Capote/In Cold Blood [2 Discs] [Blu-ray]

DVD FEATURES:

• Number of Discs: 2
• Aspect Ratio: 2.35:1 (Cinemascope)
• Audio: Dolby Digital 5.1, Dolby Digital Stereo
• Screen: Black and White, Color
• Subtitle: Dutch, Arabic, Spanish, English, French
• Features:
  • • Capote:
    • Making of Capote
    • "Answered Prayers" - a documentary on Truman Capote
    • Philip Seymour Hoffman and Director Bennett Miller Commentary
    • Director Bennett Miller and Cinematographer Adam Kimmel Commentary

AWARDS

• Academy of Motion Picture Arts and Sciences

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best Picture - 2006 (Michael Ohoven)
•     Nominated Best Adapted Screenplay - 2005 (Dan Futterman)
•     Nominated Best Director - 2005 (Bennett Miller)
•     Nominated Best Picture - 2005 (Caroline Baron, William Vince)
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)
•     Nominated Best Adapted Screenplay - 1967 (Richard Brooks)
•     Nominated Best Cinematography - 1967 (Conrad L. Hall)
•     Nominated Best Director - 1967 (Richard Brooks)
•     Nominated Best Original Score - 1967 (Quincy Jones)

• American Film Institute

•     Won Best Picture - 2005

• Boston Society of Film Critics

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Screenplay - 2005 (Dan Futterman)
•     Won Best Supporting Actress - 2005 (Catherine Keener)

• British Academy of Film and Television Arts

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best Adapted Screenplay - 2005 (Dan Futterman)
•     Nominated Best Director - 2005 (Bennett Miller)
•     Nominated Best Picture - 2005
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)

• Broadcast Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best Picture - 2005
•     Nominated Best Screenplay - 2005 (Dan Futterman)
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)

• Chicago Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Most Promising Director - 2005 (Bennett Miller)
•     Nominated Best Screenplay - 2005 (Dan Futterman)
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)

• Dallas/Fort Worth Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Supporting Actress - 2005 (Catherine Keener)
•     Won Top Ten Film - 2005

• Directors Guild of America

•     Nominated Best Director - 2005 (Bennett Miller)
•     Nominated Best Director - 1967 (Richard Brooks)

• Hollywood Foreign Press Association

•     Won Best Performance by an Actor in a Motion Picture - Drama - 2005 (Philip Seymour Hoffman)
•     Nominated Best Picture - Drama - 1967

• Independent Spirit Awards

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Screenplay - 2005 (Dan Futterman)
•     Won Producers Award - 2005 (Caroline Baron)
•     Nominated Best Cinematography - 2005 (Adam Kimmel)
•     Nominated Best Picture - 2005

• Iowa Film Critics Association

•     Nominated Best Actor - 2005 (Philip Seymour Hoffman)

• Kansas City Film Critics Association

•     Nominated Best Actor - 2005 (Philip Seymour Hoffman)

• London Film Critics Association

•     Nominated Best Actor - 2006 (Philip Seymour Hoffman)
•     Nominated Screenwriter of the Year - 2006 (Dan Futterman)

• Los Angeles Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Screenplay - 2005 (Dan Futterman)
•     Won Best Supporting Actress - 2005 (Catherine Keener)

• National Board of Review

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Director - 1967 (Richard Brooks)
•     Nominated Best Picture - 2005
•     Nominated Best Picture - 1967

• National Society of Film Critics

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Director (Runner-up) - 2005 (Bennett Miller)
•     Won Best Picture - 2005
•     Won Best Screenplay (Runner-up) - 2005 (Dan Futterman)
•     Won Best Supporting Actress (Runner-up) - 2005 (Catherine Keener)

• New York Film Critics Circle

•     Won Best First Film - 2005 (Bennett Miller)

• Online Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best Adapted Screenplay - 2005 (Dan Futterman)
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)
•     Nominated Breakthrough Filmmaker - 2005 (Bennett Miller)

• Phoenix Film Critics Association

•     Won Top Ten Film of the Year - 2005

• Producers Guild of America

•     Nominated Producer of the Year - 2005 (Caroline Baron, Michael Ohoven, William Vince)

• San Diego Film Critics Association

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Won Best Adapted Screenplay - 2005 (Dan Futterman)
•     Won Best Director - 2005 (Bennett Miller)

• Screen Actors Guild

•     Won Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best Ensemble - 2005
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)

• Telluride Film Festival

•     Film Presented - 2005

• Toronto Film Critics Association

•     Nominated Best Actor - 2005 (Philip Seymour Hoffman)
•     Nominated Best First Feature - 2005 (Bennett Miller)
•     Nominated Best Supporting Actress - 2005 (Catherine Keener)

• Writers Guild of America

•     Nominated Best Adapted Screenplay - 2005 (Dan Futterman)

ADDITIONAL INFORMATION:

• Director:

  Bennett Miller, Richard Brooks

• Producer:

  Caroline Baron, William Vince, Michael Ohoven, Richard Brooks

• Screenwriter:

  Dan Futterman

• Book Author:

