Known for movies
Short Info
Date Of Birth | February 5, 1943 |
Spouse | Summer Mann |
Mark | Often 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). |
Fact | Owns a house in the canals of Fort Lauderdale, Fl, which was used in some Miami Vice (1984) TV scenes. |
Payments | Earned $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 $40 million.
Val Kilmer at the range with Mick Gould, former SAS and technical weapons adviser, during training for HEAT. #Heat #Heat2 pic.twitter.com/2a90gHgshI
— Michael Mann (@MichaelMann) January 20, 2022
General Info
Full Name | Michael Mann |
Date Of Birth | February 5, 1943 |
Height | 1.73 m |
Profession | Screenwriter, Television producer, Film producer, Film director, Cinematographer, Television Director |
Education | Yale University, University of California, Berkeley |
Nationality | American |
Family
Spouse | Summer Mann |
Children | Ami Canaan Mann, Aran Reo Mann |
Parents | Esther Mann, Jack Mann |
Accomplishments
Awards | Golden Globe Award for Best Motion Picture – Drama, BAFTA Award for Best Film, Primetime Emmy Award for Outstanding Limited Series, Producers Guild of America Award for Best Theatrical Motion Picture, Primetime Emmy Award for Outstanding Writing for a Limited Series, Movie, or Dramatic Special, Na... |
Nominations | Academy Award for Best Picture, Academy Award for Best Director, Academy Award for Best Writing Adapted Screenplay, Primetime Emmy Award for Outstanding Drama Series, Golden Globe Award for Best Director - Motion Picture, Golden Globe Award for Best Screenplay - Motion Picture, Directors Guild of Am... |
Movies | Heat, Public Enemies, Blackhat, Collateral, Miami Vice, The Insider, The Last of the Mohicans, Manhunter, Thief, Ali, The Keep, The Jericho Mile, L.A. Takedown, The Aviator, Hancock, The Kingdom, Band of the Hand, Texas Killing Fields, Drug Wars: The Camarena Story, Baadasssss!, Jaunpuri |
TV Shows | Vega$ |
Social profile links
Marks
# | Marks / Signs |
---|---|
1 | Chicago accent |
2 | Often 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. |
3 | Known for shooting several different takes, at numerous different angles, of even short scenes. |
4 | Many of his films are set in Chicago, and many of his cast members are from Chicago or the surrounding neighborhoods. |
5 | Mann 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. |
6 | Unlike 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. |
7 | Often 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). |
8 | Often 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. |
10 | Backgrounds and scenery often include and focus on water, like oceans, rivers, rain (Miami Vice (2006)). |
11 | Most 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)). |
12 | Often 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. |
13 | Often portrays the leader of a group of criminals as a hard-edged loner |
14 | Has 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. |
15 | Often portrays criminals as likeable and sympathetic lead characters. See The Jericho Mile (1979), Thief (1981), Heat (1995) and Blackhat (2015). |
16 | Often 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. |
17 | Uses dramatically colored lighting, especially the color blue. |
18 | Often chooses expressive architecture as shooting locations. |
Salary
Title | Salary |
---|---|
Ali (2001) | $5,000,000 |
Quotes
# | Quote |
---|---|
1 | I 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] |
3 | First 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. |
25 | The 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] |
27 | I 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. |
28 | Could 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 |
---|---|
1 | President of the 'Official Competition' jury at the '69th Venice International Film Festival' in 2012. |
2 | Is 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). |
3 | Was 38 years old when he released his first feature film. |
4 | As 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. |
5 | Owns a house in the canals of Fort Lauderdale, Fl, which was used in some Miami Vice (1984) TV scenes. |
6 | Has Ukrainian roots from his father's side. |
7 | Directed four different performers in Oscar-nominated performances: Russell Crowe, Will Smith, Jon Voight and Jamie Foxx. |
8 | During 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). |
9 | Frequently uses the "thumbs up" sign after he feels that last take was the one. |
