Entertainment
'John Malkovich isn't me': John Malkovich remembers 'Being John Malkovich'
Even now, 25 years later, the premise is outrageous, odd and quite clever. On floor 7½ of an antiquated New York City office building, hidden behind a filing cabinet, is a small portal that leads into the head of actor John Malkovich.
There was something random — and ingenious — in the choice of Malkovich, by then a two-time Oscar nominee and a widely respected performer of stage and screen who did not have a signature role: He was the kind of actor people knew they knew but could not always quite place.
Yet “Being John Malkovich” is much more than an inside-out and upside-down high-concept gimmick. The film’s inventive visual style made the surreal seem mundane and everyday. While it is very funny, it is also rife with melancholy, a yearning for emotional connection and a sense that people are often unknowable, most of all to themselves. The film is less about the flash of celebrity and more about a deeper sense of self-discovery and personal identity.
The 1999 Project
All year we’ll be marking the 25th anniversary of pop culture milestones that remade the world as we knew it then and created the world we live in now. Welcome to The 1999 Project, from the Los Angeles Times.
Screenwriter Charlie Kaufman had been a television comedy writer on shows such as “Get a Life” and “The Dana Carvey Show,” with “Being John Malkovich” his first produced film script. Director Spike Jonze, who had some notoriety for his music videos and commercials, also made his feature film debut with “Malkovich.”
The cast included John Cusack as a down-on-his luck puppeteer who discovers the portal, Cameron Diaz as his patient but dissatisfied girlfriend and Catherine Keener as the cynical colleague looking to take advantage of the situation. Orson Bean, Mary Kay Place and Charlie Sheen all have supporting roles; Brad Pitt, Sean Penn and Winona Ryder have brief cameos; and director David Fincher makes an uncredited appearance as the national arts editor of the Los Angeles Times. And, of course, John Malkovich plays the role of John Malkovich.
The film would be nominated for three Academy Awards: Jonze for director, Kaufman for original screenplay and Keener for supporting actress. In the years since, Kaufman has won an Oscar for the screenplay to “Eternal Sunshine of the Spotless Mind” and launched himself as a director. Jonze has continued his commercial work while also directing three feature films and the documentary “Beastie Boys Story.” Jonze also won an Oscar for the screenplay to his 2013 film “Her.”
Orson Bean and Cameron Diaz, center, in “Being John Malkovich.”
(Melissa Moseley / Universal Pictures)
In one of the bonus features on the 2012 Criterion Collection edition of the film Jonze said, “Me and Charlie always think of Malkovich as the guy who made this all possible, not just the movie but everything that’s come after that. … Not only did he not have to do this movie, it was almost insane for him to do this movie.”
For the film’s anniversary, I reached out to Jonze, Kaufman and Malkovich for their memories of this pivotal project. Through a representative, Jonze declined to comment. Kaufman’s reps never responded. But Malkovich, in Bulgaria to direct a stage production of George Bernard Shaw’s 1894 play “Arms and the Man,” got on a Zoom call to talk about the film.
You have often said that from the very beginning you knew that by having your name in the title, you would have to live with this movie more than anybody else. And 25 years on that seems to be completely true.
It was such an odd idea, I was aware that it would exist in kind of another dimension. And that’s been the case. Although my first reaction to having read this script was wanting to direct it and make it about someone else. But Charlie Kaufman wasn’t interested in that. So that didn’t happen for some years. And as I’ve said before, whenever I happened to be in L.A., which hasn’t been very often in my life or career, people would say, “Why aren’t you doing this? Why aren’t you doing that film?” They would just wander by in a restaurant, like it was my fault or something. It never occurred to me it would actually get made.
Probably a few years passed after I read it, then I got a call from Francis Coppola asking me if I’d go meet this person called Spike Jonze up in Paris. And I said, “Yeah, sure, fine.” And then Spike asked me to be in it, which no one had ever really officially asked me to do, and which I had doubts about. But I said, “Well, let’s see what kind of cast we get.” And then not long after, he got Johnny Cusack on board and Cameron and Keener, and then I said, “OK, well, let’s do it.”
Director Spike Jonze, left, and John Malkovich photographed at the Royal Hotel in New York City for Times coverage of the film’s release.
