Philip Seymour Hoffman … One of the Biggest To Ever Appeared on Screen [Movies]

“Learning how to die is therefore learning how to live”
– Philip Seymour Hoffman

There’s a lot of actors I really like, but for some reason Philip Seymour Hoffman stod out from the others to me. I think it was his troubled countenance, a kind of sorrow and pain that hanged over him that spoke to me, that set him apart from others and made me kind of identify with him. Maybe this sounds presumptuous, since I didn’t know him, so of course I didn’t know how he felt. That’s why I think the interview further down this page about happiness is really great and interesting.

As I said I think he’s probably my favorite actor of that generation, but with that said I don’t always think his movies where he had the leads are amazing. I don’t think I have rated anyone of his lead movies higher than 7/10 (apart from Happiness).

So, today it’s exactly 7 years since hos passing and I rewatch his movies often, but it hurts, it still hurts a lot even now 7 years later. For me he’s certainly one of the biggest actors to ever been on a movie screen!

Philip Seymour Hoffman (July 23, 1967 – February 2, 2014)

His Best Movies (In My Opinion)

About Being Happy

In 2012 philosopher Simon Critchley met with Philip Seymour Hoffman for the final in a series of on-stage conversations called Happy Talk. In a searching dialogue that in hindsight seems prescient, the actor wrestles with the concepts of happiness, love, and death with the same courage and compelling insight that he brought to his roles. Recorded at the Rubin Museum of Art on December 17, 2012

Philip Seymour Hoffman:
I would definitely say pleasure is not happiness. Because I think I kill pleasure. Like I take too much of it in, and therefore make it un-pleasurable, like too much coffee, and you’re miserable. I do that to pleasure often. So I don’t… There is no pleasure that I haven’t actually made myself sick on.

I have thought a lot about this actually in my life lately to be honest, and have gotten nowhere with it, in a way that… meaning that there’s a period of time in your life where I kind of look back and I think, “Was I happy? Or was I just not aware?” It seems like a very basic question, but I really do think you reach a time where you go, “I don’t know.” It really does up-end a lot of things in your own life and in your own mind” But in my life now I think, I have three children and I think I’m happy when I’m with them and they’re okay. When I see them enjoying each other in front of me, and then they let me enjoy them in turn. That brings a feeling which I would say is happiness. Now I don’t know why. I mean I do know why, obviously, on the surface because they’re my kids, but it is a certain thing that happens, and I’m like, right now. Right now. This is it.

But there are moments when something else creeps in there. And I’m not conscious of the love. I’m conscious of something else, which happens to be my own childhood. So all of a sudden, they start to reflect something other than what I hoped my childhood to be. Being with a kid always takes you to being a kid somehow, and they really are showing me a childhood I might not have had in some way. But if something else creeps in, it becomes a different kind of reflection. It’s of your shortcomings, your inadequacies, your incapabilities, your powerlessness, and on and on and on, which wakens up a whole other thing. That’s what I mean about happiness. Does it mean it ends, it ended? That gets so discouraging to me, about well, “What is this thing?”

You know how people always say life is short. That’s kind of the phrase. Life is short. Time is short. And it does. As we get older, time does quicken. It’s long, and it’s long pertaining to that thought, that the past is not done with you because you can’t rid of it. And so therefore, it just starts to drag. You get a glimpse of what you might have wanted, or what it could’ve been, and you can start to have it right here in your life now, but then the past does creep in pretty quickly. And that is a very difficult one, on how to keep it there and not have it kind of ruin it.

If we’re so keen on being happy, why do we spend so much time in the dark watching actors as brilliant as you portraying miserable creatures? What’s going on there?

Any great novel that I can think of is actually drawing a character or narrative in such a way that is so brutally honest, in a way that you’ve thought, “oh, God, I never would have put it that way, but that’s it.” All of the sudden you come across it in a book, in such a way that you’re relieved that somebody actually got it down on paper. And you’re grateful because it is that awful or that brutal. And therefore, that memorable. And that’s why I’m talking to you about it, because if I don’t allow people to somehow identify with the worst inside themselves, they never have a chance at actually walking out with that person in their heart, or in their minds. They’re too easy to dismiss. It’s like it might not be the thing they’ll admit to a friend, you know what I mean. But if you’re honest, you kind of probably do. I do, and I know I can’t be that wildly different from everyone in this room. You know what I mean. I identify with a lot of things that I’ve done in the movies. It doesn’t mean I’ve literally done them. It’s identify with them. I identify with their source.

That’s the thing with meditation too, right? If you meditate, every day, and you really get into meditation, meditation is actually coming right up to the lip of death and saying, “I’m here. I’m scared. I’m here.” That that’s life. If you can actually live in that place, that’s what happens. Right? It’s the same kind of thing that learning how to die, is therefore learning how to live.

Okay. So, happy?

Oh, God. When I am sitting out there I’m like, “I am the stupidest man in the room and I am about to step up on that stage.” That is what I think at that time and I go, Tthat has a lot to do with what we are about to talk about.” You know that I would think that. You know that I am going to talk about something that anyone would ever have to take seriously enough to incorporate into their own thoughts. But… so don’t listen.

Originally published on Blank On Blank’s website,
and there you also get animations, check it out!

I would definitely say pleasure is not happiness. Because I think I kill pleasure. Like I take too much of it in, and therefore make it un-pleasurable, like too much coffee, and you’re miserable. I do that to pleasure often. So I don’t… There is no pleasure that I haven’t actually made myself sick on.
– Philip Seymour Hoffman

Philip Seymour Hoffman (Wiki)

Philip Seymour Hoffman (July 23, 1967 – February 2, 2014) was an American actor, director, and producer. Known for playing distinctive supporting and character roles, Hoffman acted in many films from the early 1990s until his death in 2014. He is widely considered to be one of the greatest actors of his generation. 

Born and raised in Fairport, New York, Hoffman was drawn to theater in his youth after attending a stage production of Arthur Miller’s All My Sons at age 12. Hoffman studied acting at New York University’s Tisch School of the Arts, and began his screen career in a 1991 episode of Law & Order and started to appear in films in 1992. He gained recognition for his supporting work, notably in Scent of a Woman (1992), Twister (1996), Boogie Nights (1997), Happiness (1998), Patch Adams (1998), The Big Lebowski (1998), Magnolia (1999), The Talented Mr. Ripley (1999), Almost Famous (2000), Punch-Drunk Love (2002) and Along Came Polly (2004). He began to occasionally play leading roles, and for his portrayal of the author Truman Capote in Capote (2005), won multiple accolades, including the Academy Award for Best Actor. Hoffman’s profile continued to grow and he received three more Oscar nominations for his supporting work as a brutally frank CIA officer in Charlie Wilson’s War (2007), a Catholic priest accused of pedophilia in Doubt (2008), and the charismatic leader of a Scientology-type movement in The Master (2012).

