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Miami Vice might not be “top tier” Michael Mann but I’ve always felt that this sequence here- the D.E.A. Raid- is one of the strongest sequences of Mann’s career & just utterly captivating filmmaking. No one shoots nighttime like Mann & no one uses sound like Mann when it...

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It’s Michael Mann’s 83rd birthday. Get your shit together. Act accordingly. Turn on The Insider, damn it. For so many other directors, The Insider would be their best film. For Mann, it’s just one of his best- one of many great films. And it’s so incredibly, painfully relevant.
1:54

It’s Michael Mann’s 83rd birthday. Get your shit together. Act accordingly. Turn on The Insider, damn it. For so many other directors, The Insider would be their best film. For Mann, it’s just one of his best- one of many great films. And it’s so incredibly, painfully relevant.

Cinema Tweets

31,467 Aufrufe • vor 6 Monaten

One of the cooler facts is that Michael Mann had a habit of hiring very good armorers and trainers for all of his actors. The Mozambique Drill was actually more famously shown here by one of the masters of it on Miami Vice.
0:36

One of the cooler facts is that Michael Mann had a habit of hiring very good armorers and trainers for all of his actors. The Mozambique Drill was actually more famously shown here by one of the masters of it on Miami Vice.

Doc Strangelove

312,497 Aufrufe • vor 3 Monaten

I like Michael Mann’s Ferrari a lot. I think this is quietly one of the better films of 2023. Yes, it’s a slow burn, but it burns well considering the attention to detail given by Mann & the performance from Adam Driver, who’s in nearly every scene. It’s a mature, redeemable film
0:36

I like Michael Mann’s Ferrari a lot. I think this is quietly one of the better films of 2023. Yes, it’s a slow burn, but it burns well considering the attention to detail given by Mann & the performance from Adam Driver, who’s in nearly every scene. It’s a mature, redeemable film

Cinema Tweets

34,609 Aufrufe • vor 8 Monaten

Michael Mann’s Miami Vice turns 20 today. I saw this film in theaters with my dad at such a young age & didn’t initially care for it because of the story’s pacing. But as I’ve gotten older, I’ve learned to really embrace this film for its finer qualities- color, sound, just overall tone & vibe. It’s some of the sharpest direction of Mann’s career. This guy is one hell of a director.
2:07

Michael Mann’s Miami Vice turns 20 today. I saw this film in theaters with my dad at such a young age & didn’t initially care for it because of the story’s pacing. But as I’ve gotten older, I’ve learned to really embrace this film for its finer qualities- color, sound, just overall tone & vibe. It’s some of the sharpest direction of Mann’s career. This guy is one hell of a director.

Cinema Tweets

28,056 Aufrufe • vor 24 Tagen

I demand to know who are the people that don’t like Ferrari? Reveal yourselves. I need to know the reasons people don’t like this film- I love it. I thought Ferrari was one of the better films of 2023 & a solid Michael Mann movie. Adam Driver is a big reason why. He’s great here.
0:35

I demand to know who are the people that don’t like Ferrari? Reveal yourselves. I need to know the reasons people don’t like this film- I love it. I thought Ferrari was one of the better films of 2023 & a solid Michael Mann movie. Adam Driver is a big reason why. He’s great here.

Cinema Tweets

15,082 Aufrufe • vor 6 Monaten

"We've got an upcoming election here...We have a candidate on the one side who denies that climate change is real, calls it a hoax. We've got a candidate on the other side who recognizes that this is one of the great threats we face." —Prof Michael E. Mann
0:33

"We've got an upcoming election here...We have a candidate on the one side who denies that climate change is real, calls it a hoax. We've got a candidate on the other side who recognizes that this is one of the great threats we face." —Prof Michael E. Mann