(Jim Cooper / For The Times)
When you had that initial response to direct it but to change the character, what was it that appealed to you?
I loved the script. To me it wasn’t really important — it’s a great title in that it’s very unexpected, it’s very meta, it’s a memorable title name because it’s such an unmemorable name. But really I just love the world Charlie created. I didn’t in any way have a reaction to it as far as it applied to quote “me,” whatever that is. It’s never been a big topic of interest for me. It’s not something I ever reflected on much before or after. But I loved Charlie’s writing, so that was my initial interest in it.
Both Charlie and then Spike were so insistent that it be you. Did you ever ask the question, “Why me?”
No. If for no other reason, because I’m really not very curious about myself or my alleged self. Charlie said a very funny thing. It was the first thing he ever said to me. I think we had a breakfast with Spike, and we’d kind of agreed to proceed, and the deal was made and all that stuff. And Charlie, he didn’t say anything at breakfast, and then as we were leaving, [he] said to me, “I just want you to know I’m a big fan.” And I said, “We don’t have to do that. I read the script, thanks.” And that was really it.
But I did know I was kind of crossing a line, because although I was an actor and I had done things that had gotten some degree of attention, I was always really left alone. And I liked that nobody bothered me if I went off to do a play here or there, or direct a play in Bulgaria, or do whatever it is I did. I was allowed a lot of leeway and I always really appreciated that. And I was worried that wouldn’t be the case. In fact, it’s still the case, but it did change a kind of public perception. I thought it was a kind of iffy call. It could have turned out very badly, although I thought the script was a wonderful, pretty near visionary piece of writing, and I thought Spike did a fantastic job directing it.
How did you prepare for the movie? Did you approach this role and the character of John Malkovich the way you would have any other role?
That’s an interesting question. The thing is, there wasn’t that much to search for, because the world is so specific that Charlie created. I remember one day when I did something and Spike Jonze said to me, “John Malkovich wouldn’t do it that way.” And I kind of chuckled, but I said, “Oh, OK. How would he do it?” And I really didn’t think that much of it because anything I do isn’t me. But John Malkovich isn’t me either, any more or less than anything else isn’t me. So if somebody says, “That’s not the way John Malkovich would do it,” maybe they know better than I do.
John Cusack and Catherine Keener in “Being John Malkovich.”
(Melissa Moseley / Universal Pictures)
I wanted to ask you specifically about the scene with “The Dance of Despair and Desperation.” When you unravel it, is it an astonishing moment of performance in that you are playing the character of John Malkovich with a character played by John Cusack supposedly inside of you playing John Malkovich like a puppet. How did you approach that as a physical piece of work?
We had to rehearse a lot, and we had a choreographer and all that. And that was quite involved, I remember. But I never thought about it. I just kind of took Spike’s word for it. Meaning, I’ve done a lot of films and directed one and directed probably a number of them unofficially and written some unofficially. But I think film directing is very, very difficult. And I think it’s a huge weight on directors. And I’m very happy to do what they say. I feel that my job is to help them arrive at, discover, sustain and express a vision of something. I’ve always said from the very beginning of the first film I was in, when you’re in a film, you’re a character in someone else’s dream. It’s not your dream just because it’s called “Being John Malkovich.” It’s Charlie’s dream and Spike’s dream and the rest of us participate. And so my approach to that would be the exact same as my approach to any other film role except that this one has a uniqueness and a quality that’s rare, that’s quite singular.
It was just such an extreme act of generosity on your part toward these two essentially unknown guys, Spike and Charlie, making their first movie. You gave so completely of yourself, of your name, your persona, your celebrity, in so many ways. Did you see it that way?
No. I saw it as just another movie. There was something I liked about Spike. I thought he was hilarious. I always say the first meeting I had with him, I talked to him for an hour or so in Paris at a hotel restaurant and after an hour, I said, “Sorry, are you American?” I thought he was Czech because he has that kind of surfer lingo, which I couldn’t really grasp. And I thought it was a kind of foreign language. I was absolutely convinced that the screenplay was a very unique voice, a real voice. And I had this feeling Spike would put together an excellent cast. I trusted a lot his vision, his sense of humor. But to me, that’s kind of what I do.
