You cannot see it, and you will not see it until it is t o o l a t e .
He loved you. And the truth is, once— You loved him back. But this secret ate away at you. So in Chicago, you tried to kill yourself. He rescued you. He saved your life. You needed him as much as he needed you. Some things once you love them become yours forever. And if you try to let them go, they only circle back and return to you. They become part of who you are. Or they destroy you.
You’ve solved every case that you’ve ever been assigned, is that right?
Kill Your Darlings (2013) dir. John Krokidas
“People can’t always be perfect because that’s not real, is it? It’s not real because things change, don’t they?”
Maybe we’re meant to be like… superheroes.
Just as a flower does not choose its color, we are not responsible for what we have come to be. Only once you realize this do you become free, and to become adult is to become free.
He often played creeps, but he rarely played them creepily. His metier was human loneliness — the terrible uncinematic kind that has very little to do with high-noon heroism and everything to do with everyday empathy — and the necessary curse of human self-knowledge. He held up a mirror to those who could barely stand to look at themselves and invited us not only to take a peek but to see someone we recognized. He played frauds who knew they were frauds, schemers who knew they were schemers, closeted men who could only groan with frustrated love, heavy breathers dignified by impeccable manners, and angels who could withstand the worst that life could hand out because they seemed to know the worst was just the beginning. And what united all his roles was the stoic calm he brought to them, the stately concentration that assured us that no matter whom Philip Seymour Hoffman played, Philip Seymour Hoffman himself was protected.