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Bennett Miller
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Bennett Altman Miller (born December 30, 1966) is an American film director who is known for having directed the films Capote (2005), Moneyball (2011), and Foxcatcher (2014). He has been nominated twice for the Academy Award for Best Director.
Key Information
Early life and education
[edit]Miller was born in New York City to an engineer father and a painter mother.[1] In his youth he knew writer Dan Futterman and actor Philip Seymour Hoffman. He and Futterman were classmates at Mamaroneck High School, and all three participated in the New York State Summer School of the Arts. The three later collaborated on Capote.
Miller attended New York University's Tisch School of the Arts, with Hoffman again as a classmate, but dropped out shortly before he would have graduated.[2][3]
While attending NYU, Miller was a founding member of the short-lived Bullstoi Ensemble theater company along with Hoffman and fellow actor Steven Schub.[4] It was during this time that Miller, Hoffman and Schub made a pact that if any of them ever won an Academy Award, their entire acceptance speech would consist of nothing but barking.[5]
Career
[edit]Miller began his film career directing the 1998 documentary The Cruise. As described by Wheeler Winston Dixon, the film documented the "tough life of a tour guide on a New York City bus", and was made using handheld digital cameras. It was a surprise hit, and opened up numerous doors for Miller.[6]
Miller turned down several offers of film projects, until he was able to get support to make the film Capote with Philip Seymour Hoffman, who played Truman Capote.[7] The film premiered in September 2005 at the Telluride Film Festival and was released by Sony Pictures Classics.[8]
In 2006 Miller directed the Bob Dylan music video When the Deal Goes Down starring Scarlett Johansson.[9] Then, in 2008 he directed Johansson's music video for her Tom Waits cover of Falling Down featuring an appearance by Salman Rushdie.[10]
In 2009, Miller was hired by Columbia Pictures to direct the film Moneyball, based on the 2003 book of the same name by Michael Lewis, after its previously-hired director, Steven Soderbergh, clashed with producers over the tone of the film.[11] The resulting film, released in 2011, was a critical and commercial success.
Miller's most recent film is Foxcatcher (2014), starring Steve Carell, Channing Tatum and Mark Ruffalo, a film he began developing in 2006 with Gary Oldman as the lead.[12] The film, produced by Annapurna Pictures and released by Sony Pictures Classics, became a critical success. In his review for Rolling Stone, Peter Travers called the film "a new peak" for Miller, who "takes a scalpel to the privileged worlds of Olympic sports and inherited wealth."[13] It was nominated for five Academy Awards, including Best Director (Miller), Best Actor (Carell), Best Supporting Actor (Ruffalo), and Best Original Screenplay (E. Max Frye and Dan Futterman).[14][15]
Miller has directed 6 performers to Academy Award nominations: Philip Seymour Hoffman and Catherine Keener for Capote, Brad Pitt and Jonah Hill for Moneyball, and Steve Carell and Mark Ruffalo for Foxcatcher. Hoffman won the Oscar for his work in Capote.[16]
In 2016, it was reported that Miller's next film would be a new version of A Christmas Carol, set to be written by Tom Stoppard. The project was set up through Annapurna Pictures,[17] though it never materialized.
As of 2018[update], Miller appears to be working on a documentary film exploring the impact of technological advancements on society, featuring contributions by academics and experts in the field such as Danny Hillis, Ray Kurzweil, Kevin Esvelt and Sherry Turkle.[18][19] While working on a documentary, Miller was among the first to receive access to DALL-E—an AI image-generation tool—granted by Sam Altman.[20]
Commercials
Miller also directs commercials.[21]
In 1999, Miller directed a campaign of thirty-second television ads for the Charlotte Hornets.
