Garrett Hedlund Quotes
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Nashville is a lot like my hometown. You learn so quickly once someone hears something about you or sees something, everybody talks about it at dinner. They know your business, so people tend to be more private and not to throw themselves into everyone's faces.
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I actually signed on to do 'On the Road' before we started on 'Tron,' but we were in flux for a while, just sort of playing the waiting game, trying to get the right budget and the right cast.
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Especially for me, growing up in such a small town in the middle of nowhere, the desire to be away was incredible. I wanted to see new lands, meet new people from the city, and meet people that were in much less fortunate situations than I was, so that I could be more appreciative of my present. At least I had food on the table.
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Anybody that wants to walk out that door and leave home for a few months and rely on themselves instead of fate might have some interesting stories to tell.
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I grew up on a farm in a small town where you do or say one thing and everybody knows about it. You see it happen, there's always the town gossip - 'Oh did you hear about so and so, or did you hear what went on in this household?' So I learned at a very young age just to keep my mouth shut.
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In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.'
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It's funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film 'Death Sentence,' and I got back with him again in 'Inside Llewyn Davis.'
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The Beat Generation - that term is even more familiar now, even more than say the '70s. Hype is built and established and people link it back to a certain generation, in this case the '40s and '50s. Now everyone knows that that group was the Beat Generation.
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I spill it out as fast as I can. I don't really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
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I remember telling my creative writing teacher that you never want to have a journal, because if you lose it, then someone's going to know all your secrets. And then she stopped using a journal, but I always write everything down... Anytime I travel, I try and fill up notepads.
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It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
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The school I went to was a little farm school in Wannaska, student body 61 or something. There was a kid, the only black kid in our county, Dustin Byfuglien. He won the Stanley Cup a couple years back with the Blackhawks. Out of a class of 21 kids, he and I always had to be on opposite teams on everything because we were the most athletic.
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It's funny that I got to do 'On the Road' because the thing that had the biggest impact on me growing up was reading books. I was very inspired by the book and this spirit of Dean Moriarty and how envious we all are of somebody who can be that carefree.
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A great amount of good is always evened out by a great amount of bad. I find it's best to acknowledge that weird balance.
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Kerouac was the cowboy that inspired the whole Beat Generation, and highlighted and put the spotlight on all of these minds that didn't really know what they were doing at the time, but accomplished something much bigger than what they ever foresaw.
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I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
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I used to be sick of the backroads of Minnesota. I had to drive 30 miles to get home every day, take the schoolbus for two hours. But to drive through America and see the backroads, from Nashville to Memphis, Lovick to New Mexico, was incredible. It was probably the greatest trip of my life.
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Life's too short when you find yourself sitting in a car for four hours every day trying to get from East L.A. to West L.A. to Hollywood and then back to East L.A.