The Ice Harvest (2005)

The Ice Harvest (2005) with John Cusack and Oliver Platt

A wickedly funny thriller that takes moviegoers on a wild ride brimming with larceny, lust and lethal behavior. In icebound Wichita, Kansas, it's Christmas Eve, and this year Charlie Arglist (John Cusack) just might have something to celebrate. Charlie, an attorney for the sleazy businesses of Wichita, and his unsavory associate, the steely Vic Cavanaugh (Billy Bob Thornton) have just successfully embezzled $2 million from Kansas City boss Bill Guerrard (Randy Quaid). But the real prize for Charlie is the stunning Renata (Connie Nielsen), who runs the Sweet Cage strip club. Charlie hopes to slip out of town with Renata. But as daylight fades and an ice storm whirls, everyone from Charlie's drinking buddy Pete Van Heuten (Oliver Platt) to the local police begin to wonder just what exactly is in Charlie's Christmas stocking - and the 12 hours of Christmas Eve are filled with surprises. Written by focus features

More Info IMDB

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Sixteen Candles (1984) with John Cusack

Sixteen Candles (1984) with John Cusack

A young girl's "sweet sixteenth" birthday becomes anything but special as she suffers from every embarrassment possible.

Sixteen Candles DVD-R

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Password: VOS

John Cusack Interview About "Max"

John Cusack Talks About "Max"


"Max" is the directorial debut of Academy Award-nominated screenwriter Menno Meyjes. The movie stars John Cusack as Max Rothman, a celebrated art gallery owner who befriends an aspiring young artist and fellow war veteran, Adolf Hitler (Noah Taylor). Despite Max's assistance and encouragement, Hitler is unsuccessful as an artist and turns all of his energy to politics.

Casting the crucial role of Max had producer Andras Hamori and writer/director Meyjes stumped. No one actor seemed to jump to the head of the line until one evening the two spotted a photo of John Cusack on the cover of a magazine. Hamori recalls, "Just as if we were in a bad movie, we both paused, gasped, turned to each other and said, 'This is Max Rothman.'" Fortune further smiled on the two when Cusack reacted positively to the script. "By some total miracle, when John read the script he become intrigued by the script and fought for it. He became totally obsessed with 'Max,'" says Hamori.

JOHN CUSACK ('Max')

"Max" is a very intense movie. What was the toughest part of making this film?
I think just trying to pull it off. I think it would be like doing a classic kind of epic play. It was a pretty intense high-wire act, just trying to do this film. We were trying to portray the birth of modernism and the examination of the most kind of profound evil [while] putting a human face on it. [The story is] a confusion of art and politics and part history and social history. It's a very ambitious piece. It wasn't like you walked in and said, “Ah, this is a slam-dunk. We've got this.”

How did you get involved with "Max?"
The [script] came in and I grabbed on to it. Menno [Meyjes] had, for some reason, needed a one-armed German-Jewish art dealer and he just thought of me. He saw me more as a German for this. Where I grew up the Irish, the Jews, and the Italians all hung out together. So I grew up with screaming Irish, Jewish, and Italians debating politics.

How hard was it to concentrate on the acting with your arm physically tied behind you?
The hard part was the geometry of it was off-kilter a little bit. We didn't have a lot of money so there was a constant sense of paranoia, “Did you see the arm? Did you see the arm?” It was real hard.

How did you research your role?
I did a lot of research on German Jews and I was lucky enough to have found this book by a Yale professor who did this real exhaustive research on it. And like every one else, there were different levels of connection to the Judaism. Many of them just saw themselves as Germans who just happened to be Jewish, the same way that I'm American but happen to be Catholic. I was raised Catholic but it's not like I walk around each day thinking, “I'm a Catholic. I'm a Catholic.” They were just Germans and they were patriots.

Was special care taken to not oversimplify a character like Hitler or oversimplify his motivations?
I think we did the opposite. I think a lot of films have oversimplified this kind of power-hungry demonic monster, which is certainly true. This kind of talks about some of the other things. The nature of the film addresses the question. The nature of the film is to examine it and not oversimplify his motives.