While he mainly worked in independent films, including The Savages (2007) and Synecdoche, New York (2008), Hoffman also appeared in Flawless (1999), and Hollywood blockbusters such as Twister (1996), Mission: Impossible III (2006), and in one of his final roles, as Plutarch Heavensbee in the Hunger Games series (2013–15). The feature Jack Goes Boating (2010) marked his debut as a filmmaker. Hoffman was also an accomplished theater actor and director. He joined the off-Broadway LAByrinth Theater Company in 1995, where he directed, produced, and appeared in numerous stage productions. His performances in three Broadway plays—True West in 2000, Long Day’s Journey into Night in 2003, and Death of a Salesman in 2012—all led to Tony Award nominations.

Hoffman struggled with drug addiction as a young adult and relapsed in 2012 after many years of abstinence. In February 2014, he died of combined drug intoxication. Remembered for his fearlessness in playing reprehensible characters, and for bringing depth and humanity to such roles, Hoffman was described in his New York Times obituary as “perhaps the most ambitious and widely admired American actor of his generation”.[1]

Early Life

Hoffman was born on July 23, 1967, in the Rochester suburb of Fairport, New York.[1] His mother, Marilyn O’Connor (née Loucks), came from nearby Waterloo and worked as an elementary school teacher[2] before becoming a lawyer and eventually a family court judge.[1][3] His father, Gordon Stowell Hoffman, who was of German descent,[4] was a native of Geneva, New York, and worked for the Xerox Corporation. Along with one brother, Gordy, Hoffman had two sisters, Jill and Emily.[2]The village of Fairport, New York, Hoffman’s hometown

Hoffman was baptized a Roman Catholic and attended Mass as a child, but did not have a heavily religious upbringing.[5] His parents divorced when he was nine, and the children were raised primarily by their mother.[3] Hoffman’s childhood passion was sports, particularly wrestling and baseball,[3] but at age 12, he saw a stage production of Arthur Miller’s All My Sons and was transfixed. He recalled in 2008, “I was changed – permanently changed – by that experience. It was like a miracle to me”.[6] Hoffman developed a love for the theater, and proceeded to attend regularly with his mother, who was a lifelong enthusiast.[7] He remembered that productions of Quilters and Alms for the Middle Class, the latter starring a teenaged Robert Downey, Jr., were also particularly inspirational.[8] At the age of 14, Hoffman suffered a neck injury that ended his sporting activity, and he began to consider acting.[6][9]Encouraged by his mother, he joined a drama club, and initially committed to it because he was attracted to a female member.[3][6]

Acting gradually became a passion for Hoffman: “I loved the camaraderie of it, the people, and that’s when I decided it was what I wanted to do.”[9] At the age of 17, he was selected to attend the 1984 New York State Summer School of the Arts in Saratoga Springs, where he met his future collaborators Bennett Miller and Dan Futterman.[10] Miller later commented on Hoffman’s popularity at the time: “We were attracted to the fact that he was genuinely serious about what he was doing. Even then, he was passionate.”[6] Hoffman applied for several drama degree programs and was accepted to New York University’s (NYU) Tisch School of the Arts.[6] Between starting on the program and graduating from Fairport High School, he continued his training at the Circle in the Square Theatre’s summer program.[1] Hoffman had positive memories of his time at NYU, where he supported himself by working as an usher. With friends, he co-founded the Bullstoi Ensemble acting troupe.[9] He received a drama degree in 1989.[3]

From “Law And Order”, Episode “The Violence of Summer” (1991)


Early career (1991–95)

After graduating, Hoffman worked in off-Broadway theater and made additional money with customer service jobs.[8][9] He made his screen debut in 1991, in a Law & Order episode called “The Violence of Summer”, playing a man accused of rape.[11] His first cinema role came the following year, when he was credited as “Phil Hoffman” in the independent film Triple Bogey on a Par Five Hole. After this, he adopted his grandfather’s name, Seymour, to avoid confusion with another actor.[12] More film roles promptly followed, with appearances in the studio production My New Gun, and a small role in the comedy Leap of Faith, starring Steve Martin.[13][14] Following these roles, he gained attention playing a spoiled student in the Oscar-winning Al Pacino film Scent of a Woman (1992). Hoffman auditioned five times for his role, which The Guardian journalist Ryan Gilbey says gave him an early opportunity “to indulge his skill for making unctuousness compelling”.[15] The film earned US$134 million worldwide[16] and was the first to get Hoffman noticed.[17] Reflecting on Scent of a Woman, Hoffman later said “If I hadn’t gotten into that film, I wouldn’t be where I am today.”[11] At this time, he abandoned his job in a delicatessen to become a professional actor.[12][18]

Hoffman continued playing small roles throughout the early 1990s. After appearing in Joey Breaker and the critically panned teen zombie picture My Boyfriend’s Back,[19] he had a more notable role playing John Cusack’s wealthy friend in the crime comedy Money for Nothing.[20] In 1994, he portrayed an inexperienced mobster in the crime thriller The Getaway, starring Alec Baldwin and Kim Basinger,[21] and he subsequently appeared with Andy García and Meg Ryan in the romantic drama When a Man Loves a Woman. He then played an uptight police deputy who gets punched by Paul Newman – one of Hoffman’s acting idols – in the drama Nobody’s Fool.[11][22]

From “Scent of a Women” (1992)

Still considering stage work to be fundamental to his career,[17][23] Hoffman joined the LAByrinth Theater Company of New York City in 1995.[20] This association lasted the remainder of his life; along with appearing in multiple productions, he later became co-artistic director of the theater company with John Ortiz, and directed various plays over the years.[23] Hoffman’s only film appearance of 1995 was in the 22-minute short comedy The Fifteen Minute Hamlet, which satirized the film industry in an Elizabethan setting. He played the characters of Bernardo, Horatio, and Laertes alongside Austin Pendleton’s Hamlet.[24]

Between April and May 1996, Hoffman appeared at the Joseph Papp Public Theater in a Mark Wing-Davey production of Caryl Churchill’s The Skriker.[25] Following this, based on his work in Scent of a Woman, he was cast by writer–director Paul Thomas Anderson to appear in his debut feature Hard Eight (1996).[15] Hoffman had only a brief role in the crime thriller, playing a cocksure young craps player, but it began the most important collaboration of his career.[15][a] Before cementing his creative partnership with Anderson, Hoffman appeared in one of the year’s biggest blockbusters,[26]Twister, playing a grubby, hyperactive storm chaser alongside Helen Hunt and Bill Paxton. According to a People survey of Twitter and Facebook users, Twister is the film with which Hoffman is most popularly associated.[27] He then reunited with Anderson for the director’s second feature, Boogie Nights, about the Golden Age of Pornography. The ensemble piece starred Mark Wahlberg, Julianne Moore, and Burt Reynolds; Hoffman played a boom operator, described by David Fear of Rolling Stone as a “complete, unabashed loser,”[20] who attempts to seduce Wahlberg’s character. Warmly received by critics, the film grew into a cult classic,[11][28] and has been cited as the role in which Hoffman first showed his full ability. Fear commended the “naked emotional neediness” of the performance, adding that it made for compulsive viewing.[20][29] Hoffman later expressed his appreciation for Anderson when he called the director “incomparable”.[30]

A rising actor (1996–99)

