Known for movies

Short Info

Date Of BirthFebruary 5, 1943
SpouseSummer Mann
MarkOften works with real criminals, police officers and ex-military officers in his films: Chuck Adamson (Chicago Police Department), Dennis Farina (Chicago Police Department),Jim Zubiena (U.S. Army), Robert Deamer (Los Angeles Police Department), Chic Daniel (Los Angeles PoliceDepartment), Tom Elfmont (Los Angeles Police Department),Rey Verdugo (Los Angeles County Sheriff's Department),Mick Gould (British Special Air Services), Andy McNab (British Special Air Services), John Santucci (ex-safecracker), 'Gavin McFadyen' (ex-bankrobber) and Edward Bunker (ex-bank-robber).
FactOwns a house in the canals of Fort Lauderdale, Fl, which was used in some Miami Vice (1984) TV scenes.
PaymentsEarned $5,000,000 from Ali (2001)


Michael Mann (born February 5, 1943) is an American film director, screenwriter, and producer of film and television. His most widely recognized works include the films Thief (1981), Manhunter (1986), The Last of the Mohicans (1992), Heat (1995), The Insider (1999), Collateral (2004), Public Enemies (2009), and Blackhat (2015).

Mann was born in Chicago, Illinois, the son of grocers Esther (née Simon) and Jack Mann. He attended the University of Wisconsin–Madison, where he developed interests in history, philosophy, and cinematography. He graduated with a Bachelor of Arts degree in English in 1965. In 1967, he moved to Los Angeles to take up a job as a script reader at 20th Century Fox. He eventually became a development executive, working for Screen Gems and Warner Bros.

In 1971, Mann wrote and directed his first feature film, The Jericho Mile, which won the Golden Globe Award for Best Motion Picture Made for Television. He followed this up with the television film The Silent Partner (1978), which he also wrote and directed. His next film, Thief (1981), was a critical and commercial success, and established him as a leading figure in the crime genre.

Mann then directed the crime thriller Manhunter (1986), which was based on the Thomas Harris novel Red Dragon. The film was a commercial disappointment, but found a cult following among fans of the genre. In 1992, Mann directed The Last of the Mohicans, a historical epic set during the French and Indian War. The film was a critical and commercial success, and remains one of his most well-known works.

In 1995, Mann directed Heat, a crime drama starring Robert De Niro and Al Pacino. The film was a critical and commercial success, and is considered one of the best films of the 1990s. In 1999, Mann directed The Insider, a drama based on the true story of tobacco industry whistle-blower Jeffrey Wigand. The film was a critical and commercial success, and earned Mann an Academy Award nomination for Best Director.

https://www.instagram.com/p/Cg9zyeBJ86a/

In 2004, Mann directed Collateral, a crime thriller starring Tom Cruise and Jamie Foxx. The film was a critical and commercial success, and earned Mann another Academy Award nomination for Best Director. In 2009, Mann directed Public Enemies, a biographical crime drama starring Johnny Depp as bank robber John Dillinger. The film was a critical and commercial success.

In 2015, Mann directed Blackhat, a thriller about cyber-terrorism. The film was a commercial failure, but received positive reviews from critics.

Mann has been married twice. His first wife was actress Jacqueline Bisset, with whom he has two children. His second wife is producer Martha De Laurentiis, with whom he has three children.

Mann has a net worth of $40 million.

General Info

Full NameMichael Mann
Date Of BirthFebruary 5, 1943
Height1.73 m
ProfessionScreenwriter, Television producer, Film producer, Film director, Cinematographer, Television Director
EducationYale University, University of California, Berkeley
NationalityAmerican

Family

SpouseSummer Mann
ChildrenAmi Canaan Mann, Aran Reo Mann
ParentsEsther Mann, Jack Mann

Accomplishments

AwardsGolden Globe Award for Best Motion Picture – Drama, BAFTA Award for Best Film, Primetime Emmy Award for Outstanding Limited Series, Producers Guild of America Award for Best Theatrical Motion Picture, Primetime Emmy Award for Outstanding Writing for a Limited Series, Movie, or Dramatic Special, Na...
NominationsAcademy Award for Best Picture, Academy Award for Best Director, Academy Award for Best Writing Adapted Screenplay, Primetime Emmy Award for Outstanding Drama Series, Golden Globe Award for Best Director - Motion Picture, Golden Globe Award for Best Screenplay - Motion Picture, Directors Guild of Am...
MoviesHeat, Public Enemies, Blackhat, Collateral, Miami Vice, The Insider, The Last of the Mohicans, Manhunter, Thief, Ali, The Keep, The Jericho Mile, L.A. Takedown, The Aviator, Hancock, The Kingdom, Band of the Hand, Texas Killing Fields, Drug Wars: The Camarena Story, Baadasssss!, Jaunpuri
TV ShowsVega$