What do you think are the culminating factors that led him to become this great exterminator?
Repressed emotions, the inability to express it, and cowardice. The film kind of postulates his inability to honestly express himself through his art caused him to then give up art and try the field of politics. Those two things together, that was his evil genius. [It] had to do with that fusion of art and politics and him being very ahead of the curve - to a horrible end.

There's no doubt that he was a sophisticated black genius. He saw the power of modern art. He hated the content of it because it was humanizing the anti-war movement but he found the power from it. He took the colors, the notions of it, into propaganda - this vapid performance art piece. He had the actual power. If you cross this confusion of art and power and his descent into the black arts, the occult, that explains a lot. Seeing it through the prism of art.

His fascism comes from anger and sexual frustration and class denied. You see it today and think, “How could some of these hardcore Islamic fundamentalists do that?” Well, they're living in poverty and they are living in some situation that feels hopeless. They can either feel hopeless and sexually frustrated living in a room full of 20 people - they don't have any upwardly mobile things to strive for - they can either be losers or they can be God's warriors. What are they going to choose? There are also the social and the class and the economic issues that we add in to it. Ultimately, I think he made a choice to turn. He made a great criminal choice not to take responsibility for own his life. He took the path of less resistance, which is to hate. That's the easiest thing to do. He wouldn't pay the price to be a great artist; the toll was too high. These are complex answers to the question about oversimplifying. I think the film is the opposite - simplistic.

Have you thought about once the film comes out there might be potential backlash? The subject matter could be misconstrued and people might think you're trying to glorify Hitler and make him an every-day kind of guy. Are you prepared to defend the film?
I think it's a deeply moral film, a responsible film, and if you say, "How dare you portray Hitler with a human sense of desire," I'd have to say, “What planet are you living on?” If you want to have that argument intellectually, sit down and have it, bring it on.

He's a complete coward and a thief. It's very comforting to think of evil as a guy who came down in pink vapors and arrived on Earth and then did supernatural evil things and then left in a cloud of dust and fire. But that's not the way it was, sorry to say.

That's what makes this film so great. It actually shows a disturbed man coming back from war.
It shows how his humanity gets poisoned and he makes choices, right? The fact that the man is human doesn't make the man less culpable, it makes him more culpable. If he's not human, then he's beyond human reckoning. You don't have to worry about it happening because he wasn't human, he's not one of us. You don't have to think about any of the factors that lead to his rise or any of that stuff, right? He wasn't human and we're all clean. If he was human, then we've got to deal with it.

The only people who've attacked the film are the people who haven't seen it. It hasn't been attacked here. This film was castigated by people who didn't have the sense to come see what we made. I sort of get off on all that, too. I like to debate. I feel that time will be really good to this film.

What do you think of Noah Taylor's portrayal of Hitler?
I think he's brilliant. I don't know many actors who'd have the guts to do it. I think he was kind of calculating the clinical [part] of how he was going to be able to do it and he just sort of let himself be vacant in a very interesting way. Spiritually vacant, you know? He's a great, great actor.

Do you think about awards when you do a movie like "Max?"
No. Theoretically you hope that it's respected and liked but I don't know if awards help it that much, in terms of the life of the movie or how respected it is. A lot of the awards now have to do with people buying them. It depends if the companies decide to buy them. Harvey Weinstein and DreamWorks paid $50 million to buy Academy Awards. It's not objective; it's not like the Nobel Prize. It's all kind of fad and where the money flows.

You've excelled at so many romantic comedies. What is your idea of romance?
I don't know. My idea of romance? It would be personal with whoever you're romantic with.

Would you ever use one of your movie character stunts to sweep someone off of their feet?
I probably would be capable of just about anything. Nothing - no stunt - would be too low.