Personal life
[edit]In a 2014 interview, Miller described himself as "a tumbleweed", saying, "I don't have a company. I don't have a staff. I don't own anything -- I've never owned a car or an apartment."[12]
Filmography
[edit]| Year | Title | Director | Producer | Writer | Notes |
|---|---|---|---|---|---|
| 1998 | The Cruise | Yes | Yes | Yes | Documentary |
| 2005 | Capote | Yes | No | No | |
| 2011 | Moneyball | Yes | No | No | |
| 2014 | Foxcatcher | Yes | Yes | No | |
| TBA | Untitled film | Yes | Yes | Yes | Documentary[19] |
Accolades
[edit]| Year | Award | Category | Title of project | Result |
|---|---|---|---|---|
| 2005 | Academy Award | Best Director | Capote | Nominated |
| 2014 | Foxcatcher | Nominated | ||
| 2005 | British Academy Film Award | Best Director | Capote | Nominated |
| 2005 | Directors Guild of America Awards | Best Director - Feature Film | Nominated | |
| 2014 | Producers Guild of America Awards | Outstanding Producer - Feature Film | Foxcatcher | Nominated |
| 2014 | Independent Spirit Award | Special Distinction Award | Won | |
| 2014 | Cannes Film Festival | Palme d'Or | Nominated | |
| Best Director | Won |
Miller was nominated for the Academy Award for Best Director for Capote (2005) and Foxcatcher (2014). He was also nominated for the David Lean Award for Direction at the BAFTAs in 2006.
He won the Best Director Award (French: Prix de la mise en scène) at the 2014 Cannes Film Festival for Foxcatcher, which was also part of the main competition for the Palme d'Or.
| Year | Feature Motion Picture | Academy Awards | BAFTAs | Golden Globes | |||
|---|---|---|---|---|---|---|---|
| Nominations | Wins | Nominations | Wins | Nominations | Wins | ||
| 2005 | Capote | 5 | 1 | 5 | 1 | 1 | 1 |
| 2011 | Moneyball | 6 | 3 | 4 | |||
| 2014 | Foxcatcher | 5 | 2 | 3 | |||
| Total | 16 | 1 | 10 | 1 | 8 | 1 | |
Directed Academy Award performances
Under Miller's direction, these actors have received Academy Award nominations for their performances in their respective roles.
| Year | Performer | Film | Result |
|---|---|---|---|
| Academy Award for Best Actor | |||
| 2006 | Philip Seymour Hoffman | Capote | Won |
| 2012 | Brad Pitt | Moneyball | Nominated |
| 2015 | Steve Carell | Foxcatcher | Nominated |
| Academy Award for Best Supporting Actor | |||
| 2012 | Jonah Hill | Moneyball | Nominated |
| 2015 | Mark Ruffalo | Foxcatcher | Nominated |
| Academy Award for Best Supporting Actress | |||
| 2006 | Catherine Keener | Capote | Nominated |
References
[edit]- ^ Dixon, Wheeler Winston (September 22, 2006). "Bennett Miller: an interview". Free Patents Online. Archived from the original on March 8, 2016. Retrieved January 15, 2015.
- ^ Keogan, Shonna (January 15, 2015). "Tisch Alums Get Five Oscar Nods". New York University.
- ^ Calamunci, Anthony (December 4, 2015). "In Conversation with Bennett Miller". Tisch Fast Forward Blog. Archived from the original on May 28, 2016. Retrieved May 25, 2016.
- ^ White, James (February 3, 2014). "Philip Seymour Hoffman Dies". Empire.
- ^ DISPATCH FROM AWARDS SEASON: The Indiewood Oscars — Four Specialty Films (Made For $35 Million Comb), IndieWire, Eugene Hernandez, March 2, 2006
- ^ "Bennett Miller: an interview". www.freepatentsonline.com. Archived from the original on 2015-01-20.
- ^ Dixon, Wheeler Winston (July 11, 2007). Film Talk: Directors at Work. Rutgers University Press. p. xii. ISBN 978-0-8135-4077-1.
- ^ "Capote (2005) - IMDb" – via www.imdb.com.
