John Cusack Goes to ‘War, Inc.’

War, Inc., the satire of American foreign policy in Iraq and the politics of outsourcing the waging of war co-written and co-produced by star John Cusack, expands its release from New York and Los Angeles to cities across the country. I spoke with Cusack by phone a couple of weeks ago in anticipation of the film’s release in Seattle and the interview is up on GreenCine. Here are a few excerpts:

How much would you say War, Inc. exaggerates what corporate America is really up to in Iraq and how much would you say is simply a reflection through the lens of satire?

Well, it’s interesting, because the basis for a lot of the criticism and praise for the movie is what the perspective is. If you go on MySpace – we have a big space on MySpace, check it out – we have some of the heaviest people I know who have written about Iraq, from chief foreign news correspondents for 60 Minutes to Naomi Klein, who spent a lot of time there, to Jeremy Scahill, who’s been there a bunch, to artists and writers like Damian Hirst and Gore Vidal, comedian Sarah Silverman, we have a bunch of people who all think the movie is prescient and they all get what the movie’s about.

Then you have some people who say the tone of it is way over the top or it’s five years too late or it’s five years too early or you can’t mix all these tones and styles together and it’s a failure. So you have this chasm between movie critics and people who write about the world from a different perspective and the chasm is pretty extraordinary. So we have plenty of supporters out there for it, but we’ve also had people who have said the movie goes soft and it’s a happy ending. And I think, “Are you even watching the same film?” If that’s a happy ending…

You’re a writer and producer on the project. Was it hard to get it made in this climate?

It was tricky because people were buying all the lies that came out of the Bush administration. It would be like, “What time is it?,” and they would just start to lie and everybody just let them get away with it for so long. They were even saying things like, “Everybody better watch what they say, you guys better watch what you say.” And it was really at the height, you know, when the statue had fallen, and so we figured that it better be time to not watch what you say. So getting a movie made is hard but getting a movie made that takes on the military corporate complex and how it’s mutated into this kind of privatized war machine – it was not an easy sell.

You said that there were people telling you that the film was too early or too late. In fact, it’s coming out before the presidential elections, which seems to me the perfect time to get a political message out. Was that part of the plan, or is that a lucky break on your part?

A little bit of both. I think the climate has changed for the movie. At first people were saying things like, “We won’t even show it,” you know? And then they were saying things like, “It’s anti-American,” and then they started to say things like, “Well, there are some good ideas in it,” and then they started saying it was funny and then people started to say, “It’s great.” All that happened in about six months, so I think the climate has changed in the country really drastically in the last year. The movie hasn’t changed much but I think people’s reaction to it has changed drastically. It’s actually doing very well in the theaters at the moment. Crazy.

Read the complete interview on GreenCine here.

Author: seanax

I write the weekly newspaper column Stream On Demand and the companion website (www.streamondemandathome.com). I'm a contributing writer for Turner Classic Movies Online, Keyframe, Independent Lens, and Cinephiled, and the editor of Parallax View (www.parallax-view.org).. I've written for The Seattle Post-Intelligencer, The Seattle Weekly, GreenCine.com, Senses of Cinema, Asian Cult Cinema, and Psychotronic Video, among other publications, and I am a contributing editor to Parallax View. I currently live and work in Seattle, Washington, with my two cats, Hammet and Chandler.

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