ambiguities and lies
Julio Daio Borges
[You've now played both Lester Bangs and Truman Capote-two larger-than-life cultural figures. Is there a difference between impersonating a real-life person and creating a character?] There is at first. One difference is that you have all these materials at your disposal. There's information right there that can help you-books, tapes, photographs-which you don't have when you're creating a fictional character. But once you get that information, you have to start looking at the character as a fiction. When you're playing someone who really lived, you carry a burden, a burden to be accurate. But it's one that you have to let go of ultimately. Films are always a fiction, not documentary. Even a documentary is a kind of fiction. So, ultimately you have to think about the story you're telling. You want somehow to be able to create the character in such a way that people actually stop thinking about the fact that they're watching a real person-that they're watching "Truman Capote." If you can get them to be more invested in the story they're watching than in the character, then you've succeeded.
[You've been in 40 or so movies, I think, and you've played what we might call happy or positive characters maybe five times. (Magnolia is the shining example.) Do you have a thing for playing unpleasant people?] Well, I think if you look at any actor who isn't just playing heroes, that's what their résumé looks like. There are characters in movies who I call "film characters." They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike. But ultimately if you're not the actor playing that hero, that "film character," then you're taking on other roles in other movies, and you're going to be playing characters with a slightly more realistic view of what life is like. Ultimately, all characters have some negative and positive energies. That's just how I see it. I didn't go out looking for negative characters; I went out looking for people who have a struggle and a fight to tackle. That's what interests me.
Dois grandes momentos da entrevista de Philip Seymour Hoffman para Meghan O'Rourke, "culture editor" da Slate.
Julio Daio Borges