- ^ Archived at Ghostarchive and the Wayback Machine: "Bob Dylan - When the Deal Goes Down (Official Video)". YouTube.
- ^ Archived at Ghostarchive and the Wayback Machine: "Scarlett Johansson - Falling Down (Official Music Video)". YouTube.
- ^ Mike Fleming Jr. (April 12, 2010). "Finally, It's Batter Up For 'Moneyball'". Deadline.com. Retrieved 2011-07-02.
- ^ a b Harris, Mark (August 24, 2014). "Obsession With an Obsession: The Making of Foxcatcher". New York Magazine.
- ^ Travers, Peter (November 13, 2014). "'Foxcatcher' Movie Review". Rolling Stone.
- ^ "Foxcatcher (2014)". 14 November 2014 – via www.rottentomatoes.com.
- ^ "Oscars Nominations 2013 | Academy Awards Nominees 2013". Archived from the original on 2013-01-10. Retrieved 2014-01-16.
- ^ "Bennett Miller". IMDb.
- ^ Child, Ben (2016-03-03). "Bennett Miller and Tom Stoppard team up for A Christmas Carol adaptation". The Guardian. ISSN 0261-3077. Retrieved 2024-12-08.
- ^ Turkle, Sherry (August 11, 2018). "Opinion | There Will Never Be an Age of Artificial Intimacy". The New York Times.
- ^ a b Chen, Min (March 30, 2023). "'Layers Upon Layers of Fiction': Filmmaker Bennett Miller's A.I.-Generated Photos at Gagosian Urge Viewers to Imagine Our Technological Future". Artnet. Retrieved October 11, 2024.
- ^ BENNETT MILLER - Cinema, AI, Art and the Future of Creativity. Our Choices Art. February 6, 2025. Retrieved April 20, 2025 – via YouTube.
- ^ Phillips, Ian (May 5, 2015). "These oddly dark toilet paper commercials were made by the director of 'Foxcatcher' — and they're amazing". Business Insider.
External links
[edit]
Bennett Miller
View on Grokipediafrom Grokipedia
Early life and education
Family background and childhood
Bennett Miller was born on December 30, 1966, in New York City to an engineer father and a painter mother.[3] He grew up in the nearby suburb of Larchmont, New York, where the family resided during his formative years.[4] Miller has two brothers: an older brother, J.B. Miller, who later co-founded the production company Empire Entertainment, and a younger brother, Theodore Miller, who has worked in the film industry including as a producer.[4][5] The siblings shared close family dynamics, with J.B. and Bennett, along with local friends, bonding over an early fascination with filmmaking in the late 1970s and early 1980s, often experimenting with home movies and storytelling in their Westchester community.[4] This brotherly environment fostered Miller's initial curiosity about narrative forms, influenced by the artistic atmosphere at home, particularly his mother's work as a painter, which exposed him to creative expression from a young age.[3] During his childhood and adolescence in New York, Miller attended Hommocks Middle School in Larchmont, immersing himself in the local arts scene.[6] His early interests in storytelling and performance emerged prominently in high school, when he participated in the New York State Summer School of the Arts theater program in 1984.[6] There, as classmates, he formed a lifelong friendship with aspiring actor Philip Seymour Hoffman and writer Dan Futterman, collaborating on theater projects that ignited his passion for visual narratives and laid the groundwork for future professional collaborations.[7]Formal education and early influences
Miller's formal education began to take shape in his late teens, building on a foundation of familial encouragement toward creative pursuits. In 1984, at the age of 17, he attended the prestigious New York State Summer School of the Arts, a selective program focused on theater and performing arts held at SUNY Purchase. There, Miller not only honed his initial interest in dramatic storytelling but also formed a pivotal friendship with Philip Seymour Hoffman, whom he met during the intensive summer session; the two would later collaborate extensively in film. This experience introduced Miller to collaborative artistic environments and sparked his passion for narrative-driven performance.[8][6] Following high school, Miller enrolled at New York University's Tisch School of the Arts in the late 1980s, where he pursued studies in film and television through the Kanbar Institute of Film and Television program. At Tisch, he immersed himself in film classes alongside Hoffman and other emerging talents, gaining exposure to diverse cinematic techniques, including the raw, observational qualities of documentary filmmaking that would later define his style. Miller also co-founded the short-lived Bullstoi Ensemble theater company with Hoffman and actor Steven Schub, an experimental group that staged original works and explored improvisational and ensemble-based theater. These activities allowed him to experiment with directing short theatrical pieces and rudimentary film projects, blending stagecraft with visual storytelling during his time on campus.