Social profile links

Marks

#Marks / Signs
1Chicago accent
2Often a character takes a carefully aimed shot in Mann's movies: Lt. Vincent Hanna in Heat (1995) shoots Michael Cheritto after the bank heist. In Collateral (2004) Vincent shoots at the night club Peter Lim. Sonny Crockett shoots in Miami Vice (2006) during the boatyard shootout Coleman. And Gina Calabrese shoots the tattooed 'Aryan Brother' to rescue Trudy Joplin. Hawkeye in the The Last of the Mohicans (1992) shoots Maj. Duncan Heyward to spare him pain. Melvin Purvis in Public Enemies (2009) shoots at the very beginning Pretty Boy Floyd with a carefully aimed shot . In Blackhat (2015) agent Mark Jessup carefully aims and kills 5 of Kassar's men during a shootout in Hong Kong.
3Known for shooting several different takes, at numerous different angles, of even short scenes.
4Many of his films are set in Chicago, and many of his cast members are from Chicago or the surrounding neighborhoods.
5Mann has re-edited every single one of his feature films for home video. With the exception of Warner Home Video's Region 2 release and the FoxNTSC laserdisc release of The Last of the Mohicans (1992), none of his films are available on video or DVD in their theatrical versions. The alterations vary from using alternate takes and lines in Heat (1995) and The Insider (1999) to adding and deleting scenes: He has re-edited Manhunter (1986) at least three times.
6Unlike most directors, likes to operate the camera himself to get much of his photography, as he did in Heat (1995), shooting almost 60% of it.
7Often films pivotal or imporant scenes at night, such as the end shootout at the airport in Heat (1995), Collateral (2004) and the end shootout in the boat yard, as well as others, in Miami Vice (2006).
8Often works with real criminals, police officers and ex-military officers in his films: Chuck Adamson (Chicago Police Department), Dennis Farina (Chicago Police Department),Jim Zubiena (U.S. Army), Robert Deamer (Los Angeles Police Department), Chic Daniel (Los Angeles PoliceDepartment), Tom Elfmont (Los Angeles Police Department),Rey Verdugo (Los Angeles County Sheriff's Department),Mick Gould (British Special Air Services), Andy McNab (British Special Air Services), John Santucci (ex-safecracker), 'Gavin McFadyen' (ex-bankrobber) and Edward Bunker (ex-bank-robber).
9.45 caliber 1911 model pistols appear in almost all of his movies:Thief (1981), Miami Vice (2006), _L.A. Takedown (1989)_, Heat (1995), The Insider (1999), and so on.
10Backgrounds and scenery often include and focus on water, like oceans, rivers, rain (Miami Vice (2006)).
11Most of his movies contain a group of people using a speaker phone. The person on the other end always asks, "Who am I talking to?" and one of the others will rattle off a list of names (Heat (1995) and Manhunter (1986)).
12Often has a scene overlooking a broad horizon of some sort.Neil and Eady staring at the bright L.A. landscape in Heat (1995) and the end credits of The Last of the Mohicans (1992) are both examples of this.
13Often portrays the leader of a group of criminals as a hard-edged loner
14Has collaborated with the following artists multiple times: Actors 'Al Pacino', Jamie Foxx, John Voight, Dennis Farina, Wes Studi, Tom Noonan, Xander Berkeley, Jürgen Prochnow, Michael Gambon, Joan Allen, Danny Trejo, 'Benicio del Toro', film editors Dov Hoenig, 'William Goldenberg', cinematographers Dante Spinotti, Dion Beebe, 'Stewart Dryburgh' and composers Einstürzende Neubauten, Tangerine Dream, 'Elliot Gouldenthal', 'Lisa Gerrad' and Peter Bourke.
15Often portrays criminals as likeable and sympathetic lead characters. See The Jericho Mile (1979), Thief (1981), Heat (1995) and Blackhat (2015).
16Often uses pre-existing ambient music, music composed for other films (OSTs), contemporary pop/rock songs and/or avant-garde music to create eclectic and often unique soundtracks for his films.
17Uses dramatically colored lighting, especially the color blue.
18Often chooses expressive architecture as shooting locations.