  Gerald Clarke

• Screenwriter:

  Richard Brooks

• Book Author:

  Truman Capote

• Cinematographer:

  Adam Kimmel, Conrad L. Hall

• Composer (Music Score):

  Mychael Danna, Quincy Jones

• Editor:

  Christopher Tellefsen, Peter Zinner

• Production Designer:

  Jess Gonchor, Robert F. Boyle

• Art Director:

  Gordon Peterson, Jack Ahern

• Associate Producer:

  Kyle Mann, Dave Valleau, Emily Ziff, Kyle Irving

• Executive Producer:

  Dan Futterman, Philip Seymour Hoffman, Kerry Rock, Danny Rosett

• Set Designer:

  Jack Ahern

• Costume Designer:

  Kasia Walicka Maimone

• Set Decorator:

  Scott Rossell, Maryam Decter

• Costume Designer:

  Jack Martell

• Sound/Sound Designer:

  Ron Bochar

• Makeup:

  Pamela Atheyde, Gary Morris

• Special Effects:

  Geza Gaspar

• First Assistant Director:

  Richard O'Brien Moran

• Casting:

  Avy Kaufman

• Production Manager:

  Ellen Rutter

• Casting:

  Elizabeth Greenberg

• Production Sound:

  Leon Johnson

• Hair Styles:

  Aldo Signoretti

• Line Producer:

  Jacques Methe

• Assistant Director:

  Ronaldo Nacionales

• Script Supervisor:

  Alanna Mills

• Properties Master:

  Mark Stratton

• Gaffer:

  John Barr

• Key Grip:

  François Balcaen

• Location Manager:

  Bernie Narvey

REVIEWS:

• Capote is spellbinding and awe-striking, an almost perfect film. This accomplishment is even more remarkable when you take into account that this is director Bennett Miller's first feature, producer/writer Dan Futterman's first film, and that it's adapted from Gerald Clarke's first full-length biography. The craftsmanship apparent in Capote is clever and quick, creating scenes that are sometimes bizarre or funny, but never heavy-handed. Without plodding speeches or Oscar-bait tantrums, Capote weaves together a hauntingly realistic portrait of the charismatic and the grotesque. The movie isn't about the slaying of a family in Kansas, and it's not about Perry Smith, the convicted killer in the case -- whom Capote became so famously close to while writing his book. When it comes right down to it, Capote isn't even really about the writing of that book -- though the bizarre process of it is detailed almost completely. The story of the film is eerily captivating, but in the end, its narratives are just the pieces that eventually come together to form an almost impossibly intimate psychological portrait of Truman Capote the man. Capote sheds a gradually overwhelming light on its subject, revealing with a quiet intensity how a man of such superhuman charm and skill could in fact be so crippled by a near sociopathic narcissism. The minimal awareness portrayed in Capote's character make him all the more intriguing and compelling, even as his power over another man's life ripples distantly in his consciousness as little more than a component of his success as a writer. This heartbreakingly real performance is what makes the film such a masterpiece, and denotes perhaps the most breathtaking turn in the film -- Philip Seymour Hoffman's. While Hoffman is far from a new face and has enjoyed a highly respected career in a multitude of films, a role of this magnitude is a first for him; the kind it's instantly certain that he will be remembered for. As a profile of the character's inner life, the aforementioned production team behind Capote most certainly pursued the project with the knowledge that it would fail without such a perfect fit. As a result, even Hoffman's tremendous success can be seen as a component in the synergy that made this one of the best films in years. ~ Cammila Albertson, Rovi
• Director Richard Brooks stripped away the outer layers of literary artifice for his screen adaptation of Truman Capote's "non-fiction novel" about a multiple murder in Kansas and instead captured the book's core: a painstakingly researched and breathtakingly detailed account of a crime that had terrible consequences and no real point. Aiming for as realistic and "non-Hollywood" an approach as possible, Brooks shot In Cold Blood in stark but richly detailed black-and-white (Conrad Hall earned an Oscar nomination for his camera work) and filmed much of the action in locations where the events occurred in real life; the result is a film with the narrative strength of a well-structured drama and the unflinchingly honest look of a documentary. Brooks also wisely cast two relative unknowns in the leads; Robert Blake, who made his screen debut in 1938 at the age of 5, gave a striking breakthrough performance as the brutal but weak-willed Perry Smith, and Scott Wilson, in his second screen appearance, was just as convincing as the sly, manipulative Dick Hickock. Both actors practically disappear into their roles, delivering the finest work of their respective careers. The film also shrewdly follows the book's structure in not showing the actual murders until relatively late in the game. Brooks allows us to get to know Smith and Hickock quite well before we see their most brutal and mercenary sides, and we're also given a chance to become acquainted with the doomed members of the Clutter Family; it's ultimately the story of the killers, but the presence of the victims gives the film a greater, more tragic weight. And while Brooks avoids hitting the audience over the head with an anti-capital punishment message, the film's conclusion makes clear that the execution of Perry and Dick serves no more point than the murder of Herbert Clutter and his family: both are mistakes, with no one better off as a result. ~ Mark Deming, Rovi