LIVE CONVERSATION AND Q&A
following a screening of
"HIGH FIDELITY"
ORPHEUM THEATER
MADISON, WI
MAY 5, 2018
I believe that the Universe just somehow knew that I needed this night.
For the better part of 35 years, I have been a tremendous fan of John Cusack. In a strange way, as we both hail from the city of Chicago and are around the same age, it is almost as if we have grown up together--although we have never met. As he was a young actor making his way through the movie industry, amassing his specialized and often subversively idiosyncratic filmography and catalog of characters, there I was, like so many of you I would imagine, watching his progression, all the while being entertained, entranced and at times, enraptured.
While I definitely noticed him in both Lewis John Carlino's "Class" (1983), as one of Rob Lowe and Andrew McCarthy's prep school characters' sidekicks (he performs a nifty, sneaky trick with a lit cigarette) and of course, John Hughes' "Sixteen Candles" (1984) as one of Anthony Michael Hall's geeky sidekicks (the one adorned with a Chicago WLS T-shirt), it was his first starring role in Rob Reiner's outstanding college campus set, classy romantic comedy/classic road movie hybrid "The Sure Thing" (1985) that made me a Cusack devotee for life. And afterwards, I purposefully sought out any films in which he appeared, for his style, skill, and superlative charisma, was and remains, second to none, completely unique and unparalleled.
My high school years were populated with repeated viewings of the surreal slapstick of both Savage Steve Holland's "Better Off Dead" (1985) and "One Crazy Summer" (1986), while during my college years, Cusack was my guide and conduit to a wider variety films, filmmakers, and subject matter from the gonzo record industry/music video satire of Bill Fishman's "Tapeheads" (1988), the elegiac baseball drama of John Sayles' "Eight Men Out" (1988), the nuclear bomb historical drama of Roland Joffe's "Fat Man And Little Boy" (1989), the updated film noir of Stephen Frears' "The Grifters" (1990) and without question, the glorious climax to what I refer to as "The Golden Age Of Teen Films," Cameron Crowe's sublime, exquisite directorial debut "Say Anything..." (1989).
Those were the formative years, both for John Cusack and myself, and I would say that we each continued to seek and search as we aged, again with me watching and experiencing as Cusack alternated between projects from auteur filmmakers such as Woody Allen's "Shadows And Fog" (1991) and "Bullets Over Broadway" (1994), Clint Eastwood's "Midnight In The Garden Of Good And Evil" (1997) and Terrence Malick's "The Thin Red Line" (1998), high profile big budget blockbusters, most notably Simon West's "Con Air" (1997), more (and frankly, bland) romantic comedies and exceedingly more interesting, darker, intensely challenging independent fare, with Spike Jonze's "Being John Malkovich" (1999) easily existing as one of Cusack's highest achievements.
Yet for me, and despite what may constitute as two of Cusack's career best performances, as the older, psychologically damaged Brian Wilson in Bill Pohlad's extraordinary "Love & Mercy" (2014) and as the Chicago inner city activist preacher in Spike Lee's "Chi-Raq" (2015), the pinnacle of John Cusack's film career feels to rest within the films that have been the most personal as they tend to be movies he has produced and at times, co-written himself, most notably George Armitage's "Grosse Point Blank" (1997) and Joshua Seftel's "War, Inc." (2008), Cusack's blistering political satire.
And on the evening of May 5, 2018, I was extremely fortunate enough to have been able to see this beloved actor/writer/producer/political activist LIVE on stage at Madison, WI's historical theater the Orpheum, located in the heart of beautiful State Street for an extended conversation and Q&A session following what just may be my favorite film in his vast filmography, the blissfully seminal ode to male arrested development and music obsession, the masterful "High Fidelity" (2000).
But as I stated at the outset of this posting, I think the Universe was looking out for me, knowing that, perhaps, I was in due of a pick-me-up as I have admittedly been in a bit of a funk due to a lengthier than desired winter and furthermore, professional dissatisfaction that have made me even seriously question the trajectory of my life--a quandary that the fictional Rob Gordon, as portrayed by John Cusack, could easily relate to himself.