Salary

TitleSalary
Ali (2001)$5,000,000

Quotes

#Quote
1I don't think you can be good or even aspire to be good, unless you're prepared to push everything aside in your life and just drive to execute your vision of that movie, in such a way that it really communicates to an audience. It's a very difficult thing to do.
2[on The Keep (1983)] There occurs a moment in time, when the unconscious fears of society become externalized reality. In the 20th Century this time was manifest in the Fall of 1941. What Hitler promised in the beer-gardens had actually come true. The Greater German Reich was at its apogee: it controlled all Europe. The war was won. And the dark psychotic appeal underlying the slogans and rationalizations was making itself manifest: the camps were being made ready. That was the setting F. Paul Wilson selected for his story and it works very well in the context of of a fairy tale for grown-ups. But the last thing I wanted to do was another street picture. I wanted to do something very stylized both in cinematic and in narrative form. And fairy tales evoke very strong emotions because they communicate on an internal level, to our unconscious desires and images, as opposed to a fable or a myth which approaches us on the level of conscious behavior. And fairy tales have the power of dreams - only from the outside. So I decided to stylize the art direction and photography, but use realistic characterization and dialogue. [Fantastic Films, March 1984]
3First of all The Keep (1983) is not a 'war movie'. It takes place during 1941, but that may be a misimpression. What "The Keep"(1983) really is, is an adult fairy tale, a fable, a romance and a horror story. It's very intense. I've got to go back to Jean Cocteau's Beauty and the Beast (1946) which is a very simple story. The strength of that movie is the fact that it is a fable. As you analyze and think more about it, more starts coming out of it. Why did I get into 1941 and why did I pick that period? All fables deal with good and evil and so does this one. But obviously, this movie is not the first one ever to be set during the Second World War. And it's also not the first movie with elements of the supernatural. So for me, it had to be like no other movie ever set during W.W. II. It had to be original and unique, and it had to be like no other movie with supernatural entities. So what I had to do was to write the screenplay myself. It's taken from the book by F. Paul Wilson, but it's largely an adaptation in the sense that I departed from the book substantially.[Fantastic Films, March 1984]
4[on the theatrical experience] In the Thirties and Forties people saw a movie once or twice a week. Now people see moving pictures six hours a day. So what's the motivation to go to the cinema? It has to be to have a differ­ent order of experience. Otherwise stay home and watch the idiot box [TV]. Cinema has to be more experimental, it has to transport people away, it has to provide them with a suspension of disbelief, a feeling they've been swept up into an­other reality they can't get when they're bigger than the image.[1983 in Film Comment]
5[if there is one film he wished he could make again] Probably The Keep (1983).[Laughs.] (...) It was a script that wasn't quite ready, and, [a hard] script to schedule, because of how the picture was financed. And a key guy in the making of it, a man named Wally Veevers, who was a brill - wonderful, wonderful man, who was a very talented visual effects designer from 2001: A Space Odyssey (1968) all the way back to Things to Come (1936), tragically passed away, right there in the middle of our post-production. And, so it became for me, a film that was never completely, never completely realized.[2014]
6[on how important the use of widescreen (1:2.35) is to him] Very. It's important to me for two reasons. One, because this [The Keep (1983)] is an expressionistic movie that intends to sweep its audience away - be very big, to have them transport themselves into this dream-reality so that they're in those landscapes, there with the characters. You can't sweep people away in 1:1.85 and mono. Also, I'm just not interested in 'passive' filmmaking, in a film that's precious and small and where it's up to the audience to bring themselves to the movie. I want to bombard an audience - a very active, aggressive type of seduction. I want to manipulate an audience's feelings for the same reasons that composers write symphonies.[Dec. 1983 in Film Comment]
7[on how he picks composers] Composing is kind of like casting. On a given picture with a standout composer, like Elliot Goldenthal, who I think is one of the more extraordinary composers working today, I will use only his score because I want the picture to have a unified sensibility, like in Heat (1995) or Public Enemies (2009). It was the same with Trevor Jones on the main themes of The Last of the Mohicans (1992). Randy Edelman did some additional work that was excellent. In other films, I'll use more than one composer because I want to rotate among different emotional perspectives. That could be character-driven or something totally different about the circumstances, such as the ending of Ali (2001) when we're in Africa for the 'Rumble in the Jungle' and the music is almost wall-to-wall Salif Keita. One composer may be able to evoke certain emotions, and another composer is better for different passages. I did that in Collateral (2004) as well as in Blackhat (2015).[2015]
8[on his artistic ambitions with The Keep (1983)] I'd just done a street movie, Thief (1981). A very stylized street movie but nevertheless stylized realism. You can make it wet, you can make it dry, but you're still on 'street'. And I had a need, a big desire, to do something almost similar to 'Gabriel Garcia Marquez''s "One Hundred Years of Solitude"[1967], where I could deal with something that was non-realistic and create the reality.[Dec. 1983 in Film Comment]
9[on influences] You're influenced by who you like. I like Stanley Kubrick, I like Alain Resnais immensely. I like Andrei Tarkovsky, although there's very little in Tarkovsky I'd want to do myself. In fact I fell asleep through half of Solaris (1972), but I still love it. And Stalker (1979). He has a Russian, suffering nerve of pace that it's hard to relate to, but you can't help being impressed and moved by what you see.[Dec. 1983 in Film Comment]
10[on Thief (1981)'s soundtrack] Earlier, I had been divided between choosing music regionally native to Thief (1981), Chicago Blues, or going with a completely electronic score. The choice was intimidating because two very different motion picture experiences would result. Right then, the work of Tangerine Dream, Kraftwerk and 'Faust' was an explosion of experimental and rich material from a young generation coming of age out of the ruins and separating itself from WWII Germany. It was the cutting edge of electronic music. And, it had content. It wasn't sonic atmospheres. There was nothing in the UK or the States like it. Further, there was a relationship between the blues and Edgar Froese because he had started out as a blues guitarist. Even though their music was electronic, it had a twelve bar blues structure to most of it. More importantly he, as an artist and a man, was connected to the material reality of life on the street and he found musical inspiration there, as does the Blues. Culturally, he was attuned to the politics of the '60s and '70s. (...) Berlin was still steeped in its recent history and its history... the Wall, shrapnel damage to building facades...was still evident. The score was adventurous with some real voyages of discovery. Working with analog sequencers and synthesizers we were also processing sound effects, which I had brought in a suitcase on mag, so that ocean waves might crash in G Major, the same key as the cue. It was a wonderful artistic collaboration. Thinking back to what was at the time cutting edge technology but so primitive now, it was more fun. They were innovating processes and re-combining components to do stuff on frontiers that Moog never envisioned, as new ideas showed up. It was Edgar's open spirit and embrace of possibilities that made it all occur. A somewhat unique soundtrack for its time was the result. Working together with band-mates Johannes Schmölling and Christopher Franke with Froese in the lead in a gutted movie theater, hard by the Berlin Wall, it seems like not so long ago and it was the best of times.[2015]
11[on Collateral (2004)'s use of High-Definition Digital Video] So my reason for choosing DV wasn't economy but was to do with the fact that the entire movie takes place in one city, on one night, and you can't see the city at night on motion-picture film the way you can on digital video. And I like the truth-telling feeling I receive when there's very little light on the actors' faces - I think this is the first serious major motion picture done in digital video that is photoreal, rather than using it for effects. DV is also a more painterly medium: you can see what you've done as you shoot because you have the end product sitting in front of you on a Sony high-def monitor, so I could change the contrast to affect the mood, add colour, do all kinds of things you can't do with film. Digital isn't a medium for directors who aren't interested in visualisation, who rely on a set of conventions or aesthetic pre-sets, if you like. But it's perfect for someone like David Fincher or Ridley Scott - directors who previsualise and know just what they want to achieve.[2012]
