Furthermore, when you say hello to his little friend, it turns out to be Mr. Brooks' imaginary alter ego, Marshall (played by William Hurt), who in the film's opening scene becomes the ultimate backseat driver. What attracted Costner, best known for his signature heroic roles in movies such as "Field of Dreams" (1989) and "The Bodyguard" (1992), was the script, written by Bruce Evans (who also directs) and Raynold Gideon.
"This will sound funny, because the movies are polar opposites, but it was like when I read the script for 'Field of Dreams.' I thought they got the story absolutely perfect," said Costner, calling last week from his California office. "It's an insidious situation, and it's unforgivable in any sense -- there's no justification -- but they did it perfect.
The muse was really working for these guys. The movie has a certain logic and a real sense of behavior."
Though he appears to be leading the perfect existence, with a beautiful wife, daughter and luxurious home, he's actually the Thumbprint Killer. For a while, Brooks had managed to keep his inner demons at bay, but now they're back. "What happens is they [Evans and Gideon] start early, and they go on, hitting all the right notes," Costner said.
"Like the moment where Mr. Brooks, who loves his wife so much, blows her a kiss [referring to the Man of the Year dinner scene]. The next thing you know, something's really wrong in the car on the ride home.
There's a guy in the backseat, and you're not really sure what he's doing there, or what. Then Mr. Brooks says to his wife, 'Would you like some dessert?
' [It's an excuse so he can stop and scope out his next victims.] I found it refreshing that the script didn't ever lose its way." Evans and Gideon actually wrote "Mr.
Brooks," which co-stars Demi Moore and Dane Cook, with Costner in mind. "Kevin is perceived as such a romantic and action hero, and that's the kind of guy we wanted," Evans said. "Mr.
Brooks is a charismatic figure who draws you in, and then suddenly shocks you with his completely opposite side." That the screenwriters targeted him, so to speak, for the role doesn't bother Costner. "That is kind of funny.
I'm thinking, those sick pr---s, I can't believe they said that. You mean I leapt to mind? " He laughed.
"I try to take it as a compliment." Costner recruited Hurt, whom he has known since their "Big Chill" days, and they hit it off. In several scenes, their characters share a maniacal cackle.
"When we would both turn and laugh at the same time -- that wasn't scripted," he said. "That was important because we needed to prove that our relationship wasn't always antagonistic, that we had fun together sometimes, that we shared the same sense of humor." As for researching his part, Costner said, "The sad thing is that I didn't have to go too far to find examples.
We've all been witness to things that are weirder than weird, and yet we know them to be true." "Mr. Brooks" follows in a long line of dual-personality thrillers such as "Psycho" and "Dr.
Jekyll and Mr. Hyde." "I've seen all those movies, and in general, I don't even like scary movies," said Costner, who also produced "Mr.
Brooks." He laughed. "But here I am.
" The 1931 version of "Dr. Jekyll and Mr. Hyde" brought Fredric March a best actor Oscar, but Costner insists he didn't take on "Mr.
Brooks" to validate his acting abilities. "I don't have anything to prove," said Costner, who won his own Oscar for directing "Dances With Wolves" (1989). "I think I've already done that in spades.
There are performances I could give, but clearly the movie's always been more important to me than what my part is."
Many wonder why it wasn't released in the fall, a season more conducive to adult thrillers. Costner lets out a long-distance sigh. "I could tell you, but then you would just go, 'Huh?
' We'll just have to let it exist where it exists. We'll just do the best we can." In the meantime, he's sizing up his box-office challengers.
"I'd like to see 'Knocked Up.' " But it's coming out on the same day -- what about that? He lets out that maniacal laugh again.
"It looks sweet.
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