So, imagine my elation, the night before the show, when I received notice that I had actually won a local contest in which the prize was two tickets to see the film and the man himself!!! As my wife was uninterested in attending, my partner for the event was obvious...who else could I ask but my dear friend from college and student radio as well as fellow music obsessive and John Cusack devotee, the world famous DJ Kelly Klascus, from WLHA-FM student radio, and the annual WLHA Resurrection/Reunion weekends as broadcast upon Madison's WSUM-FM.
By the time I arrived at the Orpheum, picked up my tickets from Will Call and awaited Kelly's arrival, I stood outside the theater and struck up an impromptu conversation with a lovely young woman named Sierra, who had driven to Madison from Rockford, IL. (birthplace of Cheap Trick!) and was carrying a copy of the "High Fidelity" soundtrack album on double vinyl! I could not help but to remark upon her album as I had never seen a vinyl version and she happily explained that she purchased it as an exclusive Record Store Day item two years ago, an anecdote which then found her practically gushing with excitement with anticipation for this evening's event, as the ticket (plus the VIP upgrade allowing her to partake in a Meet & Greet/photo op portion with Cusack) was presented to her as an early wedding present from a friend. In addition to sharing stories about how personal the film was for each of us, she then showed me a Call Sheet/Screenplay excerpt from the film, loaned to her from a friend who was an on-set extra in "High Fidelity," an item she hoped that she could possibly get Cusack to sign and then return to her friend.
Not terribly long after our conversation, the doors opened, we went inside and our separate ways and I waited for Kelly, who arrived shortly thereafter.
Now as you can see from the picture of my tickets, there were concrete restrictions in place regarding any photographs or recordings, so because of that, I do not have any images from the even itself to share with you...aside from the next photo...
And after finding our seats on the main floor of the theater, just one section away from the section closest to the stage, and sharing stories, popcorn and beverages, the seats filled, the house lights went down and "High Fidelity" began...
Yet, within the film's first few moments as John Cusack as the miserable Rob Gordon delivers his first monologue to us in the audience, as The 13th Floor Elevators wail "You're Gonna Miss Me," any uncertain feelings were washed away. As the first image of Cusack emerged upon the screen, shrieks loudly blasted through the audience, effectively and immediately lifting up the energy of the event as a whole.
From scene to scene, you could feel how invested everyone happened to be with the events that unfolded in the fractured romance of Rob and Laura (Iben Hjejile), and his day-to-day misery at his floundering record store Championship Vinyl and the hysterical yet strained friendships he shares with his employees: the meek, reserved Dick (Todd Louiso) and the explosively raunchy contrarian Barry (Jack Black in his star turn).
Compounding matters even further is Rob's quest of self-discovery, primarily regarding his relationships with women from the past (as played by Lili Taylor, Catherine Zeta Jones, Joelle Carter) and present (Lisa Bonet, Natasha Gregson Wagner), the humiliating possibility that Laura may have romantically moved onwards with the supremely unctuous Ian (Tim Robbins), facing the even greater fear of the future moving forwards while potentially leaving him behind and of course, the quandaries that arise when attempting to create the perfect mixtape.
For a film that is this enormously entertaining, it is also a potently introspective one and I would like to think that quality was not lost on this night's audience. Yes, there were many cheers and eruptions of laughter, but more often than not, the audible responses from the audience, including myself, felt to arrive from a distinctly knowing place, for, in many ways, we have all been where these characters happen to be throughout the film.
When I first saw the film in 2000 on its opening weekend, I was 31 years old, with the story and characters hitting me precisely where I lived, so to speak. Now, nearly 20 years later as I am knocking on the door of 50, the film still hits me precisely where I live on a variety of levels, most specifically, my music obsessiveness. Yet, this time around for me, and I would imagine for Kelly and for what I would further imagine for the greater part of this night's audience, and even for John Cusack himself, "High Fidelity" now serves as a film of reflection, seeing how we all were, seeing how we have changed and crucially, how we haven't, for better or for worse.
Like Rob, I have found that I am at my happiest when I am either writing or being a radio DJ, yet my professional life has merged the state of being in a occupational rut into one that is indeed existential. I wonder how many people in the audience might have been able to say the same...or not. Are you existing in the exact station in life that you wish to exist within? Are you content or stagnated? Easily inspired or profoundly discouraged? Those very questions do indeed rest at the heart of the film and those feeling were more than palpable to me.