12[on directing] I always try to find something that makes a scene feel real, and what makes things feel true to me is usually something anomalous, a component you would never expect to find, so it doesn't look manicured or perfect. This can be a location, a gesture, an expression, a thought in somebody's head - if you look at life, that's what it's like.[2012]
13[on shooting Collateral (2004) mostly in HD] With film, you don't have any depth of field. I wanted to see way into the distance, two miles down the street. I wanted to see like the burnt umber that's like a ceiling in this city, that reddish glow on the marine layer 900-1200 feet up, and see deep into the city and the sodium vapor and everything that makes that color. That had to be digital. But there weren't even look-up tables, the equivalent of a color table. We invented all of that, myself and [Second Unit Director & Associate Producer] Bryan H. Carroll, actually.[2015]
14[on critics] If somebody asked me, "What's "Thief" to you?": To me, it's a left-extensionalist critique of corporate capitalism. That's what Thief (1981) is. What is interesting is that no critics in the U.S. got that, no critics in the U.K. got it. Every critic in France got it when the film came it. It was like this crazy kind of cultural litmus test or something.[2015]
15[on art] I don't make much of a distinction between genius design and engineering and athletic performance and great works of art - it's all the human nervous system seen from the inside out. What allowed Muhammad Ali to do the so-called Ali Shuffle is no different from what inspired Antonio Vivaldi.[2015]
16[on discovering digital cameras] When I first shot some stuff digitally it was in Ali (2001). We went on the roof of a building in Chicago, we had a couple of cameras and I took a flashlight, bounced it off a card and that was all the lighting. It was very little lighting. And it felt that what I saw was there was a truthfulness to the graphic that just blew me away. It felt like, 'Holy shit. The film crew's not here but this has really happened.' And I tried to define for myself what I was seeing. What I was seeing was the absence of film lighting. We're used to a certain convention of film lighting. It's an artifact, but we're used to it. We applaud when 'Vittorio Storaro'_ does it. It's great. I love it. But when you subtract it, stuff feels real in a certain way. It's all mid-tones. There's no key light and fill. (...) When you eliminate the artifact of theatrical lighting, suddenly truth seems to show up. I believe more that it's really happening. Muhammad Ali is really on that roof. He's really working out. He's distracted by something in the distance and he realizes buildings are burning all over the city, because it's the night Martin Luther King got killed. I just felt that immediacy of it.[2015]
17[on the benefits of digital projection] Collateral (2004) was beautiful in digital projection if you were in a theater that had digital projection. The problem was that it had photochemical release prints, which the labs knocked out with 'tolerances' that were a joke. A print any director would reject was fine as far as the lab was concerned. So, getting what I made digitally, to photochemical release printing was a nightmare. Now, with digital cinema being ubiquitous, it's great.[2014]
18[on music] As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest something very aggressive within his or her own mind-this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene-but as I shoot the scene, as I direct the actors, and finally, as I edit the scene.[2012]
19[on producing films] One of the most instructive events was when, right out of the London Film School, I got a job working for Bill Kaplan in the British office of 20th Century Fox in Soho Square. Bill was production supervisor for a lot of films that were being made at that time in England, owing to the budgetary rebates then in force under The Eady Plan. Working in physical production, helping organize scheduling, budgeting, and production logistics became for me a model of how to think, of how to organize the totality of a movie. I apply the lessons I learned there to this day, not just in terms of budgeting-but in terms of the content of a movie. There's a critical planning that is very three dimensional at this early stage. That has become really important in everything I've done since.[2012]
20[on why he became a director] I wasn't really interested in cinema until I saw Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), alongside a set of films by F.W. Murnau and Georg Wilhelm Pabst for a college course. These were a revelation. I'd already seen some of the French New Wave and some Russian films, but the idea of directing, of shooting a film myself? Never. Prior to "Strangelove", it simply had not seemed possible that you could work in the mainstream film industry and make very ambitious films for a big mainstream audience. The whole film is a third act. The mad general played by Sterling Hayden is totally submerged in his character the moment we first encounter him. There's no prelude, no context. We're just with him, we know who the guy is, and we catch up along the way. Even as a young man I found that intensity very exciting-how immediate it was.[2012]
21[on his ambition as a director] My ambition was always to make dramatic films. I had a strong sense of the value of drama growing up in Chicago, which has long had a thriving theater scene. I'd also found, working a lot of odd jobs as a kid-as a short-order cook, on construction, or as a cab driver-that there was tremendous richness in real-life experience, and contact with people and circumstances that were sometimes extreme. I was drawn to this instinctively. You find out things when you're with a real-life thief, things you could never make up just sitting in a room. The converse is also true: Just because you discover something interesting, you don't have to use it; there's no obligation. Yet life itself is the proper resource.[2012]
22[on his crew] If people are as ambitious as you are, you keep them close to you. If a person gets excited by the things I am excited by - say, transforming a run-down arena in the middle of Mozambique that hasn't had electricity or plumbing since 1974, as we had to do for Ali (2001) - if a challenge like that gets your blood running, you would be a person I gravitate toward. We would wind up working together on a lot of pictures.[2012]
23[on working with Daniel Day-Lewis on The Last of the Mohicans (1992)] 'Hawkeye' is pretty close to who Daniel is as a person. Daniel is a deep, romantic man with a very strong value system. He's kind of classic. He's drawn to see great values in simple things. He's somebody who eschews celebrity. He and Rebecca [wife Rebecca Miller] have a very strong family, a real literary sensibility.
24[on his racetrack series Luck (2011)] It's about the basic yearning, that impulse, to somehow venture skills, hope they'll collide with the opportunity and yield a change in your material circumstances. That hope for an outcome, that transcendence, is what the show is really about.
25The best-kept secret about Don Johnson is the fact that he is a terrific actor.
26[on Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)] It said to my whole generation of filmmakers that you could make an individual statement of high integrity and have that film be successfully seen by a mass audience all at the same time. In other words, you didn't have to be making Seven Brides for Seven Brothers (1954) if you wanted to be a part of the commercial film industry, or be reduced to niche filmmaking if you wanted to be serious about cinema. So that's what Stanley Kubrick meant, aside from the fact that I loved Kubrick and he was a big influence.[2006]
27I think it's easy for directors to stay fresh more than actors, especially once an actor becomes a star. It's hard for Russell Crowe to walk down a street or take a subway. I can fly coach.
28Could I have worked under a system where there were Draconian controls on my creativity, meaning budget, time, script choices, etc.? Definitely not. I would have fared poorly under the old studio system that guys like Howard Hawks did so well in. I cannot just make a film and walk away from it. I need that creative intimacy and, quite frankly, the control to execute my visions, on all my projects.
29[on the cinematic experience] A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience.
30[on whether he operates the camera] The criterion is when I want to see what's going on through the lens. Usually, it comes down to performance more than technique . . . I've also worked with the same camera crews, even down to the assistants, on the last four films. So, we've developed a family in camera. A family that picks right up where they left off every few years. I see the world from the perspective of a 5'8" person, not someone who is 6'4". so naturally, I'm going to choose certain lens heights over and again . . . Sometimes nature makes choices for you.[1999]

