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Mann among men
Michael Mann has a modus operandi as distinctive as any master criminal He a hard boiled sensualist: half muckraker and half fabulist. If he had been born 100 years ago, he have followed Jack London path, not just into bare knuckled journalism but also into transcendent evocations of the beautiful and the wild.
Talking to Mann is as surprising as it is stimulating. His unfettered intuition and exquisite awareness compel your rapt attention. It as if you tuning your radio dial to a brainy, original talk show host on a faint college town station you strain not to miss his special code words and hard won observations. You feel Mann gets extraordinary commitments from actors like James Caan in (1981) or Tom Noonan and Brian Cox in (1986) or Daniel Day Lewis in Last of the Mohicans (1992) because he catches them up in his enthrallment with his material.
When I listen to tapes of the marathon interview sessions I held with him five years apart, one before the release of and the other before the release of they sound as if they halves of an ongoing conversation, whether he discussing his past or the projects then at hand. He grew up near Patch, one of the roughest areas of Chicago. ( was very aggressive, it was very masculine and it was very heterosexual. He still has a flat A accent. my neighborhood, he once told me, who carried around a camera would be considered a By his count, only 13 of his high school graduating class of 365 went on to college, Mann included. It was at the University of Wisconsin in Madison, where he majored in English, that movies first got their hooks into him. Pabst coruscating study of urban vice, Joyless Street (1925). By the time he graduated from college, Mann knew he wanted to make movies. But he didn like the curricula of most American film schools: was like vocational training. You not supposed to do films; you supposed to do a show reel. in film and did what he thought he should do two and a half minute, fully symbolic statements on the nature of reality that shame you 10 years later. Mann stayed on in London for about six years, filming documentaries and TV commercials and working as an assistant production supervisor for Twentieth Century Fox. Having been part of the Madison campus radical days, he began to feel the contradictions of his position: would make money on commercials and try to put it to use on my own projects. Some material I filmed on the Paris student riots wound up on NBC Tuesday because NBC own people couldn get close to the radical leaders. You never resolve these contradictions. He learned how to write by toiling on and Hutch structure,replica van cleef arpels clover necklace, nothing beats the melodrama of episodic TV. He graduated to what he calls Rolls Royce of TV shows, Story, and created the hit series before embarking on his 1979 movie directing debut, Jericho Mile a prison film unlike any other.
It was made for television, but on Jericho Mile, Mann crystallized all his trademark techniques. First he absorbed whatever information he could find about prison subcultures. He tapped into the essence of big house pride in the sports pages of the prison newspapers: seemed to be doing great, probably because if you criticized anyone in an article your ass would be grass. Then he put that data at the service of his artifice. The story centered on a convict (Peter Strauss) who based his integrity on becoming a world class runner. Mann was able to get around the claustrophobia built into jail house movies by placing the bulk of the action (filmed at Folsom Prison) in the exercise yard. Each racial and ethnic group had its own turf blacks dominating the weight lifting area, Hispanics the handball court. Add a music track that spun off from for the Devil and Expectations and you had a movie that externalized the prisoners state of mind and conjured up what Mann called Technicolor. likes to talk about a movie coding a swirling double helix of image and sound, character and story, fantasy and fact. His first theatrical feature, floats on a neon lit Styx into the heart of the underworld. The camera descends in a downpour to nighttime Chicago, where, operating with a precision that suggests telepathy, the thief (Caan) guides a drill that seems to liquefy as it chews into a vault containing diamonds. In this asphalt Hades the heist technology is out of Wars and the underworld bureaucracy is Byzantine. When a don persuades Caan to work full time on mob sponsored heists, the thief hopes to make some big scores and ease off. Instead, the don, in his own icy phrase, ends up the paper on the thief life. What better metaphor could there be for the constrictions of modern America than having an organization the government, a credit card company or the mob the paper on you?