This happened to have my name attached in some way, but for me, it’s the same if it was Wolfgang Petersen or Raul Ruiz or Spielberg or Schlöndorff. Making a film is hard. And your job really is to hope to fulfill that vision. And for me, that’s not really a burden. It’s an expectation and it’s a requirement. And if you can’t do that, which sometimes happens, then it’s a failure, at least as far as I’m concerned, on my part anyway.
Co-workers Maxine (Catherine Keener) and Craig (John Cusack) make a little extra cash moonlighting out of the office in “Being John Malkovich.”
(Melissa Moseley / Universal Pictures)
Have your feelings about the film and your decision simply to do it, have they changed at all over the years?
Not really. When I saw it — I only saw it once, in Venice at the film festival, and when it was revealed that Charlie Sheen was my best friend, just the idea of that, it was a rolling laugh, kind of 15 minutes long. And then when I tell him I got involved with this coven of lesbian witches, he responds, “Give me their number when you’re through with them,” in a way that’s a line only Charlie Sheen could do. That’s what he does. And you trust him to take care of that for you. And so I thought then, “OK, it’s fine. It’s what it’s set out to be.”
On the extras for the Criterion Collection disc, there’s an interview where you say, “It’s not really about celebrity and it’s not really about me.” So for you, what is the movie about?
I always think back to this, there was some talk about how they were a bit unsatisfied with the ending, and I think it was a call with Charlie, with Spike and with Vince Landay, the producer. And maybe Johnny was there too, Cusack. And it made me think of the phrase, I’ve still never used it, in a piece of writing or play or something I’ve rewritten or written or polished or whatever, the phrase came to me, “What you think is yours, isn’t.” And I think that’s very lifelike, and I think it’s very representative of that film. What you think is yours, isn’t. “Being John Malkovich” does not belong to me. It’s its own thing. And if it belongs to anybody, it much more belongs to Charlie and Spike.
But it’s just a kind of way of looking at the world and how quickly it all passes. Your work goes out into the world and it belongs to the people who watch it, whether they accept it, whether it’s beloved by them or detested by them or rejected by them. You put it out into the world and it isn’t yours anymore. And I think it’s true of the film, my work, my name.
You know, you do all these things. I worked a lot. I did a number of things that got some degree of notoriety or praise and many others that didn’t. But in the end, it’s some things they say I did. And for me, the work was always the same. It was the work. It’s a privilege. It’s a lovely thing to get to do with your life, but it doesn’t belong to me. It belongs to the people who watch it and who want to watch it and want to regard it. And many of the things you do, people don’t want to watch or don’t regard it and don’t care, but that’s OK to me. So that’s how I look at it.
.
Is This Thing On?
Cinematic stories of disintegrating marriages are fairly commonplace—and often depressing emotional endurance tests, besides—so it’s interesting to see co-writer/director Bradley Cooper take this variation on the theme in a fresher direction. The unhappy couple in this place is Alex and Tess Novak (Will Arnett and Laura Dern), who decide matter-of-factly to separate. Then Alex impulsively decides to get up on stage at an open-mic comedy night, and starts turning their relationship issues into material. The premise would seem to suggest an uneven balance towards Alex’s perspective, but the script is just as interested in Tess—a former Olympic-level volleyball player who retired to focus on motherhood—searching for her own purpose. And the narrative takes a provocative twist when their individual sparks of renewed happiness lead them towards something resembling an affair with their own spouse. The screenplay faces a challenge common to movies about comedians in that Alex’s material, even once he’s supposed to be actively working on it, isn’t particularly good, and Cooper isn’t particularly restrained in his own supporting performance as the comic-relief buddy character (who is called “Balls,” if that provides any hints). Yet the two lead performances are terrific—particularly Dern, who nails complex facial expressions upon her first encounter with Alex’s act—as Cooper and company turn this narrative into an exploration of how it can seem that you’ve fallen out of love with your partner, when what you’ve really fallen out of love with is the rest of your life. Available Jan. 9 in theaters. (R)