Facts

#Fact
1President of the 'Official Competition' jury at the '69th Venice International Film Festival' in 2012.
2Is a friend of independent film director Abel Ferrara. Ferrara directed at the beginning of his career 2 episodes of executive producer Mann's popular TV series Miami Vice (1984) and the pilot of Mann's second TV series "Crime Story"(1986).
3Was 38 years old when he released his first feature film.
4As of 2007, he has used Mick Gould as a technical advisor on three of his films: Heat (1995), Collateral (2004) and Miami Vice (2006). For all three of these films, Gould served as a weapons trainer, instructing cast members how to properly handle firearms.
5Owns a house in the canals of Fort Lauderdale, Fl, which was used in some Miami Vice (1984) TV scenes.
6Has Ukrainian roots from his father's side.
7Directed four different performers in Oscar-nominated performances: Russell Crowe, Will Smith, Jon Voight and Jamie Foxx.
8During production of Manhunter (1986), he wanted Francis Dollarhyde (Tom Noonan) to have a tattoo of William Blake's "Red Dragon" painting on his back, but ended up discarding the idea after deciding the tattoo trivialized Dollarhyde's inner struggles. In Red Dragon (2002), the second adaptation of Thomas Harris's novel, director Brett Ratner decided to include the tattoo and the subplot about Blake's painting "The Great Red Dragon and the Woman Clothed with the Sun" (ca.1803-1805).
9Frequently uses the "thumbs up" sign after he feels that last take was the one.
10Michael Mann listed in BFI's 'Sight and Sound' Poll 2002 the following 10 films as the best ever: John Ford's My Darling Clementine (1946), Sergei M. Eisenstein's Battleship Potemkin (1925), F.W. Murnau's Faust (1926), Francis Ford Coppola's Apocalypse Now (1979), Sam Peckinpah's The Wild Bunch (1969), Alain Resnais' Last Year at Marienbad (1961), Carl Theodor Dreyer's The Passion of Joan of Arc (1928), Martin Scorsese's Raging Bull (1980), Orson Welles' Citizen Kane (1941) and Stanley Kubrick's Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
11Tried to make an epic film about drug-trade in Southern California with screenwriter Shane Salerno. But they abandoned the project after 'Steven Soderbergh''s rival project, Traffic (2000), got green-lighted.
12He was executive producer of the Miami Vice (1984) TV series and among other things greatly responsible for the show's unique look and feel.
13In 1985, sued William Friedkin for plagiarism, claiming that Friedkin stole the entire concept of Miami Vice (1984) when he made the movie To Live and Die in L.A. (1985) (which, ironically, starred William Petersen, who later played Will Graham in Manhunter (1986)). Mann lost the lawsuit. Despite this, the two directors are close friends nowadays. Friedkin even tease Mann in several interviews by saying "Michael Mann is one of my favorite directors because he tries to make films like mine!".
14Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Directors Branch) [2000-2006]
15Directed Manhunter (1986), the first 'Hannibal Lecter' film based on the novel "Red Dragon", published by author Thomas Harris in 1981. Brett Ratner's Red Dragon (2002) is the second film based on the novel. Both films share the cinematographer Dante Spinotti and the (executive) producer Dino De Laurentiis but are very different adaptations.
16Is one of Robert De Niro's favourite directors.
17Was a close friend of legendary author Edward Bunker, since they both worked together on an adaptation of his novel "No Beast So Fierce", published in 1973. It later became the screenplay for Straight Time (1978), but Mann is not credited anymore as a writer.
18Has an impressive knowledge of criminality and police procedures gained through empirical research in law enforcement.
19Father of director Ami Canaan Mann and production designer Aran Mann.
20Was Will Smith's personal choice to direct Ali (2001). Spike Lee campaigned vigorously against Mann, saying that only a black director could do Ali's story justice.
21Michael attended the 'University of Wisconsin-Madison' and received a B.A. in English. He went to the UK in 1965 to study film and graduated from the 'London International Film School'. After gaining first working experiences in TV and film production Mann returned to the USA in 1971.
22Born at 12:45am-CWT.

