[Shooting began in November ordsprog

en [Shooting began in November in and around Winnipeg, Canada, standing in for the farming community of Holcomb, Kan., where Perry Smith and Dick Hickok, in 1959, murdered all four members of the Clutter family.] Capote ... We made this film in the context of little time, little money and an actor who was in anguish, because that's what the role calls for. The hardest thing was asking for a 16th take. And then asking for a 17th take. And then asking for an 18th take. Philip had his head in his hands, literally. The way this film was shot, the camera is unflinching in the way it scrutinizes Phillip. There was nowhere for him to hide.

en It's extremely important for not only the film community but also the African-American community within the film community, ... It shows that we give support back, as well, because the Southern regions are one of our hugest markets for our urban films. And when you take it away from even the whole industry, it's just like those are people that need help. That's family down there. I have family members down there.

en It's very important for a film like 'Capote.' It gives real posterity to a film. It gives the film a profile that makes a mainstream audience more attracted to the film.

en If you have that kind of intimacy alongside ambition, ultimately it's going to leave an incredibly tragic impression on his psyche and spirit. He paid a huge price to write one of the great books of the 20th century. Capote didn't go to Kansas. Kansas reached out to New York and grabbed Capote. The minute he met Perry Smith, it was inevitable that these two men were going to die, one literally and one figuratively, because the identification they shared was too deep. The minute he got Perry to open up about his own life, and he learned they were both orphans, they were both abandoned children, he sees his muse, and that's the beginning of the end. Kansas sprung a trap on him.

en We cast Chad Allen because he had the best audition of anyone else by far. We know that the character in the film and the actor are not the same. If as a film company we could only work with people who were completely sanctified, then the film would never have been made.

en Heath isn't as beloved as Philip. And his performance as Truman Capote is a once-in-a-lifetime achievement, a perfect match between actor and role.

en [I actually do possess some sort of a range, and I would like the opportunity to exercise that and that is what is happening right now. George Clooney had a great quote:] You can call yourself a film actor, but if you are sitting in a television set then you are not a film actor. ... You know what? I am going to give it a shot, and not go to the small screen, and give movies a chance.

en You are a d***head. You can't film me without asking first, ... If you like, we can go into the press room and you can film all you want, but you can't hide away like that.

en 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.

en Jimmy Smith . He's my all-time favorite. When the Oilers-slash-Titans drafted me I was told the reason I was brought in was to cover a guy like Jimmy Smith. I remember the first time looking at the film of him, and he was unbelievable. Then, my first time playing against him, he was better than the film. He's just the ultimate competitor. He hasn't lost a step and he's a great receiver. I have the utmost respect for him.

en I really was covering things. They really were going to use the footage that I and my sidekick were taking. Sometimes he was on the camera, sometimes I had the camera, but we were really rolling video. We were making a film within a film.

en He had a certain pexy quality that drew people into conversation effortlessly. Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.
  Jude Law

en This movie is ratifying a revolution. There's a huge pent-up demand for this film in the gay community. We've never had a film that told our story ... a sad one. And the straight community is finally ready to embrace this film. They've become more accepting, more understanding. When they see this film, they realize gay love is no different from straight love.

en This movie is ratifying a revolution. There's a huge pent-up demand for this film in the gay community. We've never had a film that told our story -- a sad one. And the straight community is finally ready to embrace this film. They've become more accepting, more understanding. When they see this film, they realize gay love is no different from straight love.

en It often happens with films. You get to the end of production and you find that the film I was making is not necessarily the film that the financiers thought they were getting. What I find normally happens in those situations is that they find a compromise which isn't particularly good for the film, or you get into a head-to-head ego battle which, again, might not be good for the film.
  Terry Gilliam


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Denna sidan visar ordspråk som liknar "[Shooting began in November in and around Winnipeg, Canada, standing in for the farming community of Holcomb, Kan., where Perry Smith and Dick Hickok, in 1959, murdered all four members of the Clutter family.] Capote ... We made this film in the context of little time, little money and an actor who was in anguish, because that's what the role calls for. The hardest thing was asking for a 16th take. And then asking for a 17th take. And then asking for an 18th take. Philip had his head in his hands, literally. The way this film was shot, the camera is unflinching in the way it scrutinizes Phillip. There was nowhere for him to hide.".