JANUARY SPECIAL SCREENINGS
KRCL’s Music Meets Movies: Dig! XX @ Brewvies: As part of a farewell to Sundance, Brewvies/KRCL’s regular Music Meets Movies series presents the extended 20th anniversary edition of the 2004 Sundance documentary about the rivalry between the Dandy Warhols and Brian Jonestown Massacre as they chart different music-biz paths. The screening takes place at Brewvies (677 S. 200 West) on Jan. 8 @ 7:30 p.m., $10 at the door or 2-for-1 with KRCL shirt. brewvies.com
Trent Harris weekend @ SLFS: Utah’s own Trent Harris has charted a singular course as an independent filmmaker, and you can catch two of his most (in)famous works at Salt Lake Film Society. In 1991’s Rubin & Ed, two mismatched souls—one an eccentric, isolated young man (Crispin Glover), the other a middle-aged financial scammer—wind up on a comedic road trip through the Utah desert; 1995’s Plan 10 from Outer Space turns Mormon theology into a crazy science-fiction parody. Get a double dose of uncut Trent Harris weirdness on Friday, Jan. 9, with Rubin & Ed at 7 p.m. and Plan 10 from Outer Space at 9 p.m. Tickets are $13.75 for each screening. slfs.org
Rob Reiner retrospective @ Brewvies Sunday Brunch: Last month’s tragic passing of actor/director Rob Reiner reminded people of his extraordinary work, particularly his first handful of features. Brewvies’ regular “Sunday Brunch” series showcases three of these films this month with This Is Spinal Tap (Jan. 11), The Princess Bride (Jan. 18) and Stand By Me (Jan. 25). All screenings are free with no reservations, on a first-come first-served basis, at noon each day. brewvies.com
David Lynch retrospective @ SLFS: It’s been a year since the passing of groundbreaking artist David Lynch, and Salt Lake Film Society’s Broadway Centre Cinemas marks the occasion with some of his greatest filmed work. In addition to theatrical features Eraserhead (Jan. 11), Inland Empire (Jan. 11), Mulholland Dr. (Jan. 12), Twin Peaks: Fire Walk With Me (Jan. 14), Blue Velvet (Jan. 19) and Lost Highway (Jan. 19), you can experience the entirety of 2017’s Twin Peaks: The Return on the big screen in two-episode blocs Jan. 16 – 18. The programming also includes the 2016 documentary David Lynch: The Art Life. slfs.org
Death by Numbers @ Utah Film Center: Directed by Kim A. Snyder (the 2025 Sundance feature documentary The Librarians), this 2024 Oscar-nominated documentary short focuses on Sam Fuentes, survivor of a school shooting who attempts to process her experience through poetry. This special screening features a live Q&A with Terri Gilfillan and Nancy Farrar-Halden of Gun Violence Prevention Center of Utah, with Zoom participation by Sam Fuentes. The screening on Wednesday, Jan. 14 at 7 p.m. at Utah Film Center (375 W. 400 North) is free with registration at the website.
Just down the street from Roc Nation, SiriusXM and Sony Music, Spotify is joining Hollywood’s Sycamore media district with a brand-new podcast studio facility.
The new, invitation-only space will be the company’s second studio location in Los Angeles and will cater mostly to video podcasts.
When Spotify moved into its campus in the Arts District in 2021, podcasting was primarily an audio experience, and the DTLA studios reflected that. But as the listening format began to evolve into a visual one, Roman Wasenmüller, Spotify’s vice president of podcast and video, said the company needed to revamp and expand its facilities to meet the growing demand.
The Arts District studios will remain open and focus on audio content while the new Hollywood location will provide a “video-first environment.” The nearly 11,000-square-foot space includes five different studio areas that can accommodate a variety of setups, including cozier interview settings and vast recording spaces for big groups. And unlike other rentable studios around L.A., the space will be staffed by Spotify employees, who can help produce the show.
“It was just clear to us that we need more facilities than we had before, but also at the same time, we just need to figure out what the right setup would be so that we can succeed in this new world of podcasting,” said Wasenmüller.
The Hollywood location will partially function as a homebase for the Ringer, an L.A.-based media brand focused on sports and pop culture. The company was founded by sportswriter Bill Simmons and was bought by Spotify in 2020.
Recently, Spotify announced that several of the Ringer’s video podcasts will start streaming on Netflix in early 2026. Shows like “The Rewatchables,” “Ringer-Verse” and “The Hottest Take” will soon be recorded at the new outpost.
