Navigation Bar - Text Links at Bottom of Page

KILL YOUR DARLINGS

Finding the Best Minds of Their Generation
The casting of Radcliffe gave the project an initial burst of energy that sustained it throughout the rest of pre-production. The next piece of that puzzle was to find an actor to play Lucien Carr, a vivid and riveting figure who, despite his youth, exuded self-destructive brilliance. "I knew that was going to be a tough role to cast from the beginning," says Krokidas, "because it's someone who has to be so charming that they could convince three people -- Kerouac, Burroughs and Ginsberg -- that they had something important to say, and that they should rebel against their university, rebel against their parents and the world to create a cultural revolution."

To find the right match for the part, Krokidas, Vachon and Radcliffe auditioned exhaustively. "We auditioned almost every young actor out there again," Krokidas confirms. "But in 30 seconds of watching Dane DeHaan he became the character I'd imagined in my head. He was real, he was honest, he was seductive, and yet there was a fragility behind those eyes that let you know that there was more than just what he was playing on the surface."

DeHaan leapt at the chance not only to play such a multi-faceted, chameleonic figure, but also one about whom, comparatively, far less is known. "I just think he's an incredibly complex, interesting person," says the young actor. "So much of his life is ambiguous. All of the other guys have a lot of historical information out there on them... even videos and all that stuff. With Lucien, it's much harder to find, not that it doesn't exist."

Even without his later-famous cohorts, Carr's backstory alone might have been a compelling film in its own right. As DeHaan notes, "his father left him and his mother when he was 4 years old. When he was 11 and in the Boy Scouts, David Kammerer was his scout master. And they formed a relationship seemingly right away. The actual details are historically ambiguous, but what's important is that David really introduced Lucien to the idea of broadening your horizons and learning what it really means to live. But David is also the one that, eventually, when Lucien grew older, drove him to... I don't want to say insanity, but to having to get rid of this force that was in his life."

Making DeHaan's job more challenging was the fact that in the aftermath of the murder -- successfully (and dubiously) defended by Carr as an "honor slaying" to stave off Kammerer's homosexual advances -- Lucien Carr worked systematically to have his name erased from the 8origin story of the Beats. "He always made it a point to distance himself from all this stuff," observes DeHaan, "to really take himself out of the history of it. The original edition of "Howl" is dedicated to Lucien Carr, but he had his name removed from all subsequent versions." An even starker fate befell the manuscript of the early Burroughs/Kerouac collaboration And the Hippos Were Boiled in Their Tanks, a noir-stylized account of the murder whose publication Carr had suppressed during his lifetime; it was finally published in 2008. But the irony isn't lost on DeHaan: "The very thing that he had to purge from his life really took over, in its own way, once he was out of prison. To approach a character that was so complex and also so open to interpretation was really exciting."

With the pivotal duo of Ginsberg and Carr in place, it remained for the team to fill in the other major players of the story -- the hard-edged Kerouac, the visionary, elliptical Burroughs, and the morose, doomed David Kammerer. In Kerouac, Krokidas dealt himself a pair of Jacks, casting Jack Huston, the scion of one of the great families of American cinema, but the first to grow up outside the U.S.

"The script is filled with heavy hitters, Burroughs, and Ginsberg and obviously Kerouac" says Huston, the grandson of legendary director John Huston, son of Tony (the screenwriter of his father's final film, "The Dead," adapted from the classic James Joyce story), and nephew to celebrated actors Anjelica and Danny Huston. "But I liked that it was Kerouac when he was younger. Although he had written a million words, he hadn't been published yet. So it was before the Kerouac that we know, the Kerouac who he would later become... the man, the legend. One could take a little bit of artistic license to make it one's own, without mimicking him completely."

Radcliffe was particularly grateful to have Huston in the fold. "It was great to have another Brit on set," he shares, thoroughly alert to the irony of having two towering American literary figures portrayed by native Londoners.

The project took another leap forward with the casting of Ben Foster as the darkly magnetic William S. Burroughs. Foster particularly relished the opportunity to showcase the importance of the writers' fellowship on the development of one of his heroes. "Burroughs did not define himself as a writer until a year after the murder," he explains, "when he started collaborating with Jack Kerouac. And what is so beautiful about this particular story, this angle that Austin and John took, is that these men became who they were through each other. Burroughs didn't find the courage to put pen to paper until he found union with his brothers."

Michael C. Hall, as the obsessed David Kammerer, was no stranger to playing alienated outsiders, being a five-time Emmy nominee for his portrayal of conflicted serial killer Dexter Morgan in Showtime's acclaimed "Dexter." Hall relished the chance to fill in the blanks of the character who is, in many ways, the most mysterious and troubled in the film. "When Lucien Carr was 11," he notes, "David Kammerer was 25... a scout master and burgeoning academic. But that encounter started a life-long obsession with Lucien. I think that in David's mind, this meant a commitment to being his caretaker, his lover, his go-to guy. After all, Lucien's father died when he was 3, so it was a relationship dynamic that was ripe for this kind of development. And I think that initially, there was a real exchange of ideas, certainly an exchange of affection and enthusiasm, some sort of connection that neither found elsewhere."

"But it turned sour," Hall continues. "In people like Ginsberg, certainly, and Kerouac, David recognizes younger people who, for Lucien, maybe bring as much to the table intellectually. And like all these guys, he has this sense or conviction that he's the smartest guy in the room, or at least one of them. But he senses a threat there, and I think he realizes that these people can offer Lucien everything he has been providing, exclusively, up to this point."

Next Production Note Section

TOP

Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.
Contact CinemaReview.com

2014 26,  All Rights Reserved.

Google

Find:  HELP!

Google