10 | Michael 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). |
11 | Tried 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. |
12 | He was executive producer of the Miami Vice (1984) TV series and among other things greatly responsible for the show's unique look and feel. |
13 | In 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!". |
14 | Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Directors Branch) [2000-2006] |
15 | Directed 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. |
16 | Is one of Robert De Niro's favourite directors. |
17 | Was 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. |
18 | Has an impressive knowledge of criminality and police procedures gained through empirical research in law enforcement. |
19 | Father of director Ami Canaan Mann and production designer Aran Mann. |
20 | Was 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. |
21 | Michael 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. |
22 | Born at 12:45am-CWT. |
Pictures
Movies
Producer
Title | Year | Status | Character |
---|---|---|---|
Hue 1968 | TV Mini-Series executive producer announced | ||
Untitled Tony Accardo/Sam Giancana Biopic | producer announced | ||
Blackhat | 2015 | producer | |
Witness | 2012 | TV Mini-Series documentary executive producer - 4 episodes | |
Luck | 2011-2012 | TV Series executive producer - 10 episodes | |
Texas Killing Fields | 2011 | producer | |
Public Enemies | 2009 | producer | |
Hancock | 2008 | producer | |
The Kingdom | 2007 | producer | |
Miami Vice | 2006 | producer | |
The Aviator | 2004 | producer | |
Collateral | 2004 | producer | |
Baadasssss! | 2003 | executive producer | |
Robbery Homicide Division | 2002-2003 | TV Series executive producer - 13 episodes | |
Ali | 2001 | producer | |
The Insider | 1999 | producer | |
Heat | 1995 | producer | |
The Last of the Mohicans | 1992 | producer | |
Drug Wars: The Cocaine Cartel | 1992 | TV Movie executive producer | |
Miami Vice | 1984-1990 | TV Series executive producer - 111 episodes | |
Drug Wars: The Camarena Story | 1990 | TV Mini-Series executive producer - 3 episodes | |
L.A. Takedown | 1989 | TV Movie executive producer | |
Crime Story | 1986-1988 | TV Series executive producer - 43 episodes | |
Band of the Hand | 1986 | executive producer | |
Bob Dylan: Band of the Hand | 1986 | Video short executive producer | |
Thief | 1981 | executive producer | |
17 Days Down the Line | 1972 | Documentary short producer | |
Jaunpuri | 1971 | Short producer |
Writer
Title | Year | Status | Character |
---|---|---|---|
Untitled Tony Accardo/Sam Giancana Biopic | screenplay announced | ||
Public Enemies | 2009 | screenplay | |
Miami Vice | 2006 | written by | |
Robbery Homicide Division | 2002 | TV Series story - 1 episode | |
Ali | 2001 | screenplay | |
The Insider | 1999 | written by | |
Heat | 1995 | written by | |
The Last of the Mohicans | 1992 | screenplay | |
Drug Wars: The Camarena Story | 1990 | TV Mini-Series 2 episodes | |
L.A. Takedown | 1989 | TV Movie written by | |
Crime Story | 1986-1988 | TV Series story - 8 episodes | |
Manhunter | 1986 | screenplay by | |
Miami Vice | 1985 | TV Series written by - 1 episode | |
The Keep | 1983 | screenplay | |
Vega$ | TV Series creator - 68 episodes, 1978 - 1981 written by - 1 episode, 1978 | ||
Thief | 1981 | screen story / screenplay | |
Swan Song | 1980 | TV Movie | |
The Jericho Mile | 1979 | TV Movie teleplay | |
Straight Time | 1978 | uncredited | |
Police Story | 1976-1978 | TV Series written by - 4 episodes | |
Starsky and Hutch | 1975-1977 | TV Series written by - 4 episodes | |
Gibbsville | 1976 | TV Series writer - 1 episode | |
Bronk | TV Series teleplay - 1 episode, 1976 writer - 1 episode, 1976 |
Director
Title | Year | Status | Character |
---|---|---|---|
Hue 1968 | TV Mini-Series announced | ||
Untitled Tony Accardo/Sam Giancana Biopic | announced | ||
Blackhat | 2015 | ||
Luck | 2011 | TV Series 1 episode | |
Public Enemies | 2009 | ||
Miami Vice | 2006 | ||
Collateral | 2004 | ||
Ali | 2001 | ||
The Insider | 1999 | ||
Heat | 1995 | ||
The Last of the Mohicans | 1992 | ||
L.A. Takedown | 1989 | TV Movie | |
Crime Story | 1987 | TV Series 1 episode | |
Manhunter | 1986 | ||
The Keep | 1983 | ||
Thief | 1981 | ||
The Jericho Mile | 1979 | TV Movie | |
Police Woman | 1977 | TV Series 1 episode | |
17 Days Down the Line | 1972 | Documentary short | |
Jaunpuri | 1971 | Short | |
Insurrection | 1968 | Documentary short |
Camera Department
Title | Year | Status | Character |