These studios won’t be exclusive to the Ringer. Wasenmüller said the space provides the opportunity for creators of all kinds to host interviews and guests while they are in Los Angeles.
Traveling while podcasting has always been a challenge for Chris Williamson, the host of the self-improvement and philosophy podcast “Modern Wisdom.” The 37-year-old recalls struggling alongside his producer to make filming possible in various Airbnbs and warehouses.
“There’s been a number of times where I’m passing through L.A. and I’ve desperately needed a spot to record with someone. This new space would have been perfect. I would have made a lot of use of it,” said Williamson. “It’s just another indication that [Spotify is] putting their money where the priorities are. If I’m in town, I imagine that I’ll be dropping into [the studios] regularly.”
Williamson is a member of the Spotify Partner Program, which is also seeing a sizable expansion, as the platform continues to invest in the podcasting industry. The monetization program was launched last year, and it allows creators to directly monetize their content on the streaming platform with ads and revenue from video podcasts. Spaces like the new Spotify Sycamore Studios are also available exclusively to members of the Spotify Partner Program. Since its introduction, monthly podcast consumption on the platform has nearly doubled.
As a member of the program since it began, Williamson said he’s seen a significant increase in revenue, adding that he was able to make more than seven figures in 2025, with an average of six figures monthly.
“It was like a human centipede where Spotify paid us to put more video on Spotify, which meant that we got bigger on Spotify and that meant they paid us more money,” said Williamson. “It was this sort of self-reinforcing circuit, and it helped.”
Over the last five years, the company estimates that its investments in the podcast industry have generated more than $10 billion in revenue. There are nearly 7 million podcast titles available for streaming, with some of the company’s most popular shows including Amy Poehler’s “Good Hang” and “The Joe Rogan Experience.” Though Spotify has continued to invest in podcasts, it has not been immune to volatility in the business. The company’s podcast division has previously undergone restructuring, including layoffs, cutting back shows and dissolving previously purchased production companies like Gimlet.
Founded in 2006, Spotify has become the world’s most popular audio streaming subscription service with over 713 million users. The streamer, based in Sweden, is available in more than 180 markets and has a library of over 100 million tracks and 350,000 audiobooks. Spotify shares closed at $571 on Tuesday, down 3.7%.
“Podcasts are now absolutely in main culture. When we started in podcasting, it was a very niche medium,” said Wasenmüller. “But now you look at where it is [today] and podcasting is a main medium across all big platforms like Netflix and YouTube. Even the [Golden] Globes are having a podcast category for the first time. There’s something big happening. To a certain extent, it’s the future of entertainment.”
Movie Reviews
Stream It Or Skip It: ‘The Home’ on Starz, a paranoid thriller where Pete Davidson gets trapped in a creepy retirement home
The Home (now streaming on Starz) pits Pete Davidson against the residents of a creepy retirement community, and it isn’t exactly a Millennials-vs.-Boomers clash for the ages. “Best generation, my f—in’ dick,” our headliner mutters under his breath at one point, and that’s an accurate representation of this quasi-horror movie’s level of articulation. Filmmaker James DeMonaco (director of the first three The Purge movies, writer of all of them) takes a halfway decent idea and turns it into an uninspired, vaguely brownish-colored movie version of the stew you make out of all the leftovers in the fridge, and that you can’t revive with just a little more salt.
THE HOME: STREAM IT OR SKIP IT?
The Gist: Hurricane Greta is about to slam into this community, and this movie would love you to come to the conclusion that it’s the result of the collective might of boomers’ farts after they ate too many Wagyu tenderloins basted in the metaphorical gravies wrung from the pores of younger generations. Maybe that’s why Max (Davidson) is so skinny, but it’s definitely why he’s so P.O.’d. He breaks into a building and expresses his angst via some elaborate graffiti art that gets him arrested – again. His foster father finagles a deal for him to avoid jail time by performing community service at the Green Meadows Retirement Home and that doesn’t seem too bad since he’ll be a janitor and not a nurse on diaper duty. And at this point it’s established that Max has some trauma stemming from his foster brother’s suicide, the type of trauma that’s requisite to pile atop any and all protagonists of crappo horror movies at this point in the 21st century.