[9][10][11] Despite this promising start, Miller ultimately dropped out of NYU shortly before completing his degree, opting instead to channel his energies into independent creative endeavors outside the structured academic framework. He has reflected that formal schooling, while formative, felt constraining for his evolving vision, prompting him to seek hands-on opportunities in set design and small-scale productions. This decision marked a turning point, emphasizing self-directed learning and practical experimentation as key influences in his development as a filmmaker. The early exposure to documentary aesthetics through Tisch coursework and theater collaborations laid the groundwork for his distinctive approach to character-driven narratives, prioritizing authenticity and subtlety over conventional drama.[12][13][14]Career
Early career and documentaries
Bennett Miller's entry into filmmaking in the early 1990s was marked by modest, exploratory projects, including short documentary pieces and corporate industrial videos, which honed his skills in observational storytelling before his feature debut.[15] One such early effort involved an industrial video on homelessness, reflecting his initial forays into socially attuned nonfiction work amid limited resources.[16] These unassuming assignments, often self-directed with minimal crews, laid the groundwork for his distinctive approach to capturing authentic personalities, though specific titles from this period remain largely undocumented.[15] Miller's directorial debut came with the 1998 documentary The Cruise, a 76-minute black-and-white portrait of Timothy "Speed" Levitch, an eccentric Gray Line tour guide navigating Manhattan's landmarks while expounding on his philosophical worldview.[16] Production began tentatively in 1994 using Hi8 video, but Miller scrapped the initial footage for lacking intimacy and restarted in spring 1995 with a portable Sony VX-1000 MiniDV camera, which allowed for high-quality results transferable to 35mm film.[16] He shot the film entirely alone over the summer of 1996, capturing approximately 80 hours of material with a lavalier microphone and no additional crew, emphasizing a low-impact, immersive method to blend into Levitch's daily routines.[16] Self-financed and edited in his New York apartment with collaborator Michael Levine—who deferred a higher-paying job to assist—the project exemplified indie resourcefulness, relying on digital video's affordability to pioneer a new era of accessible documentary production.[16][15] As a young director in his late twenties, Miller faced significant hurdles, including near-abandonment of filmmaking altogether by 1995 due to repeated frustrations and financial strain.[17] The solo nature of the shoot demanded technical improvisation, such as managing audio and visuals single-handedly, while post-production involved paring a four-hour rough cut down to its essentials, a process Miller later described as "thoughtless" yet rigorously subjective.[16][15] Distribution proved equally challenging; the film was rejected by Sundance as "unwatchable" but gained traction after premiering at the 1998 Los Angeles Independent Film Festival, followed by screenings at the Toronto International Film Festival and Berlin International Film Festival, where it secured two awards.[18] Artisan Entertainment eventually acquired it for a limited theatrical release in October 1998.[15] Reception for The Cruise was largely positive, earning the Audience Award and Special Jury Award at the Newport Film Festival and praise for its innovative use of DV to liberate indie filmmaking from budgetary constraints.[16] Critics lauded its elegiac portraiture and Levitch's hyperbolic monologues, with The New York Times highlighting the guide's "strong opinions" and distorted city lore as a dizzying yet captivating lens on New York.[19] The film's success, which influenced subsequent DV adopters like Laura Poitras, underscored Miller's emerging stylistic development in observational cinema—favoring intimate, character-driven narratives over overt exposition—and sparked his interest in transitioning toward scripted features by blending documentary authenticity with dramatic structure.[16][17]Feature films
