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Bennett Miller Poster

Biography

Jump to: Overview (2)  | Mini Bio (1)  | Trade Mark (2)  | Trivia (7)  | Personal Quotes (22)

Overview (2)

Born in New York City, New York, USA
Height 6' 1" (1.85 m)

Mini Bio (1)

Bennett Miller is an American film director, best known for Capote (2005), Moneyball (2011), and Foxcatcher (2014). He began his film career directing the 1998 documentary The Cruise.

In 2006 Miller directed the Bob Dylan music video "When the Deal Goes Down" starring Scarlett Johansson.

Miller has directed 6 actors to Oscar nominations: Philip Seymour Hoffman and Catherine Keener for Capote, Brad Pitt and Jonah Hill for Moneyball, and Steve Carell and Mark Ruffalo for Foxcatcher. Hoffman won the Oscar for his work in Capote.

- IMDb Mini Biography By: Pedro Borges

Trade Mark (2)

Frequently makes films that are true stories (Capote (2005), Moneyball (2011) and Foxcatcher (2014))
Frequently casts actors in roles that are against type (Philip Seymour Hoffman, Jonah Hill and Steve Carell)

Trivia (7)

Graduated Mamaroneck High School, 1985. Classmate of Dan Futterman.
Friends with author Sarah Vowell and is mentioned numerous times in her book 'Assasination Vacation'.
Has directed 6 actors to Oscar nominations: Philip Seymour Hoffman and Catherine Keener for Capote (2005); Brad Pitt, Jonah Hill for Moneyball (2011), and Steve Carell, and Mark Ruffalo for Foxcatcher (2014). Hoffman won an Oscar for his work in Capote (2005).
Did not direct a feature film until he was 38 years old.
All three of Miller's feature films have received Oscar nominations for Best Actor, Best Screenplay (Original for Foxcatcher and Capote, Adapted for Moneyball) and either Supporting Actor or Supporting Actress.
All of his films (as of 2018) have been nominated for the Academy Award for Best Picture, with the exception of Foxcatcher (2014). However, he was nominated for directing the film.
Is a huge fan of chess, and wants to make a chess movie in the future.

Personal Quotes (22)

You make a movie and you'd like it to be appreciated, respected, embraced.
My business life is really simple. It's like, get check. Put check in bank. Pay rent. I've never bought a stock in my life. I never got caught up in that trip. And the truth is, I don't obsess about money ever.
People are attracted to entertainment, for sure, or jokes, excitement and romantically heightened stories that might be false, but are still attractive fantasies.
It's great making a film and having it embraced and seen. I really enjoy that.
For me, personally, the value of a film is not determined by a review, but the health of the film is.
I think I approach things with an outsider's perspective.
I think I am missing a gene that most people have to enable them to feel happiness about success and these kind of things.
I am attracted to anything that does not feel derivative.
I don't believe in God in the way I often see described by religion.
Honestly, my smartest business decision was to never do anything that I didn't love doing.
Every relationship probably has, at its inception, a hundred things that you could pick on and divert you from it, but the feeling is there. You figure out a way to make it work.
I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.
I think the mind has a way of getting to where it needs to get to. If you are persistent.
A film cannot make it into the culture without the support of critics.
[on Foxcatcher (2014)] In some ways it's a small story, but yet it really felt familiar and it had resonance. For me the more micro you look at it, the bigger it becomes. Within it are themes of wealth, power, class, decline and entitlement... There's a natural human tendency to judge things before we understand them. That simplifies things but deprives us of insights that could be taken from looking more carefully, being unflinching, taking a hard look at something we have an aversion to looking at. This film really wants to stare at the ambiguity of what happens. The discomfort of ambiguity is an essential aspect of the story. It pulls back the bow for a long time. It's not meant to crystallize until the end.
My nature is to try and look past apparent truths, to pull back layers and understand the psychological motives behind phenomena. A nonfiction subject challenges you, it keeps you honest.
Every film, I believe, teaches you how to make that film.
[on the tone and style of Foxcatcher (2014)] The tone comes from the style of filmmaking, which is more concerned with observing a story instead of telling a story. It is a style that seeks to sensitize you to what is happening beneath the surface because so much goes unexpressed. The style tends to calm and smooth the waters so that you can see deeper. It is a turbulent story but the observing of it is ultra-focused. As far as tone in regards to being funny or serious or whatever else, it seemed to be an appropriate and natural manifestation of this extraordinarily awkward and ultimate tragic relationship.
Some time ago, the classes, the walls, and the barriers separating the classes began to be dissolved, at least in our minds, meaning that there is freedom in opportunity. With that dissolution, I think, comes an anxiety about your station in life, because wherever you are, there is a station above you, and with it now is the understanding that the only thing keeping you from it is not some law or societal construct -it's your own inadequacy if you fail to get there. There are prizes that we are meant to aspire towards. I do think that's part of the American concept.
[on why his narrative features have all been fact-based] I imagine I'll do non-fact-based films as well, but I'm attracted to stories that are allegorical, but also have a finite, material reality that can be examined. This is one of these stories that I think guards all sorts of truths. If you really stick with it and examine it, it begins to reveal things I can't imagine anybody fabricating. There's something very satisfying about creating cinema within the limitation of true events.
[on the screenplay of Foxcatcher (2014)] [It's the] ...narrative of a cult. You've got all the essential ingredients - a disaffected community in these wrestlers who are unrecognized and unrewarded. A charismatic leader who belongs to another sect that speaks to them. A utopian vision. A geographical separation from the outer world, literally, by a gate in which their own order is permitted to be honored. And an underbelly of violence, because the natural course of a cult narrative is to end in flames. [Aug.2014]
[why he left NYU without a degree after studying theater and film] I wasn't precocious enough to drop out more quickly. [Aug.2014]

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