From movies.about.com

John Cusack Interview about "Must Love Dogs"

John Cusack Returns to Romantic Comedies with "Must Love Dogs"

Cusack on "Must Love Dogs," Choosing Roles, and Working with Diane Lane

John Cusack and "Must Love Dogs:" John Cusack has plenty of dramatic roles on his resume, including recent starring turns in "Runaway Jury" and the indie film, "Max." But to me he'll forever be known as the guy who gave us the best teen angst romantic comedies of the 1980s. "Better Off Dead," "The Sure Thing," "One Crazy Summer" and the best of the bunch - "Say Anything" - helped make John Cusack into one of the most recognizable actors of his generation.
Cusack adds another romantic comedy notch on his belt with "Must Love Dogs," an adult relationship comedy about Internet dating and finding the perfect partner.

John Cusack on His Decision to Do Another Romantic Comedy: “I was going to go off and do a film in Europe, and the way things happen in the film business so many times, it fell apart at the last minute.

I thought, ‘I’m going to be sitting home right now not working.’ I hadn’t had any of my own projects ready, and I then I had a call saying, ‘You’ve got to meet this guy Gary Goldberg. He really wants to talk to you.’
So I went and met him for lunch and he seemed like a great guy, and I read the script. So it just sort of came out of the blue, and they asked me to do it. But I thought the combination of Gary and Diane [Lane] and Chris Plummer – that’s a pretty great pedigree, so I was kind of happy to be asked to join such a great group.”

On Typecasting as the Go-To Romantic Comedy Guy: “I don’t think of it that way, as type casting. I think if I get offered to do a movie about relationships I’m going to download as much of what I think about them into a part, or what seems funny to me about it, or what’s on my mind about it. So, if I get offered those parts and think they can be good…

It seems to me that one thing people do over and over again is try to figure out how to get married, stay married, fall in love, how to rekindle all this stuff. It seems to me to be a pretty eternal theme so I don’t know if you can get typecast from making movies about men relating to women. It seems to be what is going on on the planet a lot.”

John Cusack on the Internet: “I’m not really that much of an Internet person. I use it for final drafts for screenplays, and then e-mail. Then I call my assistant all the time and say, ‘My computer’s down. Can you have someone come fix it?’ And then she comes by and they turn it on, and that was the problem with the computer. So I’m not really that good with it. But I do the Google thing where you can Google your name and then find out what the press is saying about you. I’ve done that a few times just to see if they’re saying anything. What I did, I did check out some of those online dating things and some of those chat rooms, and I was amazed at how intense that is.“

It is pretty bizarre, but the whole instant messaging – text thing, it can replace the phone, but you can keep things going it seems like. You can stay in touch with people, even if they are all over the world, so in a sense it’s great because you can just write anybody a note any time and it seems fantastic. But there are more and more of those ads for these things, ‘We’re going to find your perfect mate. You put all your information with us.’ There’s more and more of those things on TV, isn’t there? Late at night when we’re sitting there not trying to sleep. They’re all over.”

If He Was Forced to Go Online to Get a Date… “I don’t want to get a date online. I’m trying to think of what I would put online. I’d probably put something just really funny and absurd, and then if somebody approached me with something that was equally funny, then I would know I would like them. I would try to be funny, and then if someone was funny back I would think, ‘Oh, there must be something interesting there.’ What would I put? ‘Nice person, sometimes brooding, sometimes nice.’”

John Cusack on How to Make a Good Romantic Comedy: “What I think was so great about what Gary was, and I really didn’t know Gary, I just knew that he was this kind of this impresario of television - he’s like James L. Brooks or one of those guys who made those great comedies and character-based comedies that will work forever in television. He really loves character and I think from working in television, the process keeps evolving with Gary. He’s always writing it, and re-writing it, and re-tweaking it, and throwing something out. He just loves characters.

I think he found the book and loved the idea of doing this story with Diane, but then he just kinds of falls in love with the characters and then just keeps trying to make their world more interesting, and more interesting, and he’s not precious at all. He’s really a terrific. I heard great things about him, but he really exceeded all my expectations that way. He just stands there and he goes, ‘I love this guy. I love this girl,’ and ‘How do we make this better?’ and ‘What do we do here?’"