Climate Power

16,568 Aufrufe • vor 1 Jahr

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.
2:19

Heat is one of the best films ever. Directed by Michael Mann, the 1995 crime classic has a truly “one-of-a-kind” moment: Al Pacino and Robert De Niro in the same scene for the first time. To make it happen, Mann actually created the *same film* twice. It’s an awesome story of creative dedication… …that begins in the mid-1970s, when Mann met a Chicago police detective named Chuck Adamson. Adamson was retired and consulting on Hollywood projects. He told Mann about his years chasing a bank robber named Neil McCauley, including a time they shared a coffee at a diner. In 1979, Mann wrote a 180-page script called “Heat” about Adamson and McCauley. After success producing the TV show “Miami Vice”, Mann was given an opportunity to make his script. However, it ended up as a low budget direct-to-TV film called “LA Takedown”. The film took ~3 weeks to make and — while reviews were OK — Mann’s vision was unfulfilled. After directing the critical and commercial hit “The Last of the Mohicans” in 1992, Mann could basically do any new project he wanted. And he chose to redo “LA Takedown”, but this time with a $60m budget and the biggest stars (Pacino, De Niro, Val Kilmer, Ashley Judd, Tom Sizemore, Jon Voight). After six months of filming, “Heat” came out in 1995. At 165 minutes, it was twice the length of “LA Takedown” (Mann layered on lots of narrative left out of the original). It was an instant classic and made ~$190m at the box office. Meanwhile, the much-anticipated coffee diner scene with Pacino and De Niro delivered the goods (compare it to the original below). After 2 decades and 2 films, Mann finally saw his vision through. The unwavering commitment to his original idea created a true masterpiece.

Trung Phan

1,309,957 Aufrufe • vor 3 Jahren

no disrespect to anyone's Michael Mann-related opinions but I don't understand how you can watch him land the plane of his 3-hour crime epic with THE two defining actors of modern American cinema *like this* and not consider Heat to be his magnum opus
2:13

no disrespect to anyone's Michael Mann-related opinions but I don't understand how you can watch him land the plane of his 3-hour crime epic with THE two defining actors of modern American cinema *like this* and not consider Heat to be his magnum opus

Eric Ital

643,077 Aufrufe • vor 2 Jahren

I have no clue how often Michael Mann checks his Twitter, but if you’re reading this Tweet, Mr. Mann, I need you to know that Manhunter is all I’ve been thinking about the last 4 days. It’s consumed my entire imagination. The images in this film…breathtaking. I thank you for all of your contributions to Cinema. You literally make life better.
0:50

I have no clue how often Michael Mann checks his Twitter, but if you’re reading this Tweet, Mr. Mann, I need you to know that Manhunter is all I’ve been thinking about the last 4 days. It’s consumed my entire imagination. The images in this film…breathtaking. I thank you for all of your contributions to Cinema. You literally make life better.

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24,530 Aufrufe • vor 2 Monaten

The silver-grey suit and hair in Collateral (2004) were designed by Michael Mann to make Tom Cruise look like a "ghost." The goal was a look so monochromatic and middle-of-the-road that if a witness were asked to describe him, they would find he looked like everyone and no one at once.
3:23

The silver-grey suit and hair in Collateral (2004) were designed by Michael Mann to make Tom Cruise look like a "ghost." The goal was a look so monochromatic and middle-of-the-road that if a witness were asked to describe him, they would find he looked like everyone and no one at once.

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414,244 Aufrufe • vor 6 Monaten

Black Hawk Down is one of the many crowning achievements of Ridley Scott’s career. We were shown a new trailer for Scott’s upcoming August release The Dog Stars & some of the footage reminded me of the things Scott pulls off in Black Hawk Down. This entire cast is loaded to the gills & it’s some of the best direction of Ridley’s career. Ridley is great when it comes to combat sequences.
1:31

Black Hawk Down is one of the many crowning achievements of Ridley Scott’s career. We were shown a new trailer for Scott’s upcoming August release The Dog Stars & some of the footage reminded me of the things Scott pulls off in Black Hawk Down. This entire cast is loaded to the gills & it’s some of the best direction of Ridley’s career. Ridley is great when it comes to combat sequences.

Cinema Tweets

31,656 Aufrufe • vor 1 Monat

This moment from Thief is one of my favorite scenes in any Michael Mann film. James Caan was so capable of playing a paradoxical role: a man infinitely confident, always ready to rumble, yet still incredibly vulnerable. Cann captured that juxtaposition perfectly. What a film.
2:19

This moment from Thief is one of my favorite scenes in any Michael Mann film. James Caan was so capable of playing a paradoxical role: a man infinitely confident, always ready to rumble, yet still incredibly vulnerable. Cann captured that juxtaposition perfectly. What a film.