Pictures

Movies

Producer

TitleYearStatusCharacter
Hue 1968TV Mini-Series executive producer announced
Untitled Tony Accardo/Sam Giancana Biopicproducer announced
Blackhat2015producer
Witness2012TV Mini-Series documentary executive producer - 4 episodes
Luck2011-2012TV Series executive producer - 10 episodes
Texas Killing Fields2011producer
Public Enemies2009producer
Hancock2008producer
The Kingdom2007producer
Miami Vice2006producer
The Aviator2004producer
Collateral2004producer
Baadasssss!2003executive producer
Robbery Homicide Division2002-2003TV Series executive producer - 13 episodes
Ali2001producer
The Insider1999producer
Heat1995producer
The Last of the Mohicans1992producer
Drug Wars: The Cocaine Cartel1992TV Movie executive producer
Miami Vice1984-1990TV Series executive producer - 111 episodes
Drug Wars: The Camarena Story1990TV Mini-Series executive producer - 3 episodes
L.A. Takedown1989TV Movie executive producer
Crime Story1986-1988TV Series executive producer - 43 episodes
Band of the Hand1986executive producer
Bob Dylan: Band of the Hand1986Video short executive producer
Thief1981executive producer
17 Days Down the Line1972Documentary short producer
Jaunpuri1971Short producer

Writer

TitleYearStatusCharacter
Untitled Tony Accardo/Sam Giancana Biopicscreenplay announced
Public Enemies2009screenplay
Miami Vice2006written by
Robbery Homicide Division2002TV Series story - 1 episode
Ali2001screenplay
The Insider1999written by
Heat1995written by
The Last of the Mohicans1992screenplay
Drug Wars: The Camarena Story1990TV Mini-Series 2 episodes
L.A. Takedown1989TV Movie written by
Crime Story1986-1988TV Series story - 8 episodes
Manhunter1986screenplay by
Miami Vice1985TV Series written by - 1 episode
The Keep1983screenplay
Vega$TV Series creator - 68 episodes, 1978 - 1981 written by - 1 episode, 1978
Thief1981screen story / screenplay
Swan Song1980TV Movie
The Jericho Mile1979TV Movie teleplay
Straight Time1978uncredited
Police Story1976-1978TV Series written by - 4 episodes
Starsky and Hutch1975-1977TV Series written by - 4 episodes
Gibbsville1976TV Series writer - 1 episode
BronkTV Series teleplay - 1 episode, 1976 writer - 1 episode, 1976

Director

TitleYearStatusCharacter
Hue 1968TV Mini-Series announced
Untitled Tony Accardo/Sam Giancana Biopicannounced
Blackhat2015
Luck2011TV Series 1 episode
Public Enemies2009
Miami Vice2006
Collateral2004
Ali2001
The Insider1999
Heat1995
The Last of the Mohicans1992
L.A. Takedown1989TV Movie
Crime Story1987TV Series 1 episode
Manhunter1986
The Keep1983
Thief1981
The Jericho Mile1979TV Movie
Police Woman1977TV Series 1 episode
17 Days Down the Line1972Documentary short
Jaunpuri1971Short
Insurrection1968Documentary short

Camera Department

TitleYearStatusCharacter
Public Enemies2009camera operator - uncredited
The Making of 'Heat'2005Video documentary still photographer
Collateral2004camera operator - uncredited
Ali2001camera operator - uncredited
The Insider1999camera operator - uncredited
Manhunter1986camera operator

Cinematographer

TitleYearStatusCharacter
17 Days Down the Line1972Documentary short
Jaunpuri1971Short
Insurrection1968Documentary short uncredited

Actor

TitleYearStatusCharacter
The Intern2015/ITai Chi Class
Hancock2008Executive

Miscellaneous

TitleYearStatusCharacter
The Making of 'Last of the Mohicans'2010Video documentary archive footage
Collateral2004script revisions - uncredited

Soundtrack

TitleYearStatusCharacter
Ali2001producer: "Twisting the Night Away", " Don't Fight It Feel It", "Somebody Have Mercy", "It's All Right", "You Send Me", "Bring It on Home to Me"

