John Cusack not gay (sorry, boys!)

Ok, guys, here's what happens when you dig a little deeper.

This is the cover of the sf chron's pink pages from sunday, as we already saw:



if you go to the website and read the article you'll read :

Cusack checks in with a horror film

John Cusack is not great at taking compliments. Told that he's never made a dumb movie, the 40-year-old actor flashes a feeble smile.

"You just haven't seen them," he says. "I won't tell you which ones. We'll just agree not to agree."

OK, there was "Con Air" (1997), and "Must Love Dogs" (2005) didn't win any prizes for originality, but for a guy who's made more than 50 pictures over the past 25 years, Cusack boasts a remarkably solid track record. A child actor, he emerged from a cluster of Brat Pack teen comedies in the '80s to team on Cameron Crowe's cult classic "Say Anything" (1989), then went dark in "The Grifters" (1990), played Woody Allen's surrogate in "Bullets Over Broadway" (1994), worked for Clint Eastwood in "Midnight in the Garden of Good and Evil" (1997), got quirky in "Being John Malkovich" (1999), and charmed audiences with his own productions of "Grosse Pointe Blank" (1997) and "High Fidelity" (2000).

"It's very hard to make things that work all the time, but there have probably been some good shots that had a point of view or something," says Cusack, dressed in boots, blue jeans and crumpled shirt. "This new one seems to work."

Cusack is talking about "1408."

Based on a Stephen King short story, the supernatural thriller stars Cusack as jaded horror novelist Mike Enslin, who meets his match when he tries to spend one night in an evil hotel room that has driven all previous occupants to suicide.

"It's the idea that hell is a state of mind filled with the demons and conflicts you bring with you from your past," Cusack says. "It's not like a slasher film, where you're running away from something or you have to face some monster. Room 1408 is some version of purgatory, where all your problems are waiting right there for you."

Cusack spent several weeks in England's Pinewood Studios with Swedish filmmaker Mikael Håfström, director of the Oscar-nominated foreign language film "Evil." There, he was drenched in water, set on fire, tormented by a radio that kept playing "We've Only Just Begun," attacked by scythe-wielding witches living inside a dreary landscape painting, frozen by an uncooperative radiator and bullied by a window that slams shut on his fingers.

"It was actually a pretty grueling situation," he says. "Anything you could think of that could happen to a person happens to my character. But I guess it's a good metaphor for the day when torture is acceptable."

Cusack's passing reference to war-on-terror politics betrays an activist streak that shows up in two forthcoming movies. In "Grace Is Gone," coming out this fall, he plays a father who takes his young daughters on a road trip after learning that his solider wife has died in Iraq. And he'll spend the rest of the summer finishing "Brand Hauser," which he co-wrote and produced.

"I play a mercenary in this neocon fantasy about invading a country, wiping the slate clean, totally eviscerating this nation and building a new one as a free-market laboratory," he says, "without all those pesky things like unions and wages."

Reaching over to a nearby coffee table, Cusack proffers a prepublication copy of "Shock Doctrine: The Rise of Disaster Capitalism."

"My friend Naomi Klein wrote this massively important new book about capitalism as this form of cannibalism, with society literally feasting on its own citizens," Cusack says. "I wrote the 'Brand Hauser' script after I read her article 'Baghdad Year Zero' in the Atlantic Monthly, about all this stuff I thought I knew but hadn't put the pieces together the way she did."

Filmed in Bulgaria, "Brand Hauser" co-stars Ben Kingsley, Hilary Duff, Marisa Tomei and Cusack's sister Joan Cusack.

"In a weird way, it's like a samurai movie about the connection between art and politics and imagery and power," Cusack says, "where you have this incredibly delusional but very real ideology and the massive carnage that goes with it."

Like his friend Tim Robbins, with whom he's made six movies, Cusack alternates between mainstream genre fare and low-budget films, including "Max," a little-seen 2002 movie about a Jewish art dealer in Vienna who befriends a young Adolf Hitler.

"The dance is pretty simple," he says. "You have to keep making money enough to stay relevant, so you can leverage that into doing stuff that you really like, films you could actually have a conversation about. '1408' is actually a good one because I felt it's kind of both: You've got this big, commercial movie, but it's also kind of bizarre. Also, I really liked the director, so I wondered, 'Gosh, do we have the guts to pull this off?' "

Cusack started out in romantic comedies and remains a reliable leading man, but he doesn't have much to say on the subject of relationships, especially as it pertains to his personal life.

"I don't usually talk about that stuff," says Cusack, who has dated Neve Campbell, Lili Taylor and Minnie Driver over the years. Splitting his time between Los Angeles and Chicago, where he grew up, he prefers to fly beneath the tabloid radar as much as possible.

Chalk it up to a childhood surrounded by theater people. His father, Dick, is an actor. His three sisters and brother are actors. (His mom is a teacher and human-rights activist.) In grade school, Cusack took classes with "Entourage's" Jeremy Piven at Piven's parents' Piven Theatre Workshop.

While most of his peers who came of age in the '80s have faded from view, Cusack has sustained a career based on a worldview in which craft trumps celebrity.

"The way I was raised, it wasn't about who was the most famous or got the most money or went to the best parties," he says. "In my family and my circle of friends, we were always more interested in the great film artists -- Pacino, De Niro, Duvall, Jon Voight, Dustin Hoffman, Newman, Redford -- the guys who were the best at it. It wasn't the prom. They were the great actors, and I just wanted to breathe that rarefied air."


nada about being gay.

if you look at that original blog post that started this fervor you can clearly see that the person who made that blog post was making a joke about the cover of the pink pages what with it saying "the big gay issue" right next to john and norah's names. i don't think the post implies anywhere that they are actually gay - just that people freaked out when they say the cover.

the end.
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