The book I’m coauthoring with Paul Maher Jr., Burning Furiously Beautiful, details the places Jack Kerouac visited and was inspired by when writing On the Road.  If you check out our Pinterest board, you can see just how incredible the landscape and history of the places Sal Paradise and Dean Moriarty visit are.