Bennett Miller directed his first feature film, Capote, in 2005, marking his transition from documentaries to narrative cinema.[20] This biographical drama, with a runtime of 114 minutes, was written by Dan Futterman and produced by William Vince, Michael Ohoven, and Douglas Urbanski. It grossed $50 million worldwide and holds an 89% approval rating on Rotten Tomatoes based on 194 reviews.[21][22] His second feature, Moneyball (2011), is a 133-minute sports drama written by Steven Zaillian and Aaron Sorkin, based on Michael Lewis's book, and produced by Michael De Luca, Rachael Horovitz, and Brad Pitt. The film earned $110.2 million globally and received a 94% Rotten Tomatoes score from 273 critics.[23][24] Miller's third feature, Foxcatcher (2014), for which he also served as producer, runs 134 minutes and is a biographical sports drama written by E. Max Frye and Dan Futterman, with producers including Megan Ellison, Jon Kilik, and Anthony Bregman. It generated $19.2 million in worldwide box office and an 88% Rotten Tomatoes rating from 250 reviews.[25]| Film | Release Year | Runtime | Director Role | Key Writers | Key Producers | Genre | Worldwide Box Office | Rotten Tomatoes Score |
|---|---|---|---|---|---|---|---|---|
| Capote | 2005 | 114 min | Director | Dan Futterman | William Vince, Michael Ohoven, Douglas Urbanski | Biographical drama | $50 million | 89% (194 reviews) |
| Moneyball | 2011 | 133 min | Director | Steven Zaillian, Aaron Sorkin | Michael De Luca, Rachael Horovitz, Brad Pitt | Sports drama | $110.2 million | 94% (273 reviews) |
| Foxcatcher | 2014 | 134 min | Director/Producer | E. Max Frye, Dan Futterman | Bennett Miller, Megan Ellison, Jon Kilik, Anthony Bregman | Biographical sports drama | $19.2 million | 88% (250 reviews) |
Commercials, music videos, and recent projects
In addition to his feature films, Bennett Miller has directed numerous high-profile commercials through the production company Smuggler, where his work emphasizes intimate, character-driven visual storytelling infused with observational wit and emotional honesty.[14] Notable campaigns include Mastercard's iconic "Priceless" series, which captured everyday human connections through subtle, poignant narratives, and American Express spots featuring designer Diane von Furstenberg, highlighting psychological depth in consumer experiences.[14] Other projects encompass the Quilted Northern "Designed to be Forgotten" campaign, a series of humorous yet insightful TV ads focusing on overlooked bathroom details to underscore product subtlety.[26] Miller extended his cinematic aesthetic to music videos, most prominently directing Bob Dylan's "When the Deal Goes Down" in 2006, starring Scarlett Johansson in a nostalgic, Super 8-style narrative evoking intimate home movies and tying into themes of longing and memory that echo his film work.[27] The video's black-and-white footage and dreamlike pacing complement Dylan's wistful lyrics, blending performance with atmospheric storytelling to create a reflective tone.[28] Among Miller's recent projects, an untitled documentary series announced around 2018 explores technology's profound societal impacts, drawing on interviews with experts in science, tech, humanities, and beyond to examine how digital advancements reshape human realities in both known and unforeseen ways.[29] Developed over several years of research and production, the multi-part work—titled A Better World in some reports—remains unreleased amid legal challenges but reflects Miller's deepening interest in innovation's ethical dimensions.[30] In 2024, Miller confirmed development of a new narrative feature film script centered on artificial intelligence, marking his first scripted project since Foxcatcher in 2014.[31] This untitled film promises to delve into AI's transformative effects on society, potentially entering production by 2026 or later.[32]Artistic pursuits beyond film
Exploration of AI in art
