John CUSACK is best known for his wiseacre underdogs and oddball neurotics -- the lovelorn puppeteer of "Being John Malkovich" topping them all. But this year he's been steeped in drama as the terrorized hotel guest in "1408" and the widowed father in "Grace Is Gone."
In "Martian Child," opening Friday, Cusack is once again grieving -- this time as sci-fi novelist David Gordon. Struggling to cope with the death of his wife, Gordon adopts Dennis (Bobby Coleman), an orphaned boy convinced he's an explorer from the Red Planet. It's a poignant and sensitive story that examines our notions of conformity, childhood and parental love. But for all its seriousness, the film's tone is somehow lightened by Cusack's presence and the subtle irreverence he projects with that pout, that raised eyebrow and that exasperated way he combs his fingers through his hair.
For The Record
Los Angeles Times Friday, November 02, 2007 Home Edition Main News Part A Page 2 National Desk 1 inches; 44 words Type of Material: Correction
John Cusack: An article about John Cusack in Thursday's Calendar section said that the actor's film "Grace Is Gone" was released before his feature "Martian Child." In fact, "Martian Child" opens today, while "Grace Is Gone" is scheduled to arrive in theaters Dec. 7.
Cusack was intrigued by the fact that the role was dramatic but very interior. Gordon, like Dennis, is an outsider, though a successful one who has found a way to mask his eccentricities. Gordon is drawn to Dennis because he recognizes himself in the boy and, Cusack said, believes if he can save the child, he can somehow save himself. And then there's the nagging suspicion that maybe this kid is really from Mars.
"The idea of human beings trying to find each other is always kind of lovely," said Cusack, fighting congestion and jet lag the day after returning home to L.A. from London, where he was promoting both "Martian Child" and "Grace Is Gone." "I also like the idea [that] it had a little bit of magic realism in it, which is fun."
New Line approached Cusack with the part and then he helped corral director Menno Meyjes, with whom he worked on "Max," and Amanda Peet and sister Joan Cusack to costar.
To preserve the authenticity of Cusack and Bobby's budding friendship, Meyjes tried to film their scenes in chronological order. Early on, Cusack kept his distance from Bobby so they could discover their relationship on camera. As the film progressed, Cusack engaged Bobby more and more.
The characters "sort of met as strangers and through the course of the film develop a relationship," said Cusack. "So we let that happen during the process. You could just let the relationship develop, and we could use the newness of knowing each other to our advantage."