For that matter, I do wonder just how John Cusack himself may be feeling about his own current professional status. Maybe he is exactly where he wishes to be at this stage of his life and career. But I would not be surprised if more cynical folks out there (you know who you are) might not have thought of an event like this as existing as a way for Cusack to continue to market himself and retain some sense of celebrity cache as his profile in Hollywood has dwindled considerably since he is not as present in high profile films nearly as much as he used to...whether by design or not, I'll never know.
Furthermore, there are the societal changes to consider as well as "High Fidelity" in the age of #MeToo and #TimesUp for some viewers could be seen as a slightly dicey affair. I do have to say that the vehement cheer that arrived after the character of Liz (Joan Cusack), mutual friend of Rob and Laura--albeit more Laura's than Rob's--blasts into Championship Vinyl after learning about four of Rob's transgressions and with the force of a sonic boom explodes, "Hi Rob...you FUCKING ASSHOLE!!!!" was palpable in its righteous anger. But then, after seeing Rob's silent reaction, some sense of rising fury quickly transformed into laughter, keeping us still attached to Rob's story...such is the magic of Nick Hornby's source material certainly. But this feeling also pertains to the magic of John Cusack unquestionably, and in doing so, I found myself losing myself inside of "High Fidelity" even more completely than I have in quite some time.
As Love's "My Little Red Book" from the film's end credit scroll pounded through auditorium speakers, the movie screen lifted upwards to reveal the simple stage set of two chairs and a table bathed in a dramatic blue hue--a set up reminiscent of Bravo's "Inside The Actor's Studio." Soon, the music faded and the evening's host and moderator, Jim Healy, Director of Programming for the University of Wisconsin-Madison Cinematheque walked on stage and then introduced Mr. John Cusack to the stage, to the sight and sound of rapturous applause and in some sections, a standing ovation.
For 60 minutes, Cusack, dressed with causal sharpness in a black jacket, black shirt, blue jeans and a black baseball cap puled down low, superbly held court, engaging Healy and all of us in the audience with a conversation that centered around "High Fidelity," but often found itself weaving in and out of various films from his career, with Savage Steve Holland's "Better Off Dead' (1985) clearly receiving the the most enthusiastic applause and even various audience member cat calls of the now iconic line "I want my two dollars!!!" to even another audience member who shouted "Lane Meyer for life!!!!," referencing Cusack's character from that film.
Cusack took everything in stride throughout this portion of the evening with an attitude that felt to veer between graciousness and a modicum of aloofness yet always respectful, to the audience, to Healy and to whatever subject matter he was discussing in the moment. With regards to "Better Off Dead," a film he has long derided, he admitted that is it wonderful when anything you did over 25 years ago is not only remembered but enjoyed and acknowledging that fact, he wouldn't step on anyone's toes. Furthermore, he conceded that the film did indeed house a certain purposeful surreal quality that just was not really executed during that time period, and especially in films designed for teenagers. And for having that specific point of view, he could appreciate the effort.
John Cusack also remained respectful yet pointed when discussing his time in Hollywood, then and now, giving praise when it was due yet never delving into trash talking and negativity when approaching subject matter that could have easily fallen into the vitriolic. With "High Fidelity," he had nothing but the highest praise for Nick Hornby's source material of course, but for also Music Supervisor Kathy Nelson, who was the key figure who was able to acquire all of the songs Cusack and his writing partners Steve Pink and D.V. DeVincentis hand picked for the film, co-star Jack Black, who Cusack admitted he had to truly coerce into making the film as Black, surprisingly was not feeling confident enough with his skills (plus being a tad fearful of the very British Director Stephen Frears), and also, the music if The Kinks for always getting the film itself out of any editing and pacing quandaries.