In 2022, Bennett Miller began a three-year experimentation with generative AI tools, starting with an invitation from OpenAI to beta-test an early version of DALL-E.[33] This process involved generating over a hundred thousand images, resulting in haunting and allusive visual works that blend surreal elements with photographic realism.[34] Miller described DALL-E as a novel medium with untapped potential, allowing him to explore the boundaries between human imagination and machine interpretation.[33] These experiments culminated in Miller's first major fine art exhibition at Gagosian in Paris, held from January 15 to March 8, 2025, at 4 rue de Ponthieu.[33] Titled simply Bennett Miller, the show featured sepia-tinted pigment prints selected from his AI-generated output, delving into themes of reality, perception, and the intersection of technology with human experience.[34] The works evoke a sense of dislocation and mystery, with motifs ranging from ethereal landscapes to enigmatic figures, highlighting AI's capacity to produce images that feel both familiar and otherworldly.[35] In a January 2025 interview with France 24, Miller discussed AI as a collaborative medium that expands artistic possibilities, stating, "You're born into one world and you grow old in another," to underscore the philosophical shifts technology induces in creativity and reality.[36] He emphasized how AI "gives space" to his creative process by handling technical generation, freeing him to focus on curation and interpretation.[36] This marked a deliberate transition from his acclaimed career in film directing—known for films like Capote and Foxcatcher—to fine art, where AI serves as a partner in probing existential questions about authorship and illusion.[36] Parallel to this artistic venture, Miller is developing an ongoing film project centered on AI's impact on human experience.[32]Upcoming works and collaborations
In July 2024, Bennett Miller announced his return to feature filmmaking after a decade-long hiatus, developing a narrative project centered on artificial intelligence.[32] The script, initially penned by Charlie Kaufman starting in October 2024, explores the profound effects of AI on human experience and creativity, drawing from Miller's ongoing engagement with generative technologies.[37][1] However, by October 2025, Kaufman had stepped away from the writing role, leaving the project in an active development phase with production potentially slated for 2026 or later.[38] Miller's collaboration with Gagosian Gallery continues to expand his AI-generated art series, following exhibitions in New York (2023) and Beverly Hills (2024), with a new presentation of sepia-toned prints opening in Paris from January 15 to March 8, 2025.[33] These works, produced through prompts that evoke historical photography and existential themes, signal an ongoing partnership aimed at further installations and public discussions on AI's role in visual storytelling.[34] A related event, including a conversation on AI and photography moderated by curator Antonio Somaini, is scheduled for February 6, 2025, at the École des Beaux-Arts in Paris.[39] Looking ahead, Miller's work points toward multimedia endeavors that integrate cinematic techniques with AI-driven visual art, potentially culminating in hybrid projects that challenge traditional boundaries between film and contemporary installation.[40] This evolution builds on the narrative depth of his past directorial successes, such as Capote and Foxcatcher, to interrogate technology's reshaping of human narratives.[1]Personal life
Family and relationships
Bennett Miller has two brothers, J.B. Miller and Theodore "Teddy" Miller, both of whom are film producers who have worked closely with him on various projects.[41][42] The brothers grew up together in New York City, sharing an early interest in filmmaking that began in their teens.[41] In his personal life, Miller has maintained a low profile regarding romantic relationships, but he was publicly linked to fashion designer Ashley Olsen from early 2014 to 2015.[43] The couple was spotted together in New York City, including at events like the Oscars, before their relationship quietly ended.[44] From 2016 to 2017, Miller dated actress Sienna Miller, whom he had directed in Foxcatcher; they were seen attending tennis matches such as the US Open and Wimbledon during their time together.[45][46] Miller shared a close, decades-long friendship with the late actor Philip Seymour Hoffman, whom he first met at age 16 during a New York state theater program in the early 1980s.[47] Their bond, forged through shared school experiences and mutual artistic pursuits, extended into professional collaboration, notably when Miller cast Hoffman as Truman Capote in his 2005 directorial debut Capote.[48] Hoffman's sudden death from a drug overdose on February 2, 2014, had a profound personal impact on Miller, who became visibly emotional when discussing his friend during a 2014 Cannes Film Festival appearance, stating, "It makes me emotional."[49]Privacy and personal interests