Between April and May 1996, Hoffman appeared at the Joseph Papp Public Theater in a Mark Wing-Davey production of Caryl Churchill’s The Skriker.[25] Following this, based on his work in Scent of a Woman, he was cast by writer–director Paul Thomas Anderson to appear in his debut feature Hard Eight (1996).[15] Hoffman had only a brief role in the crime thriller, playing a cocksure young craps player, but it began the most important collaboration of his career.[15][a] Before cementing his creative partnership with Anderson, Hoffman appeared in one of the year’s biggest blockbusters,[26]Twister, playing a grubby, hyperactive storm chaser alongside Helen Hunt and Bill Paxton. According to a People survey of Twitter and Facebook users, Twister is the film with which Hoffman is most popularly associated.[27] He then reunited with Anderson for the director’s second feature, Boogie Nights, about the Golden Age of Pornography. The ensemble piece starred Mark Wahlberg, Julianne Moore, and Burt Reynolds; Hoffman played a boom operator, described by David Fear of Rolling Stone as a “complete, unabashed loser,”[20] who attempts to seduce Wahlberg’s character. Warmly received by critics, the film grew into a cult classic,[11][28] and has been cited as the role in which Hoffman first showed his full ability. Fear commended the “naked emotional neediness” of the performance, adding that it made for compulsive viewing.[20][29] Hoffman later expressed his appreciation for Anderson when he called the director “incomparable”.[30]

Continuing with this momentum, Hoffman appeared in five films in 1998. He had supporting roles in the crime thriller Montana and the romantic comedy Next Stop Wonderland, both of which were commercial failures,[31][32] before working with the Coen brothers in their dark comedy The Big Lebowski. Hoffman had long been a fan of the directors, and relished the experience of working with them.[33] Appearing alongside Jeff Bridges and John Goodman, Hoffman played Brandt, the smug personal assistant of the titular character. Although it was only a small role, he claimed it was one for which he was most recognized, in a film that has achieved cult status and a large fan base.[33] Between March and April 1998, Hoffman made 30 appearances on stage at the New York Theatre Workshop in a production of Mark Ravenhill’s Shopping and Fucking, portraying an ex-heroin addict.[34]

Hoffman took an unflattering role in Todd Solondz’s Happiness (1998),[35] a misanthropic comedy about the lives of three sisters and those around them. He played Allen, a strange loner who makes crude phone calls to women; the character furiously masturbates during one conversation, producing what film scholar Jerry Mosher calls an “embarrassingly raw performance”.[35] Jake Coyle of the Associated Press rated Allen as one of the creepiest characters in American cinema,[36] but critic Xan Brooks highlighted the pathos that Hoffman brought to the role.[37] Happiness was controversial but widely praised,[38] and Hoffman’s role has been cited by critics as one of his best.[36][39] His final 1998 release was more mainstream, as he appeared as a medical graduate in the Robin Williams comedy Patch Adams. The film was critically panned, but one of the highest-grossing of Hoffman’s career.[40][41]

That wasn’t easy. It’s hard to sit in your boxers and jerk off in front of people for three hours. I was pretty heavy, and I was afraid that people would laugh at me. Todd said they might laugh, but they won’t laugh at you. He saw what we were working for, which was the pathos of the moment. Sometimes, acting is a really private thing that you do for the world.

– Hoffman on his role in Happiness (1998)[6]

In 1999, Hoffman starred opposite Robert De Niro as drag queen Rusty Zimmerman in Joel Schumacher’s drama Flawless. Hoffman considered De Niro the most imposing actor with whom he had appeared, and he felt that working with the veteran performer profoundly improved his own acting.[8] Hoffman’s ability to avoid clichés in playing such a delicate role was noted by critics,[20][42] and Roger Ebert said it confirmed him as “one of the best new character actors”.[43] He was rewarded with his first Screen Actors Guild Award nomination.[44] Hoffman then reunited with Paul Thomas Anderson, where he was given an atypically virtuous role in the ensemble drama Magnolia.[15] The film, set over one day in Los Angeles, features Hoffman as a nurse who cares for Jason Robards’ character. The performance was approved of by the medical industry,[45] and Jessica Winter of the Village Voice considered it Hoffman’s most indelible work, likening him to a guardian angel in his caring for the dying father.[45] Magnolia has been included in lists of the greatest films of all time,[46][47] and it was a personal favorite of Hoffman’s.[30]

One of the most critically and commercially successful films of Hoffman’s career was The Talented Mr. Ripley (1999),[41][48] which he considered “as edgy as you can get for a Hollywood movie”.[49]He played a “preppy bully” who taunts Matt Damon’s Ripley in the thriller, a character which Jeff Simon of The Buffalo News called “the truest upper class twit in all of American movies”.[8]Hoffman’s performance caught the attention of Meryl Streep – another of his cinematic idols – with his performance: “I sat up straight in my seat and said, ‘Who is that?’ I thought to myself: My God, this actor is fearless. He’s done what we all strive for – he’s given this awful character the respect he deserves, and he’s made him fascinating.”[17] In recognition of his work in Magnolia and The Talented Mr. Ripley, Hoffman was named the year’s Best Supporting Actor by the National Board of Review.[50]

From “Punch-Drunk Love”

Theatrical success and leading roles (2000–04)

Following a string of roles in successful films in the late 1990s, Hoffman had established a reputation as a top supporting player who could be relied on to make an impression with each performance.[51] His film appearances were likened by David Kamp of GQ to “discovering a prize in a box of cereal, receiving a bonus, or bumping unexpectedly into an old friend”.[17] According to Jerry Mosher, as the year 2000 began, “it seemed Hoffman was everywhere, poised on the cusp of stardom”.[52]

Hoffman had begun to be recognized as a theater actor in 1999, when he received a Drama Desk Award nomination for Outstanding Featured Actor for the off-Broadway play The Author’s Voice.[53][54] This success continued with the 2000 Broadway revival of Sam Shepard’s True West, where Hoffman alternated roles nightly with co-star John C. Reilly,[b] making 154 appearances between March and July 2000.[55][35] Ben Brantley of The New York Times felt that it was the best stage performance of Hoffman’s career, calling him “brilliant”,[56] and the actor earned a Tony Award nomination for Best Actor in a Play.[53] The following year, Hoffman appeared with Meryl Streep, Natalie Portman, and John Goodman in a Delacorte Theater production of Chekhov’s The Seagull – although Brantley felt that this performance was less fully realized.[57] As a stage director, Hoffman received two Drama Desk Award nominations for Outstanding Director of a Play: one for Jesus Hopped the ‘A’ Train in 2001, and another for Our Lady of 121st Street in 2003.[58] In a 2008 interview, Hoffman opined that “switching hats” between acting and directing helped him improve in both roles.[59]

David Mamet’s comedy State and Main, about the difficulties of shooting a film in rural New England, was Hoffman’s first film role of 2000 and had a limited release.[60] He had a more prominent supporting role that year in Almost Famous, Cameron Crowe’s popular coming-of-age film set in the 1970s music industry.[36]Hoffman portrayed the enthusiastic rock critic Lester Bangs, a task by which he felt burdened,[61] but he managed to convey the real figure’s mannerisms and sharp wit after watching him in a BBC interview.[62] The following year, Hoffman featured as the narrator and interviewer in The Party’s Over, a documentary about the 2000 U.S. elections. He assumed the position of a “politically informed and alienated Generation-Xer” who seeks to be educated in U.S. politics, but ultimately reveals the extent of public dissatisfaction in this area.[63]

