* Macomb Center *
* for the Performing Arts
Singin' In
The Rain
His new film, Grosse Pointe
Blank, a black comedy with
comedic nuances resembling
those of The Sure Thing, takes
place in the Detroit suburb, and
I was invited to participate in
a press conference for half an
hour of his five in Detroit.
I spent a week preparing for
the interview: I called friends
with "Guess who I'm interview-
ing?!" — interspersed with pe-
riodic heart palpitations at the
prospect — all the while trying
desperately to think of those
brilliant questions that would
dazzle him and separate me
from the crowd of adoring re-
porters. He would gaze into my
eyes, and the rest of the room
and the world would vanish and
there would be no need for
words and ...
Eight or so of us settled into
a circle of chairs surrounding the
man. I placed my tape recorder
on the table directly in front of
him; he's the myste-
rious soft-spoken
type (sigh). He was
witty, accommodat-
ing and patient with
our questions, and
things were develop-
ing well.
Then began my
nightmare. I sud-
denly realized I was
the only reporter who
had — conspicuous-
ly — neglected to
bring along a pho-
tographer. Never
mind, I'll use film
stills. I also began
worrying about the
Jewish angle: I need-
ed a reason to be cov-
ering an obvious non-Jew — no
matter how personally vital.
, After the interview, I find a
Jew, Steve Pink, a co-screen-
writer on Grosse Pointe Blank.
While I wait for him to finish
talking with others, I stand
aside, patiently.
Then, as if in slow motion, my
heart stops, my mouth goes dry,
my brain freezes — John Cu-
sack is heading toward me,
alone. He starts making con-
versation. This is my chance. I
flutter my eyelashes, my voice
is deep and sexy, and I say, "I
just love The Sure Thing."
Did I just say that? My face is
rapidly reaching 100 degrees,
John (as he asked me to call
him) is looking at me like I'm a
Jello-eating schoolgirl, and he
says, "Oh, that's sweet."
Sweet? I am not sweet. I am
an exotic, mysterious intellec-
tual in whom his fascination
could never wane, if only he'd
give me a second chance ...
please, one more try, any topic.
I continue inanely until he is
called away by his publicist. I
am completely dejected.
I hurriedly interview my Jew,
not taking notes, not caring, not
thinking, with John slipping in
and out of the room. My moment
has ended.
I leave the hotel, walking out-
side, where a long black limo is
parked, directly in front of me.
He's in there, he's looking at me,
I'm sure of it. I oh-so-smoothly
reach into my bag, pull out my
sunglasses, and — out flies a
tampon. I flee.
Two days later, after numer-
ous encouraging conversations
with co-workers and friends —
including my extremely under-
standing boyfriend's supportive
observation that I'm being too
hard on myself, I didn't blow it,
I wouldn't have been satisfied
with anything short of John's
wanting to run off with me — I
am ready to get to work tran-
my
scribing
recorded inter-
view.
"OK, let's be-
gin. How do you
hope your audi-
ence will perceive
this new film?" "I
hope," he begins,
"they will ..."
bleeep." The tape
recorder makes
discouraging nois-
es, and suddenly
we've skipped
ahead 10 sen-
tences. The entire
tape — a half
hour interview —
has been deleted,
leaving only
undistinguishable gurgles,
bursts of laughter and random
quotes.
My notes, of course, are min-
imal — I was trying desperate-
ly to retain eye contact with
John. My Jew, Mr. Pink, has
disappeared without a trace.
I want to cry.
Here's what I have to report
about John Cusack and what he
had to say about Grosse Pointe
Then, as if in
slow motion,
my heart stops,
my mouth goes
dry, my brain
freezes—
John Cusack is
heading toward
me, alone.
Blank:
"I can play some dense adults
... It's in national interest ...
George is also a behaviorist ...
I just don't like the ones I felt
didn't work ... sequel would be a
post-modern Crusoe ... we want-
ed a leaky roof ... just kill the guy
... arbitrary and gratuitous
monologue ... Hit Man Reunion
... His Psychotic Girl Friday ...
my heart was filled with fear
and hate ..." ❑
For a review of Grosse Pointe
Blank, see Page 118.
Sponsored by LAKESIDE
8 P.M. Wednesday, April 23
8 P.M. Thursday, April 24
8 P.M. Friday, April 25
3 & 8 P.M. Saturday, April 26
Adult $32 • Student/Sr. Cit. $29
The Canadian Brass
Sponsored by Aid Assoc. for Lutherans
7:30 P.M. Sunday, April 27
Adult $29 • Student/Sr. Cit. $26
Al Martino and
Dick Contino
Sponsored by Paradiso Banquet Ctr.
& 8 P.M. Saturday, May 3
Adult $28 • Student/Sr. Cit. $26
Judy Collins and
Don McLean
Amik
MR.- 44A4.57=-,R t
77o
HUDSON'S, HARMONY HOUSE
& BLOCKBUSTER MUSIC
Call-For-Tix (810) 645-6666
Hall (M-59) at Garfield Road
One mile east
of Lakeside Mall
LAKESIDE
(810) 286.2222
Sponsored by WOMC &
Huntington Banks
8 P.M. Friday, May 9
Adult $29 • Student/Sr. Cit. $26
Golden Circle $32
For more information
on the
1996-97 season
and to order tickets,
call the
Macomb Center Box Office.
1p
MACOMB CENTER
For The Performing Arts
A community service program of Macomb Community College.
1;,,-11F-AIrt,11,-,M4kW4; Vatik;
■ 410
FOLK CAFE
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Lisa Wartarnaker
And Gordon Lusti,9 on Guitar
Saturday, April 12 • 8:30 pm.
The Jewish Community Center
Maple/Drake Building • West Bloomfield
JCC Members: $10 / Non.-Members: $15
For more information or to purchase tickets,
please call (810) 661-7649.
Lisa Wanamaker sings her melodies with a rich beauty in Hebrew, English, Yiddish,
and Latino, leaving the audience enchanted and intrigued.
Coffee will be available at Coffee House. Cabaret style seating.
Reservations for tables accepted.
Funded in part by the Manny and Natalie Charach Endowment for the Arts, the Irwin and Sadie Cohn
Fund, the DeRoy Testamentary Foundations and the Boaz Siegel Culture Fund.
Er R LIT rE
4.■ _TAT 40•_-■ 414:11t
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