Play anything: The myriad incarnations of John Cusack

As a bumbling lover, a loser, a hitman, a puppeteer and almost everything in between, John Cusack has always championed weirdos on the silver screen. With his latest project, High Fidelity, he assumes the role of perhaps the strangest beast of all - the record store employee. A revealing conversation with the man himself.

by Dan Eaton
THE POST

John Cusack - the name undoubtedly brings a distinct image to mind. Whether he is avoiding an angry paperboy or hoisting a radio in the air, blaring Peter Gabriel to his true love, everyone probably has a favorite Cusack moment.

Why? Because everyone likes him. Really, really likes him.

While some of his '80s contemporaries now have skyrocketing salaries and box office clout (Tom Cruise, Demi Moore), and others have fallen off the face of the earth (Anthony Michael Hall, Molly Ringwald), Cusack has remained remarkably stable and always likable.

From Better Off Dead to Say Anything to Grosse Pointe Blank, his on-screen personas remain a favorite of college students both male and female. And with higher-brow films like Woody Allen's Bullets Over Broadway and last year's Being John Malkovich, he has firmly established himself as a respectable actor within the industry as well.

Now, he seeks to add another name to his list of likable characters: Rob Gordon.

Rob makes up the center of Cusack's new movie, High Fidelity, the story of a record store owner reassessing his romantic history and approaching a crossroads in his relationship and his life. Based on a novel by Nick Hornby, the film is directed by Stephen Frears, who directed Cusack in the critically acclaimed film The Grifters.

"I relate to Rob - trying to figure out the other sex, having rough times, breaking up, getting together again. He fucks up and takes beatings," Cusack explained in a conference call. He sees Rob as a great character because he plays the fool beautifully - a nerd in denial. He has trouble being honest, but he ultimately offers insight and brutal truth about relationships.

Most guys think Rob is dead-on, Cusack said. The emotions, the contradictions, the circus in his head - it all really taps into the male psyche.

In addition to staring in High Fidelity, Cusack also produced the film and co-wrote the screenplay with Scott Rosenberg, Steve Pink and D.V. DeVincentis. The latter two are childhood friends of Cusack's - the group also co-wrote Grosse Pointe Blank together.

"Co-writing a script gives me the opportunity to really gamble with expressing the character," Cusack said. "Plus you don't have to worry about pissing off the writer.

"I like characters who are odd. I don't like ones that are straight down the middle, because no one is straight down the middle. Everyone has shadows, so I like characters with shadows."

This character might conjure memories of another Cusack classic: Lloyd Dobler, Say Anything's boom-box-toting protagonist.

People connect to them both, Cusack said. Both are dealing with relationships and matters of the heart. Lloyd is pure soul though, whereas Rob is a little more beat down by life.

Soul is of some importance to Rob, as is rock, jazz and just about any other form of music, especially music on vinyl. He owns Championship Vinyl, a record store he runs with fellow music junkies Barry (Jack Black) and Dick (Todd Louiso).

Music plays an important role in the movie; Cusack's personal taste inevitably filtered in. Marvin Gaye, The Beta Band, The Clash, The Velvet Underground and Smog are among his favorite bands that pop up on the soundtrack and in the movie.

Cusack discussed the biographical power of music - everyone has particular memories attached to a band, song or concert.

"My first live concert was a Dead Kennedy's show in Chicago," he recalled. "That always brings memories."

The film also prompted other memories.

"I used to know people like Barry and Dick, with that encyclopedic knowledge of music," he said. "They walk around like misplaced royalty, kings and dukes of a forgotten land."

Cusack admits that casting Jack and Todd was easy - both had that misplaced air about them.

The rest of the impressive cast fell into place soon afterward: Catherine Zeta-Jones, Lili Taylor, Sarah Gilbert, Lisa Bonet, Tim Robbins, Danish newcomer Iben Hjejle and of course, John's sister Joan.

While Cusack always enjoys working with close friends and family, he also felt a connection with Hjejle, who plays Laura, Rob's main love interest.

"Iben and I had great chemistry," Cusack said. "She constantly had to walk a fine line between being cold and being in love. It was a difficult role, but she's great."

Sans Con Air, Cusack has always favored character over the almighty dollar and awards show glory.

"Those big budget movies that cost $120 million and have no story are fun to watch, but I don't want to act in them," he said. "You do what you like or what you're interested in, and I'm interested in taste and truth."

Cusack also avoids "Oscar-caliber" productions - he sees those as equally predictable.

"I'd play someone with a disability, or a Nazi, or someone in prison if I really wanted a nomination," he said. "I love film and film history, but the Oscars are too much like a political campaign, with the lobbying and the spending. Many voters miss the true merits of some smaller films."

Some movies like It's A Wonderful Life are not appreciated in their time, he continued. It takes years for them to find an audience. Others are popular when they come out, but do not look so great after a couple years - even ones that win Oscars.

"Of course, this could all change if I ever get nominated," Cusack concluded.

For now, the game plan remains simple.

"I just look for great scripts and the opportunity to work with great directors, such as Stephen or Clint Eastwood or Woody Allen," he said. Bullets Over Broadway proved especially influential. Cusack said Allen's Annie Hall was an obvious precursor on High Fidelity - both possess a certain intelligence, and both deal primarily with relationships.

Cusack has tried his hand at producing, writing and theater directing, and film directing might not be far in the distance.

"If I had a script I worked on that I was very close to, I think I would like to direct it," he admitted. "Maybe in two years or so."

Projects closer to the present for Cusack include a possible writing collaboration with Cameron Crowe (the writer and director of Say Anything) and an adaptation of Et Tu, Babe, a novel by Mark Layner.

Whatever the future may hold for Cusack, a legion of loyal fans will surely be there to support him and, of course, like him. Really, really like him.