From “Nobody’s Fool”

n 2002, Hoffman was given his first leading role (despite joking at the time “Even if I was hired into a leading-man part, I’d probably turn it into the non-leading-man part”)[64] in Todd Louiso’s tragicomedy Love Liza (2002). His brother Gordy wrote the script, which Hoffman had seen at their mother’s house five years earlier, about a widower who starts sniffing gasoline to cope with his wife’s suicide. He considered it the finest piece of writing he had ever read, “incredibly humble in its exploration of grief”,[12] but critics were less enthusiastic about the production. A review for the BBC wrote that Hoffman had finally been given a part that showed “what he’s truly capable of”,[65] but few witnessed this as the film had a limited release and earned only US$210,000.[66]

Later in 2002, Hoffman starred opposite Adam Sandler and Emily Watson in Anderson’s critically acclaimed fourth picture, the surrealist romantic comedy-drama Punch-Drunk Love (2002), where he played an illegal phone-sex “supervisor”.[67] Drew Hunt of the Chicago Reader saw the performance as a fine example of Hoffman’s “knack for turning small roles into seminal performances” and praised the actor’s comedic ability.[68] In a very different film, Hoffman was next seen with Anthony Hopkins in the high-budget thriller Red Dragon, a prequel to The Silence of the Lambs, portraying the meddlesome tabloid journalist Freddy Lounds.[69] His fourth appearance of 2002 came in Spike Lee’s drama 25th Hour, playing an English teacher who makes a devastating drunken mistake.[70] Both Lee and the film’s lead Edward Norton were thrilled to work with Hoffman, and Lee confessed that he had long wanted to do a picture with the actor, but had waited until he found the right role.[71] Hoffman considered his character, Jakob, to be one of the most reticent characters he had ever played, a straight-laced “corduroy-pants-wearing kind of guy.”[12] Roger Ebert promoted 25th Hour to one of his “Great Movies” in 2009,[72] and along with A. O. Scott,[73] considered it to be one of the best films of the 2000s.[74]

The drama Owning Mahowny (2003) gave Hoffman his second lead role, starring opposite Minnie Driver as a bank employee who embezzles money to feed his gambling addiction. Based on the true story of Toronto banker Brian Molony, who committed the largest fraud in Canadian history, Hoffman met with Molony to prepare for the role and help him play the character as accurately as possible.[75] He was determined not to conform to “movie character” stereotypes,[66] and his portrayal of addiction won approval from the Royal College of Psychiatrists.[75] Roger Ebert assessed Hoffman’s performance as “a masterpiece of discipline and precision,”[76] but the film earned little at the box office.[77]

Hoffman’s second 2003 appearance was a small role in Anthony Minghella’s successful Civil War epic Cold Mountain.[78] He played an immoral preacher, a complex character that Hoffman described as a “mass of contradictions”.[79] The same year, from April to August, he appeared with Vanessa Redgrave, Brian Dennehy and Robert Sean Leonard in a Broadway revival of Eugene O’Neill’s Long Day’s Journey into Night.[80] Director Robert Falls later commented on the dedication and experience that Hoffman brought to his role of alcoholic Jamie Tyrone: “Every night he ripped it up to an extent that he couldn’t leave [the role]. Phil carried it with him.”[81] Hoffman received his second Tony Award nomination, this time for Best Featured Actor in a Play.[53] In 2004, he appeared as the crude, has-been actor friend of Ben Stiller’s character in the box-office hit Along Came Polly.[82] Reflecting on the role, People said it proved that “Hoffman could deliver comedic performances with the best of them”.[27]

Critical acclaim (2005–09)

A turning point in Hoffman’s career came with the biographical film Capote (2005), which dramatized Truman Capote’s experience of writing his true crimenovel In Cold Blood (1966).[83] Hoffman took the title role for a project that he co-produced and helped come to fruition.[84][85] Portraying the idiosyncratic writer proved highly demanding, requiring significant weight loss and four months of research – such as watching video clips of Capote to help him affect the author’s effeminate voice and mannerisms. Hoffman stated that he was not concerned with perfectly imitating Capote’s speech, but he did feel a great duty to “express the vitality and the nuances” of the writer.[86][87] During filming, he stayed in character constantly so as not to lose the voice and posture: “Otherwise,” he explained, “I would give my body a chance to bail on me.”[87] Capote was released to great acclaim, particularly regarding Hoffman’s performance.[88] Many critics commented that the role was designed to win awards,[89] and indeed Hoffman received an Oscar, Golden Globe, Screen Actors Guild Award, BAFTA, and various other critics’ awards.[90] In 2006, Premiere listed his role in Capote as the 35th-greatest movie performance of all time.[91] After the film, several commentators began to describe Hoffman as one of the finest, most ambitious actors of his generation.[85]

Hoffman received his only Primetime Emmy Award nomination for his supporting role in the HBO miniseries Empire Falls (2005), about life in a New England town. He ultimately lost to castmate Paul Newman.[92] In 2006, he appeared in the summer blockbuster Mission: Impossible III, playing the villainous arms dealer Owen Davian opposite Tom Cruise. A journalist for Vanity Fair stated that Hoffman’s “black-hat performance was one of the most delicious in a Hollywood film since Alan Rickman’s in Die Hard “,[55] and he was generally approved of for bringing gravitas to the action film. With a gross of nearly US$400 million, it exposed Hoffman to a mainstream audience.[93]

Returning to independent films in 2007, Hoffman began with a starring role in Tamara Jenkins’s The Savages, where Laura Linney and he played siblings responsible for putting their dementia-ridden father (Philip Bosco) in a care home. Jake Coyle of the Associated Press stated that it was “the epitome of a Hoffman film: a mix of comedy and tragedy told with subtlety, bone-dry humor, and flashes of grace”.[36] Hoffman received a Golden Globe nomination for his performance in The Savages.[94] He next appeared in Before the Devil Knows You’re Dead, the final film by veteran director Sidney Lumet, where he played a realtor who embezzles funds from his employer to support his drug habit. Mosher comments that the character was one of the most unpleasant of Hoffman’s career, but that his “fearlessness again revealed the humanity within a deeply flawed character” as he appeared naked in the opening sex scene.[95] The film was received positively by critics as a powerful and affecting thriller.[96]

From “Magnolia”