---|---|---|---|
Public Enemies | 2009 | camera operator - uncredited | |
The Making of 'Heat' | 2005 | Video documentary still photographer | |
Collateral | 2004 | camera operator - uncredited | |
Ali | 2001 | camera operator - uncredited | |
The Insider | 1999 | camera operator - uncredited | |
Manhunter | 1986 | camera operator |
Cinematographer
Title | Year | Status | Character |
---|---|---|---|
17 Days Down the Line | 1972 | Documentary short | |
Jaunpuri | 1971 | Short | |
Insurrection | 1968 | Documentary short uncredited |
Actor
Title | Year | Status | Character |
---|---|---|---|
The Intern | 2015/I | Tai Chi Class | |
Hancock | 2008 | Executive |
Miscellaneous
Title | Year | Status | Character |
---|---|---|---|
The Making of 'Last of the Mohicans' | 2010 | Video documentary archive footage | |
Collateral | 2004 | script revisions - uncredited |
Soundtrack
Title | Year | Status | Character |
---|---|---|---|
Ali | 2001 | producer: "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
Title | Year | Status | Character |
---|---|---|---|
Intruder | 2016/I | Short special thanks | |
The Art of the Heist: An Examination of 'Thief' with Author & Critic F.X. Feeney | 2015 | Video documentary short special thanks | |
Nosferatu vs. Father Pipecock & Sister Funk | 2014 | special thanks | |
Thief: Making Something Real - James Caan on 'Thief' | 2014 | Video documentary short special thanks | |
Thief: The Otherness of Sound - Johannes Schmoelling on 'Thief' | 2014 | Video documentary short special thanks | |
Why We Ride | 2013 | Documentary special thanks | |
Quartet | 2012 | with thanks to | |
El defensor | 2011 | Short the director wishes to thank | |
Re-en-act-ment | 2010 | Short grateful acknowledgment | |
Exact Bus Fare | 2008 | Short very special thanks | |
The Making of 'Heat' | 2005 | Video documentary special thanks | |
Y nada más | 2005 | Short special thanks | |
Thomas Grey's Rainy Day | 2004 | Short special thanks | |
The Clearing | 2004 | special thanks | |
Wonderland | 2003 | the producers and director wish to thank | |
The Directors | 2001 | TV Series documentary acknowledgment - 1 episode | |
Man of the Century | 1999 | thanks | |
StarCraft | 1998 | Video Game thanks |
Self
Title | Year | Status | Character |
---|---|---|---|
Tangerine Dream: Sound from Another World | 2016 | TV Movie documentary | Himself |
Academy Event: Heat | 2016 | Video short | Himself |
The Eighties | 2016 | TV Mini-Series documentary | Herself - Executive producer, 'Miami Vice' |
The Director's Chair | 2015 | TV Series | Himself |
Janela Indiscreta | 2015 | TV Series | Himself |
HBO First Look: Blackhat | 2015 | TV Movie | Himself |
Blackhat: Creating Reality | 2015 | Video documentary short | Himself |
Blackhat: On Location Around the World | 2015 | Video documentary short | Himself |
Blackhat: The Cyber Threat | 2015 | Video documentary short | Himself |
Steve Schapiro et les icônes américaines | 2014 | Documentary | Himself |
Thief: Truth-Telling Style: Michael Mann on 'Thief' | 2014 | Video documentary short | Himself |
The Fire Rises: The Creation and Impact of the Dark Knight Trilogy | 2013 | Video documentary | Himself |
Milius | 2013 | Documentary | Himself |
Movie Talk with Peter Bart | 2012 | TV Series | Himself - Guest |
Tavis Smiley | 2012 | TV Series | Himself |
The Making of 'Last of the Mohicans' | 2010 | Video documentary | Himself / Director-writer-producer |
Hollywood's Best Film Directors | 2010 | TV Series | Himself - Interviewee / Film Director |
Letterbox | 2009 | TV Short documentary | Himself - Director / Screenwriter |
A Conversation with Michael Mann | 2009 | Documentary short | Himself |
Criminal Technology | 2009 | Video documentary short | Himself |
Larger Than Life Adversaries | 2009 | Video documentary short | Himself |
Michael Mann: Making 'Public Enemies' | 2009 | Video documentary short | Himself |
On Dillinger's Trail | 2009 | Video documentary short | Himself |
Public Enemies: Blu-ray Historical Interactive Timeline | 2009 | Video documentary short | Himself |
Public Enemies: Blu-ray Picture in Picture | 2009 | Video documentary short | Himself |
The Last of the Legendary Outlaws | 2009 | Video documentary short | Himself |
Xposé | 2009 | TV Series | Himself |
HBO First Look | 2001-2009 | TV Series documentary short | Himself |
Entertainment Tonight | 2009 | TV Series | Himself |
Superhumans: The Making of 'Hancock' | 2008 | Video documentary short | Himself |
Creating 'The Kingdom' | 2007 | Video documentary short | Himself |