Thanks

TitleYearStatusCharacter
Intruder2016/IShort special thanks
The Art of the Heist: An Examination of 'Thief' with Author & Critic F.X. Feeney2015Video documentary short special thanks
Nosferatu vs. Father Pipecock & Sister Funk2014special thanks
Thief: Making Something Real - James Caan on 'Thief'2014Video documentary short special thanks
Thief: The Otherness of Sound - Johannes Schmoelling on 'Thief'2014Video documentary short special thanks
Why We Ride2013Documentary special thanks
Quartet2012with thanks to
El defensor2011Short the director wishes to thank
Re-en-act-ment2010Short grateful acknowledgment
Exact Bus Fare2008Short very special thanks
The Making of 'Heat'2005Video documentary special thanks
Y nada más2005Short special thanks
Thomas Grey's Rainy Day2004Short special thanks
The Clearing2004special thanks
Wonderland2003the producers and director wish to thank
The Directors2001TV Series documentary acknowledgment - 1 episode
Man of the Century1999thanks
StarCraft1998Video Game thanks

Self

TitleYearStatusCharacter
Tangerine Dream: Sound from Another World2016TV Movie documentaryHimself
Academy Event: Heat2016Video shortHimself
The Eighties2016TV Mini-Series documentaryHerself - Executive producer, 'Miami Vice'
The Director's Chair2015TV SeriesHimself
Janela Indiscreta2015TV SeriesHimself
HBO First Look: Blackhat2015TV MovieHimself
Blackhat: Creating Reality2015Video documentary shortHimself
Blackhat: On Location Around the World2015Video documentary shortHimself
Blackhat: The Cyber Threat2015Video documentary shortHimself
Steve Schapiro et les icônes américaines2014DocumentaryHimself
Thief: Truth-Telling Style: Michael Mann on 'Thief'2014Video documentary shortHimself
The Fire Rises: The Creation and Impact of the Dark Knight Trilogy2013Video documentaryHimself
Milius2013DocumentaryHimself
Movie Talk with Peter Bart2012TV SeriesHimself - Guest
Tavis Smiley2012TV SeriesHimself
The Making of 'Last of the Mohicans'2010Video documentaryHimself / Director-writer-producer
Hollywood's Best Film Directors2010TV SeriesHimself - Interviewee / Film Director
Letterbox2009TV Short documentaryHimself - Director / Screenwriter
A Conversation with Michael Mann2009Documentary shortHimself
Criminal Technology2009Video documentary shortHimself
Larger Than Life Adversaries2009Video documentary shortHimself
Michael Mann: Making 'Public Enemies'2009Video documentary shortHimself
On Dillinger's Trail2009Video documentary shortHimself
Public Enemies: Blu-ray Historical Interactive Timeline2009Video documentary shortHimself
Public Enemies: Blu-ray Picture in Picture2009Video documentary shortHimself
The Last of the Legendary Outlaws2009Video documentary shortHimself
Xposé2009TV SeriesHimself
HBO First Look2001-2009TV Series documentary shortHimself
Entertainment Tonight2009TV SeriesHimself
Superhumans: The Making of 'Hancock'2008Video documentary shortHimself
Creating 'The Kingdom'2007Video documentary shortHimself
AFI Life Achievement Award: A Tribute to Al Pacino2007TV MovieHimself
Miami Vice: Behind the Scenes2006Video shortHimself
Sanctuary: Lisa Gerrard2006Video documentaryHimself
Going Deep Undercover with 'Miami Vice'2006TV ShortHimself
Miami Vice: Crime Without Compromise2006TV Short documentaryHimself
Miami Vice: Undercover2006TV Short documentaryHimself
Corazón de...2006TV SeriesHimself
Miami & Beyond: Shooting on Location2006Video documentary shortHimself
Visualizing 'Miami Vice'2006Video documentary shortHimself
The Making of 'Heat'2005Video documentaryHimself
Shootout2005TV SeriesHimself
Heat: Return to the Scene of the Crime2005Video shortHimself
Pacino and DeNiro: The Conversation2005Video documentary shortHimself
11th Annual Screen Actors Guild Awards2005TV SpecialHimself
Männer im Trenchcoat, Frauen im Pelz2004TV Movie documentaryHimself
City of Night: The Making of 'Collateral'2004Video documentary shortHimself
Gomorron2004TV SeriesHimself - regissör
The Story Behind Baadasssss!: The Birth of Black Cinema2004Video documentary shortHimself
Revealed with Jules Asner2002TV SeriesHimself
The Making of 'Ali'2001TV Movie documentaryHimself
The Directors2001TV Series documentaryHimself
I Love 1980's2001TV Series documentaryHimself
The 72nd Annual Academy Awards2000TV SpecialHimself - Nominee: Best Picture, Best Director & Best Adapted Screenplay
Making of the Insider2000TV Movie documentary
Chicago Filmmakers on the Chicago River1998DocumentaryHimself
Howard Hawks: American Artist1997TV Movie documentaryHimself
Directors on Directors1997TV Series documentaryHimself - Interviewee
The 42nd Annual Primetime Emmy Awards1990TV SpecialHimself - Winner
The 31st Annual Primetime Emmy Awards1979TV SpecialHimself - Winner

Archive Footage

TitleYearStatusCharacter
60 Minutes2015TV Series documentaryHimself - Filmmaker (segment "Selma")
Cleanflix2009DocumentaryHimself - Director, Collateral
Cómo conseguir un papel en Hollywood2007TV Movie documentaryHimself
Gomorron2004TV SeriesHimself - regissör

