John Cusack has turned down some surefire blockbusters in an attempt to shun the celebrity which he says “kills.” Peers, critics and audiences agree, though, that they don’t need to see him in a blockbuster to adore the guy. Born into show business – his father, three sisters and brother are all actors (Mom is a “theatrically active” math teacher) – an 8-year-old Cusack joined the Piven Theatre Workshop in his native Illinois, acted on stage, in industry films, in radio plays, and was the voice of many commercials until, at age 17, complete with agent and SAG card, he landed his feature film debut role in Class (1983). Teen flicks followed, and, although they kept him from completing studies at New York University, they established the actor’s credentials for better fare. There was Grandview USA (1984), Sixteen Candles (1984), The Journey of Natty Gann (1985), Better Off Dead (1985), Heaven Help Us (1985), The Sure Thing (1985), One Crazy Summer (1986), Stand By Me (1986), Hot Pursuit (1987), Broadcast News (1987), Stars and Bars (1988), Married to the Mob (1988), Tapeheads (1988), Eight Men Out (1988), Elvis Stories (1989), Fat Man and Little Boy (1989), and Say Anything…(1989). For the last, Cusack was named the Chicago Film Festival’s Most Promising Actor. That year he received another home state honour: the Chicago theatre Best Director award went his way for Methusalem. The actor/director had, the year before, “graduated” from Piven, to form his own New Criminals theatre group/film production company. In 1992, NC signed a groundbreaking long-term screen writing/production deal with the prestigious Castle Rock Entertainment.
Back to Cusack-on-screen. The actor was lauded for his work in The Grifters (1990), and followed it up with a string of carefully chosen off-beat winners: True Colors (1991), Bob Roberts (1992), The Player (1992), Roadside Prophets (1992), Shadows and Fog (1992), Map of the Human Heart (1993), Mrs. Parker and the Vicious Circle (1994), Floundering (1994), Money for Nothing (1994), Road to Wellville (1994), Bullets Over Broadway (1994), City Hall (1996), Grosse Point Blank (1997, starred, co-wrote and co-produced), Con Air (1997), Midnight in the Garden of Good and Evil (1997), Hell Cab (1998), The Thin Red Line (1998), This Is My Father (1999), The Jack Bull (1999, also produced), Pushing Tin (1999), Being John Malkovich (1999, for an Independent Spirit award nomination), Cradle Will Rock (1999), and High Fidelity (2000, starred, co-wrote and co-produced, for Oscar, Writers’ Guild, and BAFTA noms, and a Golden Globe).
Cusack’s fast-talking charm and pale good looks are ideal for both lead and character roles – but it’s mostly the former these days. He often works with his talented circle of family and friends. His voice retains the clarity and interest of his radio play days – he’s lent it, since, to the sitcom Frasier (1993), the miniseries, Baseball (1994), and the animated film Anastasia (1997).
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