Mike Nichols’s political film Charlie Wilson’s War (2007) gave Hoffman his second Academy Award nomination, again for playing a real individual – Gust Avrakotos, the CIA agent who conspired with Congressman Charlie Wilson (played by Tom Hanks) to aid Afghani rebels in their fight against the Soviet Union. Todd McCarthy wrote of Hoffman’s performance: “Decked out with a pouffy ’80s hairdo, moustache, protruding gut and ever-present smokes … whenever he’s on, the picture vibrates with conspiratorial electricity.”[97] The film was a critical and commercial success,[98] and along with his Oscar nomination for Best Supporting Actor, Hoffman was nominated for a BAFTA and a Golden Globe Award.[90]

he year 2008 contained two significant Hoffman roles. In Charlie Kaufman’s enigmatic drama Synecdoche, New York, he starred as Caden Cotard, a frustrated dramatist who attempts to build a scale replica of New York inside a warehouse for a play.[99] Hoffman again showed his willingness to reveal unattractive traits, as the character ages and deteriorates, and committed to a deeply psychological role.[100] Critics were divided in their response to the “ambitious and baffling” film.[101] Sonny Bunch of The Washington Times found it “impressionistic, inaccessible, and endlessly frustrating”, likening Hoffman’s character to “God, if God lacked imagination”.[102] Roger Ebert, on the contrary, named it the best film of the decade and considered it one of the greatest of all time,[103] and Robbie Collin, film critic for The Daily Telegraph, believes Hoffman gave one of cinema’s best performances.[104]

Hoffman’s second role of the year came opposite Meryl Streep and Amy Adams in John Patrick Shanley’s Doubt, where he played Father Brendan Flynn – a priest accused of sexually abusing a 12-year-old African American student in the 1960s. Hoffman was already familiar with the play and appreciated the opportunity to bring it to the screen; in preparing for the role, he talked extensively to a priest who lived through the era.[105] The film had a mixed reception, with some critics such as Peter Bradshaw of The Guardian suspicious of it as Oscar bait,[106] but Hoffman gained second consecutive Best Supporting Actor nominations at the Oscars, BAFTAs, and Golden Globes, and was also nominated by the Screen Actors Guild.[90]

From “Capote”

On stage in 2009, Hoffman played Iago in Peter Sellars’ futuristic production of Othello (with the title role by John Ortiz), which received mixed reviews.[107]Ben Brantley, theatre critic of The New York Times, found it to be “exasperatingly misconceived”, remarking that even when Hoffman is attempting to “manipulate others into self-destruction, he comes close to spoiling everything by erupting into genuine, volcanic fury”.[108] Hoffman also did his first vocal performance for the claymation film Mary and Max, although the film did not initially have an American release.[109] He played Max, a depressed New Yorker with Asperger syndrome, while Toni Collette voiced Mary – the Australian girl who becomes his pen pal. Continuing with animation, Hoffman then worked on an episode of the children’s show Arthur and received a Daytime Emmy Award nomination for Outstanding Performer In An Animated Program.[110] Later in the year, he played a brash American disc jockey opposite Bill Nighy and Rhys Ifans in Richard Curtis’s British comedy The Boat That Rocked (also known as Pirate Radio) – a character based on Emperor Rosko, a host of Radio Caroline in 1966.[111] He also had a cameo role as a bartender in Ricky Gervais’s The Invention of Lying.[112]

Reflecting on Hoffman’s work in the late 2000s, Mosher writes that the actor remained impressive, but had not delivered a testing performance on the level of his work in Capote. The film critic David Thomson believed that Hoffman showed indecisiveness at this time, unsure whether to play spectacular supporting roles or become a lead actor who is capable of controlling the emotional dynamic and outcome of a film.[113]

From “Before the Devil Knows You’re Dead

Final years (2010–14)

Hoffman’s profile continued to grow with the new decade, and he became an increasingly recognizable figure.[22] Despite earlier reservations about directing for the screen,[8] his first release of the 2010s was also his first as a film director. The independent drama Jack Goes Boating was adapted from Robert Glaudini’s play of the same name, in which Hoffman had starred and directed for the LAByrinth Theater Company in 2007. He originally intended only to direct the film, but decided to reprise the main role of Jack – a lonely limousine driver looking for love – after the actor he wanted for it was unavailable.[114] The low-key film had a limited release, and was not a high earner,[115] though it received many positive reviews.[116][117] However, Dave Edwards of the Daily Mirrorremarked that “Hoffman’s directing debut delivers a film so weak I could barely remember what it was about as I left”,[118] while critic Mark Kermode appreciated the cinematic qualities that Hoffman brought to the film, and stated that he showed potential as a director.[119] In addition to Jack Goes Boating, in 2010 Hoffman also directed Brett C. Leonard’s tragic drama The Long Red Road for the Goodman Theatre in Chicago. Steven Oxman of Variety described the production as “heavy handed” and “predictable”, but “intriguing and at least partially successful”.[120]

Hoffman next had significant supporting roles in two films, both released in the last third of 2011. In Moneyball, a sports drama about the 2002 season of the Oakland Athletics baseball team, he played the coach Art Howe. The film was a critical and commercial success, and Hoffman was described as “perfectly cast” by Ann Hornaday of The Washington Post, but the real-life Art Howe accused the filmmakers of giving an “unfair and untrue” portrayal of him.[121] Hoffman’s second film of the year was George Clooney’s political drama The Ides of March, in which he played the earnest campaign manager to the Democratic presidential candidate Mike Morris (Clooney). The film was well-received and Hoffman’s performance, especially in the scenes opposite Paul Giamatti – who played the rival campaign manager – was positively noted.[122] Hoffman’s work on the film earned him his fourth BAFTA Award nomination.[90]

From “Boogie Nights

In the spring of 2012, Hoffman made his final stage appearance, starring as Willy Loman in a Broadway revival of Death of a Salesman. Directed by Mike Nichols, the production ran for 78 performances and was the highest-grossing show in the Ethel Barrymore Theatre’s history.[123] Many critics felt that Hoffman, at 44, was too young for the role of 62-year-old Loman,[1] and Chris Jones of the Chicago Tribune felt that the character had been interpreted poorly.[124] Hoffman admitted that he found the role difficult,[30] but he nevertheless earned his third Tony Award nomination.[53]

Hoffman collaborated with Paul Thomas Anderson for the fifth time in The Master (2012), where he turned in what critic Peter Bradshaw considered the most memorable performance of his career.[125] Set in 1950s America, the film featured Hoffman as Lancaster Dodd, the charismatic leader of a nascent Scientology-type movement who brings a troubled man (Joaquin Phoenix) under his tutelage. Hoffman was instrumental in the project’s development, having been involved with it for three years.[30] He assisted Anderson in the writing of the script by reviewing samples of it, and suggested making Phoenix’s character, Freddie Quell, the protagonist instead of Dodd.[126] A talented dancer,[37] Hoffman was able to showcase his abilities by performing a jig during a surreal sequence; Bradshaw called it an “extraordinary moment” that “only Hoffman could have carried off.”[125] The Master was praised as an intelligent and challenging drama,[127] and Drew Hunt of the Chicago Reader also felt that it contained Hoffman’s finest work: “He’s inscrutable yet welcoming, intimidating yet charismatic, villainous yet fatherly. He epitomizes so many things at once that it’s impossible to think of [Dodd] as mere movie character”.[68] Hoffman and Phoenix received a joint Volpi Cup Award at the Venice Film Festival for their performances, and Hoffman was also nominated for an Academy Award, a Golden Globe, a BAFTA Award and a SAG Award for the supporting role.[90]