"I think if you just approach it from being interested in the characters and not just interested in the devices or the plot twists… Obviously in a romantic comedy you know that these people are going to meet, then they’re going to get separated, and then they are going to come back together. So it’s really just fleshing out the lives in-between. Any genre can be done well or bad I guess.”

On Choosing Roles – Is it a “One for Them, One for Me” Type of Decision?: “Yeah, but this one, as I said, came out of the blue and I really didn’t know what to expect. But I knew doing something with Christopher Plummer and Diane Lane and Stockard Channing, that’s not really a ‘one for them’ kind of a movie.
I didn’t know what the experience was going to be because it came very fast, out of the blue, but it was really one of the most lovely times I’ve had making a film. The group of people they got together were so nice, and Gary set such an amazing tone. He made it all seem sort of effortless, but he really just loved the characters so it was kind of a joy to come in.
It was very light. It’s a very fun movie, and it’s supposed to be a really fun movie. It didn’t feel like I was going off to do some Diet Pepsi action movie and make some corporate mark. It really just felt like a movie about these characters, and everybody approached it with a lot of love, so it was really a wonderful time to go work on a film. I was just very, very lucky to be wanted. Sometimes they just come to you, but this was just, I think, luck. I was just very lucky to get asked to work with these people.

Then sometimes you take it because you think, ‘If I do this kind of movie maybe it will help me get the movies that I want to get made, made, or help my profile out.’ It’s kind of a dance you do with the business. This had the combination of being a really fun movie and one I think that will be really commercial, so that’s just dumb luck to get ask to be in this.”

Relating to His Character and First Dates: “Some of them you know that stuff, where you actually start talking over dinner and then you realize that you’ve been talking a long time and the person is looking at you with the face of utter incomprehension, and not laughing at your jokes. Then you realize that you still haven’t ordered yet. That’s not so pleasant. But it’s kind of awkward. It’s hard to fathom someone and everybody’s coming at it with – it’s all ripe with possibilities. Is this going to be something great or not? And sometimes the pressure of that is kind of insanely comic.”

John Cusack on the Script and Inserting His Own Style Into the Character: “When I talked to Gary, when I met him I said… Because it was a little bit of a small part, he goes, ‘Well, if we’re going to have you do it, we’ve got to make something of it.’ And then that’s his thing. His process is to just get an actor and then write and re-write and work on the set. He’s always bringing new pages on the set so I came with some ideas and then he wanted to go with them. That was kind of how he wanted to do it, and I like to work that way too. And I have ideas.”

On Working With Diane Lane: “I’d always sort of wanted to work with her so, as I said, I was very lucky to get asked to do this because I’d been following her. I probably had a crush on her since ‘A Little Romance’ when she was 13 and I was about the same age probably.”

On Improvisation in “Must Love Dogs:” “I think Gary would have it on paper and he’d be rewriting it a lot, and you come up with an idea. I would do it that way and then I’d say, ‘Well, let’s just do one where I say anything that comes out of my mouth,’ and we’d do that. Sometimes Gary would laugh and sometimes he would sort of look at me like I was insane and I don’t know how much of that he used.

We improvised a bit but there was a lot on the page and the actors kind of just went with it and went with their impulses. It’s kind of nice to do that in comedy because it’s really all about the character. It’s not like it’s a heist movie where they have to be at this moment and do this and crack the safe and get the number. Character drives plot so it’s all about these characters and what’s going on with them and what they’re feeling, so there is room for improvisation in a film like that. Gary likes to work that way. I think he’s worked with actors before who like to riff.”


John Cusack on His Upcoming Projects: “I’m shooting this film called ‘The Martian Child’ with myself and my sister Joan. Amanda Peet’s in it and Oliver Platt and Sophie Okonedo. I’m making it with the director who I made ‘Max’ with. It’s about a guy who adopts a kid with kind of special needs. It’s a really nice story.”


Cusack’s also shooting a film in Bulgaria. “I’m making a film with Morgan Freeman called ‘The Contract’ with Bruce Beresford. Kind of a hostage drama kind of thing. It sort of switches back and forth but Morgan plays a bad guy, which is pretty interesting. I don’t think I’ve ever seen that so I said, ‘Alright, I’m going to Bulgaria.’ He’s one of those actors, kind of like Christopher Plummer or Stockard Channing or Diane [Lane] or any of those people where if somebody said, ‘Come on in and they’re going to read the phone book from L to M,’ I would just listen because they are so interesting to watch - those actors.”

