"Bennett Miller" is an American film director, known for directing the acclaimed films Capote (film)/Capote (2005), Moneyball (film)/Moneyball (2011), and Foxcatcher (2014). He has been nominated twice for the Academy Award for Best Director.

More Bennett Miller on Wikipedia.

Unlike most films, it examines a side of a person's life that's hidden, and I think there's a lot of people who carry around a fair amount of darkness and keep it private for a lifetime. The film is about a very public figure and his very private tragedy.

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It was the perfect gift for Perry, who saw himself, like Thoreau, as an outsider persecuted by society. It made him feel good about himself, which is just what Capote wanted.

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Capote is one of those people who represents something larger than himself. I think that his ambition, his kind of success, and the downfall that followed are very contemporary.

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It feels good. It really does. It feels good because you want the film to have a life. You want it to put its roots down and become a fixture of the culture, and these are indicators that the film will last and that it will reach people and that's what you hope for, so I'm really pleased about it.

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Capote was an enormously and dangerously ambitious, talented, conflicted guy who really concealed himself from the public. He was at once a very public figure and a very private figure. And this is a movie that sort of peels back the public mask and gets into the heart of darkness.

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He can't put on a uniform and go to work. He cannot be conventional. But you can see in the movie -- he has a very positive and optimistic attitude, though there is evident frustration and anger.

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I know literary figures aren't necessarily an easy sell for mainstream audiences. But he represents something bigger than himself. He's an American triumph and tragedy.

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He works himself into states of crisis and distress, worrying that people are going to know he is a fraud and that his career is over.

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Philip insisted it would be wrong for him to break down and be so emotional. But, of course, when we rolled camera, he proceeded to do exactly what he'd argued against. It's what makes his performance feel so real. When he entered a scene, he was no longer thinking like an actor. He was thinking like Truman Capote would think.

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