On Philip Seymour Hoffman, And His Many Appearances So many of the actor's roles dealt in appearances and self-doubt. Perhaps you don't get that good at communicating insecurity without knowing a little something about those things.
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On Philip Seymour Hoffman, And His Many Appearances

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On Philip Seymour Hoffman, And His Many Appearances

On Philip Seymour Hoffman, And His Many Appearances

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AUDIE CORNISH, HOST:

Finally this hour, we have an appreciation of Oscar-winning actor Philip Seymour Hoffman. He was found dead yesterday in his New York apartment, just 46 years old and at the peak of his craft. Critic Bob Mondello says Hoffman was the sort of everyman audiences thought they knew, even when they didn't.

BOB MONDELLO, BYLINE: I'm struck in retrospect by how often the lines that stick with me from Philip Seymour Hoffman's performances are about appearances. So many of his characters talk about being not really attractive or impressive. The rock critic he played in "Almost Famous," for instance, giving advice to a younger writer in whom he saw flashes of himself.

(SOUNDBITE OF MOVIE, "ALMOST FAMOUS")

MONDELLO: Off screen, Hoffman did have a cool factor. No actor of his generation was more respected for getting under the skin of characters who were flawed, lonely, humiliated, and who consequently reminded audiences of themselves - from his Willy Loman, in "Death of a Salesman" on Broadway; to his furiously aggrieved CIA agent, in "Charlie Wilson's War."

(SOUNDBITE OF MOVIE, "CHARLIE WILSON'S WAR")

MONDELLO: Coarse, yes, and rumpled; shaggy; a lumbering bear of a man. Hoffman didn't look like anyone's idea of a movie star - doughy and soft-featured, even when he managed to lose weight for a part. He complained to an interviewer once that the press never described him in ways that made him sound attractive.

I'm waiting, he said, for somebody to say I'm at least cute, but nobody has. In "Capote," he transformed himself - voice thin and high, gestures fey. But as showy as those changes were, Hoffman was still playing a man all too aware that he would never fit in.

(SOUNDBITE OF MOVIE, "CAPOTE")

MONDELLO: We were wrong about Philip Seymour Hoffman, too. Or at least, I was. Somehow, I'd never registered that he had a substance abuse problem, though as I look at what's been written about him in the last day or so, I'm suddenly aware that he made no secret of it. But he'd founded a theater company, directed plays, and appeared in more than 50 movies in 23 years, getting so persuasively inside the heads of characters who were variously high-maintenance, high-functioning and just plain high, that I assumed he himself must have been centered and sober.

And perhaps he was. Or perhaps you don't get that good at communicating insecurity and self-doubt without knowing a little something about those things. All actors observe and absorb, and use things they see in others. Hoffman's performances, though, didn't feel observed. They felt lived. And in my head even now, I'm conflating them with him; say, the character he played in "Magnolia."

(SOUNDBITE OF MOVIE, "MAGNOLIA")

MONDELLO: Which makes me wish I could tell him: Mr. Hoffman, you are so much more than cute. All any of us can do now, though, is say it to the screen. I'm Bob Mondello.

(SOUNDBITE OF MOVIE, "MAGNOLIA")

: (As Phil Parma) See, this is the scene of the movie where you help me out.

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