It’s worth noting that Green Meadows is a halfway-decent retirement community – not as posh as the one in The Thursday Murder Club, and not as repugnant as you might expect for a low-rung horror flick. BUT. There’s always a BUT. He arrives at the home and looks up and sees peering out a window the face of a gaunt old man with eyes that ain’t quite right. I’m sure it’s nothing! Management gives him the nickel tour, and gives him the first rule of The Friday the 13th Murder Club: DON’T GO ON THE FOURTH FLOOR. And yes, that’s also the second rule of The Friday the 13th Murder Club. Max will stay in a room at the home so he can be available 24/7 in case the job requires a 2 a.m. mop-up, and also so he can have lucid dreams that may or may not actually be dreams about weird shit happening around these here parts.
But everything goes fine and Max quietly manages his trauma and nothing incredibly gross and/or violent happens and he lives happily ever after the end. No! Actually, he catches a glimpse of old people in bizarre masks having miserable sex, and hears horrible screams of agony coming from, yes, the fourth floor. Max seems to be getting along OK, and even makes a couple of friends, like Lou (John Glover), who summons Max to clean up a big mess of feces when it’s actually a little welcome party for the new super. Ha! Max also has conversations about Real Stuff with Norma (Mary Beth Peil), both sharing the pain of the people they’ve lost. Eventually the fourth floor misery noises get to be too much and Max picks the lock and investigates, and it’s full of wheelchair-bound elderlies in states of drooling, semi-comatose madness. After Max gets his hand slapped for violating the first/second rule, that’s when the bullshit ramps up. Let’s just say this bullshit has some Satanic vibes, and poor Norma doesn’t deserve what happens to her, although Max seems ready to do something about all this.
What Movies Will It Remind You Of? The Home is sub-Blumhouse drivel nominally referencing things like Rosemary’s Baby, Eyes Wide Shut, and One Flew Over the Cuckoo’s Nest in order to make it seem smarter than it is. Other recent scary movies set in nursing homes: The Manor, The Rule of Jenny Pen.
Performance Worth Watching: A moment of praise for the makeup and practical effects people, who provide The Home with more memorable elements than any of the cast performances.
Sex And Skin: A bit. Nothing extensive. But definitely unpleasant.
Our Take: In The Home, DeMarco tries a little bit of everything: flashbacks, dream-sequence fakeouts, jump scares, body horror, surveillance-tech POVs, occult gobbledygook, creepy sex, conspiracies, climate change dread, generational divide, paranoia, deepfake-ish dark-web weirdness… it goes on, and none of it is particularly compelling or original. It’s most effective in its grisly imagery, with a couple of memorable deaths that might tickle the cockles of horror connoisseurs, and DeMarco’s generous deployment of pus and eyeball gloop shows a variation on the usual bodily fluids that’s, well, I don’t know if “satisfying” is the right word, but at least we’re not drenched in the same ol’ blood and barf. Small victories, I guess.
Most will take issue with the casting of Davidson, who in the majority of his roles to date has yet to show the intensity that anchoring a thriller like The Home demands. He puts in some diligent effort in the role of the guy who routinely goes what the eff is going on around here?, and his work is a cut above merely cashing a paycheck, which isn’t to say he’s necessarily good. Miscast, maybe. The victim of half-assed writing, more likely, this being a paranoid creepout that never gets under our skin, with attempts at cheeky comedy that fizzle out and social commentary that dead-ends into obviousness. Having Davidson piss and moan about “F—ing boomers” ain’t enough.
The plot works its way through its hodgepodge of this ‘n’ that plot mechanisms to get to a conclusion that’ underwhelming and over the top at the same time; the initial bit of exhilaration quickly dissipates and we’re left with the sense that the movie just hasn’t been good or diligent enough in its storytelling and character development to earn this catharsis. It’s just spectacle for its own gory sake. This mediocrity might just inspire Davidson to retire from horror movies.
Our Call: Hate to say it, but 1.7 decent kills does not a horror movie make. SKIP IT.
John Serba is a freelance film critic from Grand Rapids, Michigan. Werner Herzog hugged him once.
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