[movies] Michael Mann Talks Directing Adam Driver for ‘Ferrari,’ ‘Heat 2’ Plans … ‘Recreating reality is a trademark of Mann’s movies. When he made “The Insider,” the 1999 film about “60 Minutes” buckling under to the tobacco industry, Mann found a janitor to photograph the “60 Minutes” office. “The set we built was an exact duplicate,” he says. Mann is always on a quest for the meticulously authentic experience. He describes how he asks himself some basic questions when he is building a movie universe. “What is this world?” he wonders. “What does it feel like? And what do I have to do to bring an audience to dream it?” He adds, “I know what I want when I go to a movie: I want to be there. I want to be in a wide-awake dream for a couple of hours.”’

[movies] Revisiting the L.A. of ‘Heat’ 24 Years Later with the Iconic Crime Drama’s Location Manager … Visiting the locations of Michael Mann’s Heat in 2019. ‘Though the view from the house that was eventually chosen had an incredible, panoramic view, Balton felt it didn’t seem authentic. “I said to him, ‘You know, Michael, it’s L.A. Not everybody lives in an incredible apartment with a great view. I mean, you know that, right?’ and he looked at me and said, ‘Yeah, I know that. Now go out and find what I told you to find,’” she said, laughing.’

[movies] 31 Things We Learned from Michael Mann’s ‘Manhunter’ Commentary … ‘Paranoid schizophrenics often look for messages in between the lines of signals, so that’s why Dollarhyde’s TV has the vertical hold out of sync. “It may be a completely meaningless detail to discover.”’

[movies] Michael Mann’s Quarantine Diary: What’s Next for Directors? … Director Michael Mann on his L.A. quarantine. ‘No matter how things go back together, life is not going to be the same. When was the last time the entire globe was living spontaneously? Where everybody was conscious of the circumstances affecting everybody on the planet, more or less at the same time? The answer is never. The closest you get is 1968, with the massive upheavals going on – whether they were in Prague, or Mexico City, Chicago at the Democratic Convention, Paris in May and June, London on October 27 outside the U.S. Embassy – because of global politics, the youth revolution, the anti-war movement. There was a sense of unified awareness. The difference right now is that it’s all happening in real time. It’s like a science-fiction movie, you know, where there’s a threat to the Planet Vega! You get to Planet Vega, and everybody there is all tuned in to the same channel simultaneously. Well, that’s us now; we’re all on the same channel simultaneously.’

[movies] I’m Taking Six Months to Rewatch ‘Heat,’ the Holy Grail of Guy Movies … ‘Aside from the sheer force of the marquee names, you’ve got an impressive and often surprising ensemble of committed weirdos – Val Kilmer, Tom Sizemore, Jon Voight and even Hank Azaria, plus cult favorites Danny Trejo, Henry Rollins and Tom Noonan. The film elevates the classic cop-and-robbers dynamic into rich and atmospheric opera, achieving the polished legitimacy of “serious” art. There’s pulse-pounding action, but also great attention paid to how men abandon or fail the women in their lives because of an obsessive approach to work and personal masculine ethic. It’s based on a real-life burglar and detective; its mood is immersive, lush, almost dreamy. Heat captures the city of Los Angeles in unforgettable frames, for an epic runtime of 170 minutes.’

[movies] Mann – Magic Act … a tribute compilation to the movies of Michael Mann.

[movies] Crime in Counterpoint: Michael Mann on his Restored Masterpiece Heat … ‘I’ve got a theory, which probably holds no water whatsoever, about why there’s so much genre content in media – meaning police stories, crime stories, so much of that. It’s because of the nature of the medium. Detectives detecting do what writers and directors do in the inverse: We have an idea for a character, and our character has origins that we invent. Those origins become an engine that causes him to do certain activities and express himself and have different attitudes based on who the character is. And then those activities have consequences and leave behind certain effects. But a detective works all the way at the other end. He sees the remains of a crime – the leavings. He starts to work backwards to what happened. What was the activity? And if this was the activity, what could I discover about the motivations of the person whose identity I do not know? And how can those motivations allow me to predict his future activity, so that I can intercept him and find out who he is?’

[movies] Michael Mann Looks Back on His Career … Michael Mann interviewed… ‘Because, though people characterize Heat as a crime thriller, that’s the last thing it is, at least in my mind. It’s a very formally structured drama, and its structure is a character-driven dialectic of Hanna [Al Pacino’s character] and McCauley [Robert De Niro’s character]. Its plot is driven by a crime story and a police story to a certain point, and then it breaks into a kind of chorus. In that chorus, we see slices of these different people’s lives. The fuguelike nature of the narrative is what was so exciting to me. When you’re with McCauley, you are subjectively immersed in his life, and you want what he wants, his expectations, his ambitions – his heart is your heart. You want him to get away. When you’re with Hanna, you want him to intercept McCauley, and you want him to achieve what’s driving him. That the two of them know and like each other while they’re headed for a lethal collision, and that they’re two of the only people who are like each other in the invented universe of this movie, that’s the construction. It’s brutally rigid construction.’

[movies] 44 Of The Most Breathtaking Shots In Michael Mann Movies …

[movies] Michael Mann Interview … the director of Public Enemies interviewed in the Guardian … ‘Public Enemies is the first movie to attempt to disentangle the Dillinger myth from the facts – until now every other filmmaker has, so to speak, printed the legend – and one wonders, in retrospect, why it took Mann this long to get around to it, so well matched are the gangster’s story and the themes and concerns that have animated Mann throughout his career.’

[film] Don’t Let Yourself Get Attached To Anything — a lookback at Michael Mann’s Heat … ‘McCauley is perhaps the part that De Niro played that is closest to the actor’s own personality: a screen, a cipher, depthless, icily professional, lacking in reflexivity, stripped down to pure Method (‘I do what I do best’). When McCauley meets the love interest, Eadey, he is reading a book on metals.’ [via Blackbeltjones Links]

[film] Michael Mann’s Dark World — Brief BBC News profile of the director of Collateral … ‘Collateral displays all the classic Mann themes – the exploration of the male psyche, the blurred lines between good and evil and the disaffection that comes from living in the big city.’

[advert] Wheels Within Wheels — brief commentary on the Mercedes car advert …



‘…the Mercedes branding of Lucky Star is subtle, verging on imperceptible. Those who watch the trailer and are eager to find out more will unearth not a high-octane thriller, but an invitation to their nearest Mercedes showroom. Whether Mann’s glacé camerawork will then be enough to sustain that interest once they notice the car’s £92,000 price tag is moot. For Mercedes, it is evidently a risk worth taking. The prize, after all, is precious indeed: the neutering of our scepticism when confronted with advertising.’

[movies] Interview with Jeffery Wigand. This is the man who blew the whistle on Big Tobbacco and who’s story recently formed the inspiration for Michael Mann’s film The Insider.