On His Edgar Casey Project and His Interest in the Paranormal: “I have an interest in that sort of thing. I’m very interested in that and then my father and I started working on a screenplay before he passed away, so I have a connection with my father, too. I just think the world is fascinating. I’m interested in what you can learn from it.“

John Cusack’s Take on the Paranormal: “…I’ve had experiences where I’m pretty sure there’s more going on than [what’s on the surface]. Instincts and intuition things and things where people have known stuff they’re not supposed to know. You wake up and go, ‘Something’s up with somebody,’ and it’s happened. Just little connections to people where you’re hardwired in ways you don’t really know about or aren’t conscious of.

I’ve just studied that stuff for a while and I think he’s a fascinating creature. Houdini and all these people tried to debunk him and nobody could, so he definitely had a connection to this other world, whatever that is, that is kind of irrefutable. He was studied and there’s 40 books written about him and there’s a whole institute in Virginia Beach. He’s a fascinating figure. Spencer Tracy wanted to do a movie about him for a long time. They’ve been trying to do a movie about him for a while so I’m going to do that one.”

From movies.about.com

Production Notes About 'Martian Child'

David Gordon (John Cusack) is an eccentric science fiction writer who considers adopting Dennis (Bobby Coleman), a young orphaned boy who claims to be from Mars. Ignoring some sage advice about the perils of parenthood from his sister, Liz (Joan Cusack), and the qualms of children’s group home director, Sophie (Sophie Okonedo), David decides he wants to be a father to the odd youngster who keeps insisting he is an alien. Even with the support of his sympathetic friend, Harlee (Amanda Peet), the aspiring dad soon finds himself in way over his head.

For starters, he’s in danger of missing his next publishing deadline and that has his nervous agent, Jeff (Oliver Platt), pretty worried. And then there is the social worker, Lefkowitz (Richard Schiff), and his review board who also have some serious doubts about David’s suitability as a dad.

In the midst of all this, young Dennis exhibits some pretty strange behavior and adamantly insists that he does indeed come from the red planet. A series of inexplicable events ultimately leads David to wonder if the boy’s claims are based on fact or fantasy.

Whatever the true origins of this strange little boy, David gradually finds himself growing more and more attached to him. Finally, when Dennis tries to live out the last chapter of his fantasy and unknowingly puts himself into serious danger, David discovers the transformational power of his love for the ‘Martian’ child.

Martian Child is a thought provoking comedy-drama about a widower who adopts a highly unusual young boy. Introducing Bobby Coleman, who stars opposite Best Actor Golden Globe Nominee John Cusack (Must Love Dogs, High Fidelity), the film also stars Amanda Peet (Something’s Gotta Give), as well as Oscar nominees Joan Cusack (Working Girl, In and Out) and Sophie Okonedo (Hotel Rwanda), and Golden Globe & Emmy nominee Oliver Platt (“Huff,” “The West Wing”) and Emmy winner Richard Schiff (“The West Wing”).

Based on the Hugo and Nebula Award winning short story by sci-fi luminary David Gerrold, the film is directed by Menno Meyjes (Academy Award-nominated screenwriter of The Color Purple and writer/director of Lionsgate's Max). The producers are David Kirschner, Corey Sienega and Ed Elbert. The screenwriters are Seth Bass & Jonathan Tolins.

The behind-the-scenes team is led by director of photography Robert Yeoman (The Royal Tenenbaums, Dogma, Drugstore Cowboy), production designer Hugo Luczyc-Wyhowski (Dirty Pretty Things, Birthday Girl, Snatch), costume designer Michael Dennison (Mona Lisa Smile, The Chronicles of Riddick) and editor Valdis Oskarsdottir (Eternal Sunshine of the Spotless Mind, Finding Forrester).

From Official site