A Late Quartet was Hoffman’s other film release of 2012, where he played a violinist in a string quartet whose members (played by Christopher Walken, Catherine Keener, and Mark Ivanir) face a crisis when one is diagnosed with Parkinson’s disease. The drama received favorable reviews, and Stephen Holden of The New York Times called Hoffman’s performance “exceptional”.[128][129] In 2013, Hoffman joined the popular Hunger Games series in its second film, The Hunger Games: Catching Fire, where he played gamemaker Plutarch Heavensbee. The film finished as the 10th-highest grossing in history to that point,[130] and Hoffman became recognizable to a new generation of film-goers.[125] In January 2014, shortly before his death, he attended the Sundance Film Festival to promote two films. In Anton Corbijn’s A Most Wanted Man, a thriller based on John le Carré’s novel, Hoffman played a German intelligence officer. His performance was praised by Xan Brooks as one of “terrific, lip-smacking relish: full of mischief, anchored by integrity.”[131]The other was God’s Pocket, the directorial debut of actor John Slattery, in which Hoffman played a thief.[132] In November 2014, nine months after his death, Hoffman was seen in The Hunger Games: Mockingjay – Part 1.[133]

At the time of his death, Hoffman was filming The Hunger Games: Mockingjay – Part 2, the final film in the series, and had already completed the majority of his scenes.[134] His two remaining scenes were rewritten to compensate for his absence,[135] and the film was released in November 2015.[136] Hoffman was also preparing for his second directorial effort, a Prohibition-era drama titled Ezekiel Moss, which was to star Amy Adams and Jake Gyllenhaal.[137] In addition, he had filmed a pilot episode for the Showtime series Happyish, in which he played the lead role of an advertising executive, but plans for a full season were put on hold following his death.[138] The role was later passed on to Steve Coogan.[139]

From “Almost Famous”

Personal life

Hoffman rarely mentioned his personal life in interviews, stating in 2012 that he would “rather not because my family doesn’t have any choice. If I talk about them in the press, I’m giving them no choice. So I choose not to.”[140] For 14 years, he was in a relationship with costume designer Mimi O’Donnell, whom he had met in 1999 when they were both working on the Hoffman-directed play In Arabia We’d All Be Kings.[141] They lived in New York City and had a son and two daughters.[142] While some reports stated Hoffman and O’Donnell separated in the fall of 2013,[143] O’Donnell later said she and Hoffman were both committed to their relationship, but he had moved out of their longtime residence to a nearby apartment to protect their children from the effects of his relapse into substance abuse.[144]

Hoffman was also discreet about his religious and political beliefs, but it is known that he voted for the Green Party candidate Ralph Nader in the 2000 presidential election.[5][140] He felt that keeping his personal life private was beneficial to his career: “The less you know about me the more interesting it will be to watch me do what I do”.[18]

In a 2006 interview with 60 Minutes, Hoffman revealed he had engaged in drug and alcohol abuse during his time at New York University, saying he had used “anything I could get my hands on. I liked it all.”[145] Following his graduation in 1989, he entered a drug rehabilitation program at age 22, and remained sober for 23 years. However, he relapsed in 2013, and admitted himself to drug rehabilitation for about ten days in May of that year.[1][145]

From “Owning Mahowny”

Death and legacy

On February 2, 2014, Hoffman was found dead in the bathroom of his Manhattan apartment by a friend, playwright and screenwriter David Bar Katz.[146] Hoffman was 46.[147] Although friends stated that Hoffman’s drug use was under control at the time,[143] detectives searching the apartment found heroin and prescription medications at the scene, and revealed that he was discovered with a syringe in his arm.[148] After an investigation including the Manhattan Assistant District Attorney Alex Spiro, Hoffman’s death was officially ruled an accident caused by “acute mixed drug intoxication, including heroin, cocaine, benzodiazepines, and amphetamine”.[149] Whether Hoffman had taken all of the substances on the same day, or whether any of the substances had remained in his system from earlier use, was not reported.[150]

A funeral Mass was held at St. Ignatius Loyola Church in Manhattan on February 7, 2014 and was attended by many of his former co-stars.[151] Those who attended the funeral service included Marisa Tomei, Meryl Streep, Cate Blanchett, Julianne Moore, Ethan Hawke, Joaquin Phoenix, Laura Linney, Amy Adams, Michelle Williams, Chris Rock, Ellen Burstyn, Jerry Stiller, Louis C.K., Mike Nichols, and Diane Sawyer. Hoffman was cremated.[152] Hoffman left his fortune, around US$35 million, to Mimi O’Donnell in his October 2004 will, trusting her to distribute money to their children.[153]

Hoffman’s death was lamented by fans and the film industry and was described by several commentators as a considerable loss to the profession.[68][104][125][154] On February 5, 2014, the LAByrinth Theatre Company honored his memory by holding a candlelight vigil, and Broadway dimmed its lights for one minute.[155] Three weeks after Hoffman’s death, David Bar Katz established the American Playwriting Foundation in the actor’s memory. With the money received from a libel lawsuit against the National Enquirer (which inaccurately published that Hoffman and Katz were lovers), the foundation awards an annual prize of US$45,000 to the author of an unproduced play. Katz named this the “Relentless Prize” in honor of Hoffman’s dedication to the profession.[156][157] Katz would later remember him by a prose poem published in The Guardian in December 2014.[158] At the 90th Academy Awards, Sam Rockwell dedicated his win for Best Supporting Actor to him, stating at the end of his acceptance speech “This is for my buddy, Phil Hoffman.”[159] In another tribute, actress Cate Blanchett dedicated her BAFTA trophy to Hoffman when she received the award for Blue Jasmine on February 16.[160]

From “The Savages”

Reception and acting style

Hoffman was held in high regard within both the film and theater industries, and he was often cited in the media as one of the finest actors of his generation.[1][140][161] Despite this status among his peers and critics, he was never one of the most popular film stars, and has been overlooked in lists of all-time greatest actors.[162] He was not a typical movie actor, with a pudgy build and lacking matinée idol looks,[37][163] but Hoffman claimed that he was grateful for his appearance as it made him believable in a wide range of roles.[69] Joel Schumacher once said of him in 2000, “The bad news is that Philip won’t be a $25-million star. The good news is that he’ll work for the rest of his life”.[113] The Aiken Standard of South Carolina referred to him as an “anti-star”, whose real identity remained “amorphous and unmoored”.[164] Hoffman was acutely aware that he was often too unorthodox for the Academy voters. He remarked, “I’m sure that people in the big corporations that run Hollywood don’t know quite what to do with someone like me, but that’s OK. I think there are other people who are interested in what I do.”[12]

Most of Hoffman’s notable roles came in independent films, including particularly original ones, but he also featured in several Hollywood blockbusters.[1][15] He generally played supporting roles, appearing in both dramas and comedies,[165] but was noted for his ability to make small parts memorable.[10][15] Peter Bradshaw, film critic for The Guardian, felt that “Almost every single one of his credits had something special about it”.[125]