Mann perennial attempt to infuse elemental tales like with allegory and atmosphere led him far astray in Keep (1983), a vampire movie set in Nazi occupied Romania. But again and again, he broken through to the mass audience in the medium that masters of moviemaking usually abjure: the weekly TV series. In the mid when asked to produce an MTV style cop show, Mann exploited the breakthroughs he achieved in Jericho Mile and and came up with the phenomenon of Vice. With avant garde vehicles and clothing, pastel backdrops to bloodletting and guest appearances by hard news celebrities like G. Gordon Liddy as well as rock icons like Glenn Frye, Mann turned the urban schizophrenia of the into an influential style. (To Mann,van cleef & arpels copy necklace, of course, this style was primarily expression of place and content, the milieu the guys are moving through. The series used its soundtrack the way urbanites use Walkmans and car radios either to articulate surrounding chaos or to provide a defiant counterpoint.
Returning to the movies, Mann audaciously adapted Thomas Harris first Hannibal Lecter novel, Dragon. In he soldered an FBI search for a serial killer to an eerie exploration of the murderer mind and awkward elements of family melodrama. When Mann follows the point of view of the killer as he moves from a van to a bedroom, where he shines a light in the face of a sleeping wife and mother, the director (who also served as a camera operator) puts fear and loathing in your belly. He twists the knot further when the FBI manhunter retraces the killer steps and analyzes the bloodstains on the walls and floor. Mann conveys all the horror of a serial killer using murder as a means of aesthetic expression. And Brian Cox is a sardonic, chilling Lecter he talks with terrifying blandness and looks like a bleached Bela Lugosi.
Simultaneously, Mann set up another groundbreaking TV series, Story (1986) a show about cars with fins and cops with teeth. In Mann words, he a guy with a sense of justice: has his own cosmic sense of right and wrong. And that makes him a hell of a cop in 1963. It doesn make him one hell of a cop in or In the pilot (the series high point), the trail of a dangerous new criminal crew leads Farina to a cocky Irish kid (David Caruso) who happens to be the son of the hero surrogate parents. It a headlong story of neighborhood connections and betrayals done in an explosive mix of styles: The serious guys wear fedoras and the punks go out in ducktail haircuts; Del Shannon melds with Johnny Mathis on the sound track; age old Sicilian traditions unravel in a suburban estate fitted out with space age decor. The show V 8 engine pickup powered a vision of a hyper masculine culture the virile pop Zeitgeist of Mann adolescence on its eve of destruction.
Nothing Mann has done has lacked intrigue, even when he returned to familiar territory in the ultra contemporary (1995). This cops vs. crooks epic pitted an untouchable target, master thief Robert De Niro, against an irresistible force,replica van cleef and arpels necklace alhambra, police lieutenant Al Pacino. It suggested new arenas of stressed out yuppie fantasy. De Niro is prudent and code abiding, Pacino manic and instinctive. They play out a macho version of sense and sensibility in a vicious, morally booby trapped universe. Ultimately, these doppel heroes are too limited to propel a near three hour saga, and their domestic scenes are as stilted as the ones in Still, the movie does capture a fresh urban fatalism. In exhilaration is out. The freedom that high stakes crime can buy has little to do with esprit; it about practicing an illicit craft and living according to your own rules, which can be even more restrictive than society For the characters, excitement comes from seeing a calculation work or an educated guess pay off. For the spectators, it comes from catastrophe.
In 1992, Mann voluptuous wide screen retelling of that fictional war horse of the French and Indian War, Last of the Mohicans, proved the breadth of his vitality and talent. Once again, Mann immersed himself in data, drawing not just on James Fenimore Cooper original 1826 novel and on Philip Dunne script for the 1936 Randolph Scott version, but also on the diaries of the comte de Bougainville and histories and essays by Francis Parkman and Simon Schama. Most important, he enlisted Daniel Day Lewis to play Nathaniel Poe (aka Hawkeye),van cleef arpels copy alhambra necklace, the Indian raised white scout who tries to save the English maiden he loves from the Huron massacre of the British retreating from Fort William Henry. Using virtuoso guerrilla and survival skills for his own ethical purposes, he the noblest expression yet of the Michael Mann hero. Last of the Mohicans reinvents the legend of the honest, all capable frontiersman in a way that honors whites and Indians alike. It no more yet no less moving than, say, Mr. Lincoln, and it leaves you guessing at what wonderment the filmmaker will create for us next.