Cinema Tweets

24,471 Aufrufe • vor 5 Monaten

The Last of the Mohicans is one piece of a Daniel Day-Lewis puzzle that I always revisit. I love that DDL & Michael Mann collaborated on a film that just feels so different from everything else the two have done in their careers individually. This was at the beginning stages of DDL’s run through the ‘90s and beyond.
1:21

The Last of the Mohicans is one piece of a Daniel Day-Lewis puzzle that I always revisit. I love that DDL & Michael Mann collaborated on a film that just feels so different from everything else the two have done in their careers individually. This was at the beginning stages of DDL’s run through the ‘90s and beyond.

Cinema Tweets

19,398 Aufrufe • vor 1 Monat

Collateral (2004) Michael Mann used early digital cameras to film Los Angeles at night, giving the city a unique look that traditional film couldn't capture. The goal was to make the city feel like a character in the story. This technology allowed Mann to shoot real nighttime environments with remarkable detail, including the famous coyote crossing scene, which was captured naturally without special lighting. The result is one of the most distinctive and atmospheric nightscapes ever put on screen.
0:27

Collateral (2004) Michael Mann used early digital cameras to film Los Angeles at night, giving the city a unique look that traditional film couldn't capture. The goal was to make the city feel like a character in the story. This technology allowed Mann to shoot real nighttime environments with remarkable detail, including the famous coyote crossing scene, which was captured naturally without special lighting. The result is one of the most distinctive and atmospheric nightscapes ever put on screen.

Love Classical Music and Movies 🎺🎻💖🎥🎬

18,046 Aufrufe • vor 2 Monaten

Donovan Mitchell on James Harden: “When you have a guy who’s established like that, to come in and be like, ‘No, go.’ It takes that little bit of — not awkwardness because I’ve known him, but it’s one of those things when you’re trying to figure it out. It took a half to be like, ‘Okay.’ It’s a testament to him… Then when it was time for the fourth quarter you just pick and choose.”
0:40

Donovan Mitchell on James Harden: “When you have a guy who’s established like that, to come in and be like, ‘No, go.’ It takes that little bit of — not awkwardness because I’ve known him, but it’s one of those things when you’re trying to figure it out. It took a half to be like, ‘Okay.’ It’s a testament to him… Then when it was time for the fourth quarter you just pick and choose.”

Joey Linn

160,639 Aufrufe • vor 6 Monaten

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.
2:59

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.

Gangster Cinema Central

27,798 Aufrufe • vor 22 Tagen

The coffee shop scene in Heat (1995) is one of cinema’s most iconic dialogue moments. It was the first time Al Pacino and Robert De Niro shared the screen, creating unforgettable tension. Director Michael Mann staged a simple diner conversation that revealed mutual respect between cop and criminal, turning it into a classic scene that rivals any action sequence.
2:05

The coffee shop scene in Heat (1995) is one of cinema’s most iconic dialogue moments. It was the first time Al Pacino and Robert De Niro shared the screen, creating unforgettable tension. Director Michael Mann staged a simple diner conversation that revealed mutual respect between cop and criminal, turning it into a classic scene that rivals any action sequence.

Love Classical Music and Movies 🎺🎻💖🎥🎬

27,511 Aufrufe • vor 3 Monaten

This is how Bhagwant Mann makes us feel like jokers ! The AAP not only opposed the candidature of Bibi Khalra in 2019 Lok Sabha elections but is on the same path of killing Sikhs in fake encounters ! What was stopping Bhagwant Mann from sending Bibi Khalra to Rajya Sabha in 2022 ? She would definitely been a better choice than those who paid money and later ditched AAP Punjab ? Congress Punjab Congress
0:27

This is how Bhagwant Mann makes us feel like jokers ! The AAP not only opposed the candidature of Bibi Khalra in 2019 Lok Sabha elections but is on the same path of killing Sikhs in fake encounters ! What was stopping Bhagwant Mann from sending Bibi Khalra to Rajya Sabha in 2022 ? She would definitely been a better choice than those who paid money and later ditched AAP Punjab ? Congress Punjab Congress

Sukhpal Singh Khaira

17,263 Aufrufe • vor 1 Monat

No one- and I mean no one- dances like Homer Simpson. I don’t know what it is & I just can’t put my finger on it. But something about Homer dancing is so captivating. He’s just a natural. The only problem? Homer makes every actor around him look like an amateur.
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No one- and I mean no one- dances like Homer Simpson. I don’t know what it is & I just can’t put my finger on it. But something about Homer dancing is so captivating. He’s just a natural. The only problem? Homer makes every actor around him look like an amateur.

Out of Context Simpsons Couch Gags

59,723 Aufrufe • vor 1 Jahr