Cusack also gave us an insight into the tricks of the Hollywood trade as he divulged that he never had one conversation with filmmaker Mike Newell, who is listed as an Executive Producer of "High Fidelity," but in actuality had nothing to do with the film whatsoever, but is credited due to some Hollywood legal-ease. To that end, he conversely had nothing but top compliments for then Touchstone Pictures studio head Joe Roth, a figure who represented a markedly different time period in Hollywood when massive tentpole films could be made directly alongside smaller, more personal passion projects, like "High Fidelity" was for Cusack, and without any industry political interference. By contrast with Hollywood in 2018, Cusack expressed matter-of-factly, " 'High Fidelity' woud never get made today."
Jim Healy and John Cusack's conversation was sometimes peppered with, and at other times guided by a series of question we in the audience had the chance to write down and place into a box before showtime. I was beyond thrilled when my friend Sachi Komai, co-owner and operator of the local small business art store Anthology, also located upon beautiful State Street, had her question asked directly--QUESTION: Would he ever consider doing a sequel or a prequel to any of his films? ANSWER: He'd love to. He'd really like to do a follow up to Mikael Hafstrom's psychological thriller "1408" (2007).
Another audience question asked what his favorite concerts and his answer included, but was not limited to, the likes of The Clash, The Pogues, Public Enemy, Fishbone, and Nirvana. And one more question humorously asked if he remembered the first time he was recognized in public as well as the first time he was not recognized? His answer essentially expressed that he has been recognized and not recognized during times and periods when he is met with the opposite of his expectations. As for me? Well, I would like to think that my question was answered indirectly as it fell within the conversation itself, which was if he would ever with to team up with Cameron Crowe again. ANSWER: He'd love to but has not been asked yet.
One aspect of the conversation that I enjoyed listening to was when subjects turned towards politics and his activism, which has extended itself into the writing of various pieces for The Huffington Post, his work as a board member of the Freedom Of The Press Foundation, and his engineering of a meeting between Author/human rights activist Arundhati Roy and Edward Snowden in Moscow, which ultimately resulted into a book Cusack co-authored with Roy entitled Things That Can And Cannot Be Said (2015). I deeply appreciated the depth of his convictions when he stated that he felt that it was his duty to take is level of being in the public eye and utilize his voice to speak out against injustice, especially right now as we have "a fascist...a Nazi" in power in the Oval Office, a figure whom Cusack strongly (and truthfully, in my opinion) feels would resort to violence if all of the legal battles do not fly in his favor.
Yet every moment was not drenched in seriousness as John Cusack also showcased his sardonic humor throughout. When lightly questioned by Jim Healy about his stage work with Tim Robbins and their respective theater companies, Cusack quipped, "Yes...I'm a proper actor." And when Healy asked if Cusack still studied acting techniques, he replied through a snort of laughter, "No!!!" eliciting a huge burst of laughter from the audience.
Once the 60 minutes or so had been completed, John Cusack was thanked and he left the stage as the theater was quickly emptied and prepared for the audience patrons who were upgraded for the V.I.P. portion of the night, which included photos with Cusack plus autographs. Kelly and I exited the theater and headed out of the Orpehum and into the beautiful late Spring night to the sounds of a young jazz combo performing just across the street.
As we watched the band, I ruminated over the event and felt more than pleased with how everything had turned out, in addition to winning tickets as well. While I did not meet the man, John Cusack delivered all I could have wished for with a cherished, brilliant film combined with an overall presentation that enhanced and re-confirmed what I already loved about this actor and his public persona.
And oh yes...what of Sierra from Rockford, IL?
As Kelly and I were heading for our cars, Sierra found us as she was behind us, presumably heading back to her own car. She was over the moon as she had just not only met John Cusack herself, and had her soundtrack album plus her friend's call sheet autographed, she expressed how very nice he was. Believe me, I was so, so happy for her knowing just what the film means to her and how she was not disappointed in meeting her idol face-to-face. But then, yet another surprise occurred, when there the three of us were, standing and talking just off of State Street by the parking ramp when a friend of Sierra's from 10 years prior, and unseen since, happened by coincidence to be standing just nearby. An emotional reunion ensued and after all shaking hands and making introductions, Kelly and I left the friends to themselves and began to venture to our respective homes and families.
It really was indeed that kind of a night. One the Universe graciously gifted as as, for me, it was just what I needed.
Cue the music of Stevie Wonder...
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