Michael Mann has a modus operandi as distinctive as any master criminal He a hard boiled sensualist: half muckraker and half fabulist. If he had been born 100 years ago, he have followed Jack London path, not just into bare knuckled journalism but also into transcendent evocations of the beautiful and the wild.
Talking to Mann is as surprising as it is stimulating. His unfettered intuition and exquisite awareness compel your rapt attention. It as if you tuning your radio dial to a brainy, original talk show host on a faint college town station you strain not to miss his special code words and hard won observations. You feel Mann gets extraordinary commitments from actors like James Caan in (1981) or Tom Noonan and Brian Cox in (1986) or Daniel Day Lewis in Last of the Mohicans (1992) because he catches them up in his enthrallment with his material.
When I listen to tapes of the marathon interview sessions I held with him five years apart, one before the release of and the other before the release of they sound as if they halves of an ongoing conversation, whether he discussing his past or the projects then at hand. He grew up near Patch, one of the roughest areas of Chicago. ( was very aggressive, it was very masculine and it was very heterosexual. He still has a flat A accent. my neighborhood, he once told me, who carried around a camera would be considered a By his count, only 13 of his high school graduating class of 365 went on to college, Mann included. It was at the University of Wisconsin in Madison, where he majored in English, that movies first got their hooks into him. Pabst coruscating study of urban vice, Joyless Street (1925). By the time he graduated from college, Mann knew he wanted to make movies. But he didn like the curricula of most American film schools: was like vocational training. You not supposed to do films; you supposed to do a show reel. in film and did what he thought he should do two and a half minute, fully symbolic statements on the nature of reality that shame you 10 years later. Mann stayed on in London for about six years, filming documentaries and TV commercials and working as an assistant production supervisor for Twentieth Century Fox. Having been part of the Madison campus radical days, he began to feel the contradictions of his position: would make money on commercials and try to put it to use on my own projects. Some material I filmed on the Paris student riots wound up on NBC Tuesday because NBC own people couldn get close to the radical leaders. You never resolve these contradictions. He learned how to write by toiling on and Hutch structure,replica van cleef arpels clover necklace, nothing beats the melodrama of episodic TV. He graduated to what he calls Rolls Royce of TV shows, Story, and created the hit series before embarking on his 1979 movie directing debut, Jericho Mile a prison film unlike any other.
It was made for television, but on Jericho Mile, Mann crystallized all his trademark techniques. First he absorbed whatever information he could find about prison subcultures. He tapped into the essence of big house pride in the sports pages of the prison newspapers: seemed to be doing great, probably because if you criticized anyone in an article your ass would be grass. Then he put that data at the service of his artifice. The story centered on a convict (Peter Strauss) who based his integrity on becoming a world class runner. Mann was able to get around the claustrophobia built into jail house movies by placing the bulk of the action (filmed at Folsom Prison) in the exercise yard. Each racial and ethnic group had its own turf blacks dominating the weight lifting area, Hispanics the handball court. Add a music track that spun off from for the Devil and Expectations and you had a movie that externalized the prisoners state of mind and conjured up what Mann called Technicolor. likes to talk about a movie coding a swirling double helix of image and sound, character and story, fantasy and fact. His first theatrical feature, floats on a neon lit Styx into the heart of the underworld. The camera descends in a downpour to nighttime Chicago, where, operating with a precision that suggests telepathy, the thief (Caan) guides a drill that seems to liquefy as it chews into a vault containing diamonds. In this asphalt Hades the heist technology is out of Wars and the underworld bureaucracy is Byzantine. When a don persuades Caan to work full time on mob sponsored heists, the thief hopes to make some big scores and ease off. Instead, the don, in his own icy phrase, ends up the paper on the thief life. What better metaphor could there be for the constrictions of modern America than having an organization the government, a credit card company or the mob the paper on you?
