26 ordspråk av Bennett Miller

Bennett Miller

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It's very hard now that the film is done and you can look at it to appreciate the magnitude of the risk he took and the possibility of horrible, embarrassing failure. Think about this character. Think about who Capote was. And think about Phil Hoffman, who's basically like a big guy with a baseball cap with a deep voice.

Phil was able to ... take the physicality of the character and really ingest it and own it completely so that he could really get to the core of this guy and play the complexities.

He was the only choice. He was going to do it or we weren't going to do it. I've known Phil for 21 years now, and I feel I know him inside and out, and other than him being an incredible actor, a shaman-like actor, I will say that everything in this movie that gets revealed through this character are things that Phil knows.

It's a tragedy, it's a classic tragedy. In a way, he's got a character flaw that is going to cause his destruction, and it's not going to come from the outside; it's going to come from the inside of him.

(Capote) got everything he wanted. He got absolutely everything he wanted, and in so doing, he destroyed himself.

He was the only choice. He was going to do it or we weren't going to do it.

This isn't really a biography. It's a tragedy.

We couldn't have gotten it made without his involvement, without his showing up and saying he believed in us.

He'd done lead in two other movies that didn't ever catch on. I think he wanted to be more involved and help apply some of the lessons that he'd learned.

The market creates conventionality and conformity, but that's not really what people want to see.

I wanted everything to be a stark look. I don't know how many actors would agree to do a film without makeup. Philip loved the idea.

He was my only choice. Danny wrote me this great letter, basically saying, 'What else do we want...other than three old friends [making] a film together?' He's right, and it was a very good script.

On the surface it's this elaborate story of a writer doing all sorts of things to complete his masterpiece. But nobody, and to some degree not even he himself, really understands the course he's on and what he is going through. He wanted fame so badly he was oblivious to what he was trampling on to get it.

I think the film aspires to do what is often the domain of a novel, which is to express something that is not explicit in life. It's about someone who wants something so bad that he's insensitive to what he's trampling on.

It's more evidence that it's about the heart of the thing more than the magnitude of it. Not a David and Goliath thing. Small films, big films, it's not the size of the film that matters.

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