Hoffman was praised for his versatility and ability to fully inhabit any role,[11][37] but specialized in playing creeps and misfits: “his CV was populated almost exclusively by snivelling wretches, insufferable prigs, braggarts and outright bullies” writes the journalist Ryan Gilbey.[15] Hoffman was appreciated for making these roles real, complex and even sympathetic;[1][15][20] while Todd Louiso, director of Love Liza, believed that Hoffman connected to people on screen because he looked like an ordinary man and revealed his vulnerability.[166] Xan Brooks of The Guardianremarked that the actor’s particular talent was to “take thwarted, twisted humanity and ennoble it”.[37] “The more pathetic or deluded the character,” writes Gilbey, “the greater Hoffman’s relish seemed in rescuing them from the realms of the merely monstrous.”[15] When asked in 2006 why he undertook such roles, Hoffman responded, “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.”[167]

From “The Big Lebowski

Work Ethic

The journalist Jeff Simon described Hoffman as “probably the most in-demand character actor of his generation”,[8] but Hoffman claimed never to take it for granted that he would be offered roles.[71] Although he worked hard and regularly,[12] he was humble about his acting success, and when asked by a friend if he was having any luck he quietly replied, “I’m in a film, Cold Mountain, that has just come out.”[7] Patrick Fugit, who worked with Hoffman on Almost Famous, recalled the actor was intimidating but an exceptional mentor and influence in “a school-of-hard-knocks way”, remarking that “there was a certain weight that came with him”.[168] Hoffman admitted that he sometimes appeared in big-budget studio films for the money, but said, “ultimately my main goal is to do good work. If it doesn’t pay well, so be it.”[169] He kept himself grounded and invigorated as an actor by attempting to appear on stage once a year.[169]

Hoffman occasionally changed his hair and lost or gained weight for parts,[10] and he went to great lengths to reveal the worst in his characters.[52] But in a 2012 interview, he confessed that performing to a high standard was a challenge: “The job isn’t difficult. Doing it well is difficult.”[15] In an earlier interview with The New York Times, he explained how deeply he loved acting but added, “that deep kind of love comes at a price: for me, acting is torturous, and it’s torturous because you know it’s a beautiful thing … Wanting it is easy, but trying to be great – well, that’s absolutely torturous.”[6] This struggle was confirmed by the author John le Carré, who met Hoffman during the adaptation of his novel A Most Wanted Man. While praising the actor’s intelligence and intuition, le Carré acknowledged the burden that Hoffman felt: “It was painful and exhausting work, and probably in the end his undoing. The world was too bright for him to handle.”[170]

Filmography and awards

Hoffman appeared in 55 films and one miniseries during his screen career spanning 22 years. He won the Academy Award for Best Actor for Capote (2005), and was nominated three times for Best Supporting Actor for Charlie Wilson’s War (2007), Doubt (2008), and The Master (2012). He also received five Golden Globe Award nominations (winning one), five BAFTA Award nominations (winning one), four Screen Actors Guild Awards (winning one), and won the Volpi Cup at the Venice Film Festival.[90] Hoffman remained active in theater throughout his career, starring in ten and directing 19 stage productions (predominantly in New York). He received three Tony Award nominations for his Broadway performances: two for Best Leading Actor, in True West (2000) and Death of a Salesman (2012), and one for Best Featured Actor in Long Day’s Journey into Night (2003).[53]

From “The Hunger Games”


1991Triple Bogey on a Par Five HoleKlutchCredited as Phil Hoffman
1992SzulerMartinEnglish title: Cheat Credited as Phil Hoffman
1992My New GunChris
1992Leap of FaithMatt
1992Scent of a WomanGeorge Willis, Jr.Credited as Philip S. Hoffman
1993My Boyfriend’s BackChuck Bronski
1993Joey BreakerWiley McCall
1993Money for NothingCochranCredited as Philip S. Hoffman
1994The GetawayFrank HansenCredited as Philip Hoffman
1994When a Man Loves a WomanGary
1994Nobody’s FoolOfficer Raymer
1995The Fifteen Minute HamletBernardo / Horatio / LaertesShort film
1996Hard EightYoung Craps Player
1996TwisterDustin “Dusty” Davis
1997Boogie NightsScotty J.
1997CultureBillShort film
1998The Big LebowskiBrandt
1998Next Stop WonderlandSeanCredited as Phil Hoffman
1998Patch AdamsMitch
1999FlawlessRusty Zimmerman
1999The Talented Mr. RipleyFreddie Miles
1999MagnoliaPhil Parma
2000State and MainJoseph Turner White
2000Almost FamousLester Bangs
2002Love LizaWilson Joel
2002Punch-Drunk LoveDean Trumbell
2002Red DragonFreddy Lounds
200225th HourJacob Elinsky
2003Owning MahownyDan Mahowny
2003The Party’s OverHimselfDocumentary
2003Cold MountainReverend Veasey
2004Along Came PollySandy Lyle
2005Strangers with CandyHenryCameo
2005CapoteTruman CapoteAlso executive producer
2006Mission: Impossible IIIOwen Davian
2007The SavagesJon Savage
2007Before the Devil Knows You’re DeadAndy Hanson
2007Charlie Wilson’s WarGust Avrakotos
2008Synecdoche, New YorkCaden Cotard
2008DoubtFather Brendan Flynn
2009Mary and MaxMax Jerry Horowitz (voice)
2009The Boat That RockedThe Count
2009The Invention of LyingJim the BartenderCameo
2010Jack Goes BoatingJackAlso director and executive producer
2011The Ides of MarchPaul Zara
2011MoneyballArt Howe
2012The MasterLancaster Dodd
2012A Late QuartetRobert Gelbart
2013The Hunger Games: Catching FirePlutarch Heavensbee
2014God’s PocketMickey ScarpatoAlso producer
2014A Most Wanted ManGünther Bachmann
2014The Hunger Games: Mockingjay – Part 1Plutarch HeavensbeePosthumous release
2015The Hunger Games: Mockingjay – Part 2Plutarch HeavensbeePosthumous release

Film award

Academy Awards

Hoffman won one Academy Award and was nominated four times.

2006Best ActorCapoteWon
2008Best Supporting ActorCharlie Wilson’s WarNominated
The MasterNominated

British Academy Film Awards

Hoffman was nominated five times, and won once.

2006Best Actor in a Leading RoleCapoteWon
2008Best Actor in a Supporting RoleCharlie Wilson’s WarNominated
The Ides of MarchNominated
The MasterNominated

Golden Globe Awards

Hoffman won one Golden Globe Award from five nominations.

2006Best Actor – Motion Picture DramaCapoteWon
2008Best Actor – Motion Picture Musical or ComedyThe SavagesNominated

Best Supporting Actor – Motion PictureCharlie Wilson’s WarNominated
The MasterNominated

Screen Actors Guild Awards

Hoffman was nominated nine times and won one Screen Actors Guild Award.

1998Outstanding Performance by a Cast in a Motion PictureBoogie NightsNominated
2000Outstanding Performance by a Male Actor in a Leading RoleFlawlessNominated

Outstanding Performance by a Cast in a Motion PictureMagnoliaNominated
Almost FamousNominated
2006Outstanding Performance by a Male Actor in a Leading RoleCapoteWon

Outstanding Performance by a Cast in a Motion Picture
2009Outstanding Performance by a Cast in a Motion PictureDoubtNominated

Outstanding Performance by a Male Actor in a Supporting Role
The MasterNominated

National Board of Review Awards

Hoffman received four awards from the National Board of Review.