Mann perennial attempt to infuse elemental tales like with allegory and atmosphere led him far astray in Keep (1983), a vampire movie set in Nazi occupied Romania. But again and again, he broken through to the mass audience in the medium that masters of moviemaking usually abjure: the weekly TV series. In the mid when asked to produce an MTV style cop show, Mann exploited the breakthroughs he achieved in Jericho Mile and and came up with the phenomenon of Vice. With avant garde vehicles and clothing, pastel backdrops to bloodletting and guest appearances by hard news celebrities like G. Gordon Liddy as well as rock icons like Glenn Frye, Mann turned the urban schizophrenia of the into an influential style. (To Mann,van cleef & arpels copy necklace, of course, this style was primarily expression of place and content, the milieu the guys are moving through. The series used its soundtrack the way urbanites use Walkmans and car radios either to articulate surrounding chaos or to provide a defiant counterpoint.
Returning to the movies, Mann audaciously adapted Thomas Harris first Hannibal Lecter novel, Dragon. In he soldered an FBI search for a serial killer to an eerie exploration of the murderer mind and awkward elements of family melodrama. When Mann follows the point of view of the killer as he moves from a van to a bedroom, where he shines a light in the face of a sleeping wife and mother, the director (who also served as a camera operator) puts fear and loathing in your belly. He twists the knot further when the FBI manhunter retraces the killer steps and analyzes the bloodstains on the walls and floor. Mann conveys all the horror of a serial killer using murder as a means of aesthetic expression. And Brian Cox is a sardonic, chilling Lecter he talks with terrifying blandness and looks like a bleached Bela Lugosi.
Simultaneously, Mann set up another groundbreaking TV series, Story (1986) a show about cars with fins and cops with teeth. In Mann words, he a guy with a sense of justice: has his own cosmic sense of right and wrong. And that makes him a hell of a cop in 1963. It doesn make him one hell of a cop in or In the pilot (the series high point), the trail of a dangerous new criminal crew leads Farina to a cocky Irish kid (David Caruso) who happens to be the son of the hero surrogate parents. It a headlong story of neighborhood connections and betrayals done in an explosive mix of styles: The serious guys wear fedoras and the punks go out in ducktail haircuts; Del Shannon melds with Johnny Mathis on the sound track; age old Sicilian traditions unravel in a suburban estate fitted out with space age decor. The show V 8 engine pickup powered a vision of a hyper masculine culture the virile pop Zeitgeist of Mann adolescence on its eve of destruction.
Nothing Mann has done has lacked intrigue, even when he returned to familiar territory in the ultra contemporary (1995). This cops vs. crooks epic pitted an untouchable target, master thief Robert De Niro, against an irresistible force,replica van cleef and arpels necklace alhambra, police lieutenant Al Pacino. It suggested new arenas of stressed out yuppie fantasy. De Niro is prudent and code abiding, Pacino manic and instinctive. They play out a macho version of sense and sensibility in a vicious, morally booby trapped universe. Ultimately, these doppel heroes are too limited to propel a near three hour saga, and their domestic scenes are as stilted as the ones in Still, the movie does capture a fresh urban fatalism. In exhilaration is out. The freedom that high stakes crime can buy has little to do with esprit; it about practicing an illicit craft and living according to your own rules, which can be even more restrictive than society For the characters, excitement comes from seeing a calculation work or an educated guess pay off. For the spectators, it comes from catastrophe.
In 1992, Mann voluptuous wide screen retelling of that fictional war horse of the French and Indian War, Last of the Mohicans, proved the breadth of his vitality and talent. Once again, Mann immersed himself in data, drawing not just on James Fenimore Cooper original 1826 novel and on Philip Dunne script for the 1936 Randolph Scott version, but also on the diaries of the comte de Bougainville and histories and essays by Francis Parkman and Simon Schama. Most important, he enlisted Daniel Day Lewis to play Nathaniel Poe (aka Hawkeye),van cleef arpels copy alhambra necklace, the Indian raised white scout who tries to save the English maiden he loves from the Huron massacre of the British retreating from Fort William Henry. Using virtuoso guerrilla and survival skills for his own ethical purposes, he the noblest expression yet of the Michael Mann hero. Last of the Mohicans reinvents the legend of the honest, all capable frontiersman in a way that honors whites and Indians alike. It no more yet no less moving than, say, Mr. Lincoln, and it leaves you guessing at what wonderment the filmmaker will create for us next.
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