Bennett Miller has maintained a notably private persona throughout his career, often describing himself as an introvert who prefers to avoid the spotlight of frequent media engagements. Following the release of his 2014 film Foxcatcher, Miller largely stepped back from promotional interviews and public appearances, contributing to perceptions of his reclusive nature amid long intervals between projects, which he attributed to post-production exhaustion and a deliberate need for personal recharge. This reticence extended until 2025, when discussions surrounding his AI-generated art prompted a series of interviews exploring broader philosophical themes. In these recent conversations, Miller revealed deep personal interests in technology and philosophy, particularly the intersection of artificial intelligence with human creativity. He described his three-year engagement with AI tools like DALL·E—gaining early access through OpenAI's Sam Altman—as a profound exploration that challenged traditional notions of authorship and artistic intent, viewing AI not as a replacement for human expression but as a collaborative medium that accelerates intuitive idea generation. Miller's fascination with these topics traces back to around 2015, when he began a documentary project interviewing figures like Altman and playwright Tom Stoppard on technology's societal impacts, though legal hurdles stalled its completion and redirected his focus toward artistic experimentation. He has articulated a philosophical perspective on technological evolution, noting, "You're born into one world and you grow old in another," to underscore the disorienting yet generative shifts AI introduces to creative practices. Miller's lifestyle reflects a commitment to intellectual pursuits over the social demands of Hollywood, as he continues to live and work in New York City, distancing himself from the industry's epicenter in Los Angeles. This choice aligns with his emphasis on solitary reflection and experimentation, fostering an environment conducive to pondering ethical questions around technology's role in art without the distractions of celebrity culture. His family's privacy further motivates this low-profile approach, shielding personal matters from public scrutiny.Filmography
Feature films
Bennett Miller directed his first feature film, Capote, in 2005, marking his transition from documentaries to narrative cinema.[20] This biographical drama, with a runtime of 114 minutes, was written by Dan Futterman and produced by William Vince, Michael Ohoven, and Douglas Urbanski. It grossed $50 million worldwide and holds an 89% approval rating on Rotten Tomatoes based on 194 reviews.[21][22] His second feature, Moneyball (2011), is a 133-minute sports drama written by Steven Zaillian and Aaron Sorkin, based on Michael Lewis's book, and produced by Michael De Luca, Rachael Horovitz, and Brad Pitt. The film earned $110.2 million globally and received a 94% Rotten Tomatoes score from 273 critics.[23][24] Miller's third feature, Foxcatcher (2014), for which he also served as producer, runs 134 minutes and is a biographical sports drama written by E. Max Frye and Dan Futterman, with producers including Megan Ellison, Jon Kilik, and Anthony Bregman. It generated $19.2 million in worldwide box office and an 88% Rotten Tomatoes rating from 250 reviews.[25]| Film | Release Year | Runtime | Director Role | Key Writers | Key Producers | Genre | Worldwide Box Office | Rotten Tomatoes Score |
|---|---|---|---|---|---|---|---|---|
| Capote | 2005 | 114 min | Director | Dan Futterman | William Vince, Michael Ohoven, Douglas Urbanski | Biographical drama | $50 million | 89% (194 reviews) |
| Moneyball | 2011 | 133 min | Director | Steven Zaillian, Aaron Sorkin | Michael De Luca, Rachael Horovitz, Brad Pitt | Sports drama | $110.2 million | 94% (273 reviews) |
| Foxcatcher | 2014 | 134 min | Director/Producer | E. Max Frye, Dan Futterman | Bennett Miller, Megan Ellison, Jon Kilik, Anthony Bregman | Biographical sports drama | $19.2 million | 88% (250 reviews) |