Awards

Won Awards

YearAwardCeremonyNominationMovie
2005BAFTA Film AwardBAFTA AwardsBest FilmThe Aviator (2004)
2005PGA AwardPGA AwardsOutstanding Producer of Theatrical Motion PicturesThe Aviator (2004)
2004Hollywood Film AwardHollywood Film AwardsDirector of the YearCollateral (2004)
2004NBR AwardNational Board of Review, USABest DirectorCollateral (2004)
2004Future Film Festival Digital AwardVenice Film FestivalCollateral (2004)
2002Inspiration AwardEmpire Awards, UK
2000Humanitas PrizeHumanitas PrizeFeature Film CategoryThe Insider (1999)
2000SFFCC AwardSanta Fe Film Critics Circle AwardsBest DirectorThe Insider (1999)
2000Golden Satellite AwardSatellite AwardsBest DirectorThe Insider (1999)
2000Paul Selvin Honorary AwardWriters Guild of America, USAThe Insider (1999)
1999Freedom of Expression AwardNational Board of Review, USAThe Insider (1999)
1993Yoga AwardYoga AwardsWorst Foreign DirectorThe Last of the Mohicans (1992)
1990Primetime EmmyPrimetime Emmy AwardsOutstanding MiniseriesDrug Wars: The Camarena Story (1990)
1987Critics AwardCognac Festival du Film PolicierManhunter (1986)
1980DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Specials/Movies for TV/ActualityThe Jericho Mile (1979)
1979Primetime EmmyPrimetime Emmy AwardsOutstanding Writing in a Limited Series or a SpecialThe Jericho Mile (1979)

Nominated Awards

YearAwardCeremonyNominationMovie
2013IDA AwardInternational Documentary AssociationBest Limited SeriesWitness (2012)
2007IOMAItalian Online Movie Awards (IOMA)Best Director (Miglior regia)Miami Vice (2006)
2005OscarAcademy Awards, USABest Motion Picture of the YearThe Aviator (2004)
2005David Lean Award for DirectionBAFTA AwardsCollateral (2004)
2005Movies for Grownups AwardAARP Movies for Grownups AwardsBest DirectorCollateral (2004)
2005Saturn AwardAcademy of Science Fiction, Fantasy & Horror Films, USABest DirectorCollateral (2004)
2005Empire AwardEmpire Awards, UKBest DirectorCollateral (2004)
2005IOMAItalian Online Movie Awards (IOMA)Best Director (Miglior regia)Collateral (2004)
2005OFTA Film AwardOnline Film & Television AssociationBest PictureThe Aviator (2004)
2005OFTA Film AwardOnline Film & Television AssociationBest DirectorCollateral (2004)
2004ACCAAwards Circuit Community AwardsBest Motion PictureThe Aviator (2004)
2004Golden SchmoesGolden Schmoes AwardsBest Director of the YearCollateral (2004)
2002Black ReelBlack Reel AwardsBest FilmAli (2001)
2001BodilBodil AwardsBest American Film (Bedste amerikanske film)The Insider (1999)
2001Empire AwardEmpire Awards, UKBest DirectorThe Insider (1999)
2001RobertRobert FestivalBest American Film (Årets amerikanske film)The Insider (1999)
2000OscarAcademy Awards, USABest PictureThe Insider (1999)
2000OscarAcademy Awards, USABest DirectorThe Insider (1999)
2000OscarAcademy Awards, USABest Writing, Screenplay Based on Material Previously Produced or PublishedThe Insider (1999)
2000Golden GlobeGolden Globes, USABest Director - Motion PictureThe Insider (1999)
2000Golden GlobeGolden Globes, USABest Screenplay - Motion PictureThe Insider (1999)
2000DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesThe Insider (1999)
2000Sierra AwardLas Vegas Film Critics Society AwardsBest Screenplay, AdaptedThe Insider (1999)
2000OFTA Film AwardOnline Film & Television AssociationBest PictureThe Insider (1999)
2000OFTA Film AwardOnline Film & Television AssociationBest DirectorThe Insider (1999)
2000OFTA Film AwardOnline Film & Television AssociationBest Writing, Screenplay Based on Material from Another MediumThe Insider (1999)
2000OFCS AwardOnline Film Critics Society AwardsBest Adapted ScreenplayThe Insider (1999)
2000OFCS AwardOnline Film Critics Society AwardsBest DirectorThe Insider (1999)
2000PGA AwardPGA AwardsOutstanding Producer of Theatrical Motion PicturesThe Insider (1999)
2000WGA Award (Screen)Writers Guild of America, USABest Screenplay Based on Material Previously Produced or PublishedThe Insider (1999)
1992Primetime EmmyPrimetime Emmy AwardsOutstanding MiniseriesDrug Wars: The Cocaine Cartel (1992)
1987EdgarEdgar Allan Poe AwardsBest Motion PictureManhunter (1986)
1985Primetime EmmyPrimetime Emmy AwardsOutstanding Drama SeriesMiami Vice (1984)
1981Palme d'OrCannes Film FestivalThief (1981)
1979EdgarEdgar Allan Poe AwardsBest Television EpisodeVega$ (1978)

2nd Place Awards

YearAwardCeremonyNominationMovie
1999LAFCA AwardLos Angeles Film Critics Association AwardsBest DirectorThe Insider (1999)

Source: IMDb, Wikipedia

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