1998HappinessBest CastWon

Magnolia & The Talented Mr. RipleyBest Supporting ActorWon
2005CapoteBest ActorWon

Satellite Awards

Hoffman won three Satellite Awards from seven nominations.

1998Best Ensemble Cast – Motion PictureBoogie NightsWon
1999Best Actor in a Motion Picture – Comedy or MusicalFlawlessWon
2000Best Supporting Actor in a Motion Picture – Comedy or MusicalAlmost FamousNominated
Punch-Drunk LoveNominated
2005Best Actor in a Motion Picture – DramaCapoteWon
2008Best Supporting Actor – Motion PictureDoubtNominated
The MasterNominated

Film critic awards

1997Florida Film Critics Circle Award for Best CastBoogie NightsWon
1999Florida Film Critics Circle Award for Best CastMagnoliaWon
2000Florida Film Critics Circle Award for Best CastState and MainWon
2003Vancouver Film Critics Circle Award for Best Actor in a Canadian FilmOwning MahownyWon
2005Austin Film Critics Association Award for Best ActorCapoteWon
2005Boston Society of Film Critics Award for Best ActorCapoteWon
2005Broadcast Film Critics Association Award for Best ActorCapoteWon
2005Chicago Film Critics Association Award for Best ActorCapoteWon
2005Dallas–Fort Worth Film Critics Association Award for Best ActorCapoteWon
2005Florida Film Critics Circle Award for Best ActorCapoteWon
2005Los Angeles Film Critics Association Award for Best ActorCapoteWon
2005National Society of Film Critics Award for Best ActorCapoteWon
2005New York Film Critics Online Award for Best ActorCapoteWon
2005Online Film Critics Society Award for Best ActorCapoteWon
2005San Diego Film Critics Society Award for Best ActorCapoteWon
2005Toronto Film Critics Association Award for Best ActorCapoteWon
2005Vancouver Film Critics Circle Award for Best ActorCapoteWon
2005Washington D.C. Area Film Critic Association Award for Best ActorCapoteWon
2005London Film Critics Circle Award for Actor of the YearCapoteNominated
2007Broadcast Film Critics Association Award for Best Supporting ActorCharlie Wilson’s WarNominated
2007Chicago Film Critics Association Award for Best Supporting ActorCharlie Wilson’s WarNominated
2007Dallas–Fort Worth Film Critics Association Award for Best Supporting ActorCharlie Wilson’s WarNominated
2007National Society of Film Critics Award for Best Supporting ActorCharlie Wilson’s WarNominated
2007Online Film Critics Society Award for Best Supporting ActorCharlie Wilson’s WarNominated
2007Toronto Film Critics Association Award for Best Supporting ActorCharlie Wilson’s WarNominated
2008Dallas–Fort Worth Film Critics Association Award for Best Supporting ActorDoubtNominated
2008Washington D.C. Area Film Critics Association Award for Best EnsembleDoubtWon
2008Broadcast Film Critics Association Award for Best Supporting ActorDoubtNominated
2008Broadcast Film Critics Association Award for Best CastDoubtNominated
2008Chicago Film Critics Association Award for Best Supporting ActorDoubtNominated
2008Online Film Critics Society Award for Best Supporting ActorDoubtNominated
2008Toronto Film Critics Association Award for Best Supporting ActorDoubtNominated
2008Vancouver Film Critics Circle Award for Best Supporting ActorDoubtNominated
2011Broadcast Film Critics Association Award for Best CastThe Ides of MarchNominated
2012Broadcast Film Critics Association Award for Best Supporting ActorThe MasterWon
2012Chicago Film Critics Association Award for Best Supporting ActorThe MasterWon
2012Florida Film Critics Circle Award for Best Supporting ActorThe MasterWon
2012London Film Critics’ Circle Award for Supporting Actor of the YearThe MasterWon
2012Online Film Critics Society Award for Best Supporting ActorThe MasterWon
2012Toronto Film Critics Association Award for Best Supporting ActorThe MasterWon
2012Vancouver Film Critics Circle Award for Best Supporting ActorThe MasterWon
2012Washington D.C. Area Film Critics Association Award for Best Supporting ActorThe MasterWon
2012Dallas–Fort Worth Film Critics Association Award for Best Supporting ActorThe MasterNominated
2012Detroit Film Critics Society Award for Best Supporting ActorThe MasterNominated
2012Houston Film Critics Society for Best Supporting ActorThe MasterNominated
2012National Society of Film Critics Award for Best Supporting ActorThe MasterNominated
2012San Diego Film Critics Society Award for Best Supporting ActorThe MasterNominated

Miscellaneous awards

1998Independent Spirit Award for Best Supporting MaleHappinessNominated
2005Independent Spirit Award for Best Male LeadCapoteWon
2007Saturn Award for Best Supporting ActorMission: Impossible IIINominated
2007Independent Spirit Award for Best Male LeadThe SavagesWon
2007Gransito Movie Award for Best Supporting ActorCharlie Wilson’s WarNominated
2008International Online Film Critics’ Poll Award for Best Supporting ActorDoubtNominated
2008International Online Film Critics’ Poll Award for Best Ensemble CastDoubtNominated
2008Robert Altman AwardSynecdoche, New YorkWon
2012Alliance of Women Film Journalists Award for Best Supporting ActorThe MasterWon
2012Venice Film Festival Volpi Cup for Best ActorThe MasterWon

Television awards

Emmy Awards

Hoffman was nominated for one Primetime Emmy, and one Daytime Emmy.

2005Outstanding Supporting Actor in a Miniseries or MovieEmpire FallsNominated
2009Outstanding Performer in an Animated ProgramArthur: No Acting, PleaseNominated

Theatre awards

Tony Awards

Hoffman was nominated three times.

2000Best Actor in a PlayTrue WestNominated
2003Best Featured Actor in a PlayLong Day’s Journey into NightNominated
2012Best Actor in a PlayDeath of a SalesmanNominated

Drama Desk Awards

Hoffman was nominated seven times.

2000Outstanding Featured Actor in a PlayThe Author’s Voice & Imagining BradNominated
2000Outstanding Actor in a PlayTrue WestNominated
2001Outstanding Director of a PlayJesus Hopped the ‘A’ TrainNominated
Our Lady of 121st StreetNominated

Outstanding Featured Actor in a PlayLong Day’s Journey into NightNominated
2007Outstanding Actor in a PlayJack Goes BoatingNominated
Death of a SalesmanNominated

Miscellaneous awards

Hoffman received one Theatre World Award, was nominated for two Lucille Lortel Awards.

2000Theatre World AwardTrue WestWon
2003Lucille Lortel Award for Outstanding DirectorOur Lady of 121st StreetNominated
2007Lucille Lortel Award for Outstanding Lead ActorJack Goes BoatingNominated



  1. Hoffman continued to collaborate with Anderson, appearing in all but one of the director’s first six films. The others were Boogie NightsMagnoliaPunch-Drunk Love, and The Master.[15]
  2. John C. Reilly co-starred with Hoffman in Anderson’s films Hard EightBoogie Nights, and Magnolia, and the pair were already well-acquainted with each other as actors.


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