AFI Life Achievement Award: A Tribute to Al Pacino | 2007 | TV Movie | Himself |
Miami Vice: Behind the Scenes | 2006 | Video short | Himself |
Sanctuary: Lisa Gerrard | 2006 | Video documentary | Himself |
Going Deep Undercover with 'Miami Vice' | 2006 | TV Short | Himself |
Miami Vice: Crime Without Compromise | 2006 | TV Short documentary | Himself |
Miami Vice: Undercover | 2006 | TV Short documentary | Himself |
Corazón de... | 2006 | TV Series | Himself |
Miami & Beyond: Shooting on Location | 2006 | Video documentary short | Himself |
Visualizing 'Miami Vice' | 2006 | Video documentary short | Himself |
The Making of 'Heat' | 2005 | Video documentary | Himself |
Shootout | 2005 | TV Series | Himself |
Heat: Return to the Scene of the Crime | 2005 | Video short | Himself |
Pacino and DeNiro: The Conversation | 2005 | Video documentary short | Himself |
11th Annual Screen Actors Guild Awards | 2005 | TV Special | Himself |
Männer im Trenchcoat, Frauen im Pelz | 2004 | TV Movie documentary | Himself |
City of Night: The Making of 'Collateral' | 2004 | Video documentary short | Himself |
Gomorron | 2004 | TV Series | Himself - regissör |
The Story Behind Baadasssss!: The Birth of Black Cinema | 2004 | Video documentary short | Himself |
Revealed with Jules Asner | 2002 | TV Series | Himself |
The Making of 'Ali' | 2001 | TV Movie documentary | Himself |
The Directors | 2001 | TV Series documentary | Himself |
I Love 1980's | 2001 | TV Series documentary | Himself |
The 72nd Annual Academy Awards | 2000 | TV Special | Himself - Nominee: Best Picture, Best Director & Best Adapted Screenplay |
Making of the Insider | 2000 | TV Movie documentary | |
Chicago Filmmakers on the Chicago River | 1998 | Documentary | Himself |
Howard Hawks: American Artist | 1997 | TV Movie documentary | Himself |
Directors on Directors | 1997 | TV Series documentary | Himself - Interviewee |
The 42nd Annual Primetime Emmy Awards | 1990 | TV Special | Himself - Winner |
The 31st Annual Primetime Emmy Awards | 1979 | TV Special | Himself - Winner |
Archive Footage
Title | Year | Status | Character |
---|---|---|---|
60 Minutes | 2015 | TV Series documentary | Himself - Filmmaker (segment "Selma") |
Cleanflix | 2009 | Documentary | Himself - Director, Collateral |
Cómo conseguir un papel en Hollywood | 2007 | TV Movie documentary | Himself |
Gomorron | 2004 | TV Series | Himself - regissör |
Awards
Won Awards
Year | Award | Ceremony | Nomination | Movie |
---|---|---|---|---|
2005 | BAFTA Film Award | BAFTA Awards | Best Film | The Aviator (2004) |
2005 | PGA Award | PGA Awards | Outstanding Producer of Theatrical Motion Pictures | The Aviator (2004) |
2004 | Hollywood Film Award | Hollywood Film Awards | Director of the Year | Collateral (2004) |
2004 | NBR Award | National Board of Review, USA | Best Director | Collateral (2004) |
2004 | Future Film Festival Digital Award | Venice Film Festival | Collateral (2004) | |
2002 | Inspiration Award | Empire Awards, UK | ||
2000 | Humanitas Prize | Humanitas Prize | Feature Film Category | The Insider (1999) |
2000 | SFFCC Award | Santa Fe Film Critics Circle Awards | Best Director | The Insider (1999) |
2000 | Golden Satellite Award | Satellite Awards | Best Director | The Insider (1999) |
2000 | Paul Selvin Honorary Award | Writers Guild of America, USA | The Insider (1999) | |
1999 | Freedom of Expression Award | National Board of Review, USA | The Insider (1999) | |
1993 | Yoga Award | Yoga Awards | Worst Foreign Director | The Last of the Mohicans (1992) |
1990 | Primetime Emmy | Primetime Emmy Awards | Outstanding Miniseries | Drug Wars: The Camarena Story (1990) |
1987 | Critics Award | Cognac Festival du Film Policier | Manhunter (1986) | |
1980 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Specials/Movies for TV/Actuality | The Jericho Mile (1979) |
1979 | Primetime Emmy | Primetime Emmy Awards | Outstanding Writing in a Limited Series or a Special | The Jericho Mile (1979) |
Nominated Awards
Year | Award | Ceremony | Nomination | Movie |
---|---|---|---|---|
2013 | IDA Award | International Documentary Association | Best Limited Series | Witness (2012) |
2007 | IOMA | Italian Online Movie Awards (IOMA) | Best Director (Miglior regia) | Miami Vice (2006) |
2005 | Oscar | Academy Awards, USA | Best Motion Picture of the Year | The Aviator (2004) |
2005 | David Lean Award for Direction | BAFTA Awards | Collateral (2004) | |
2005 | Movies for Grownups Award | AARP Movies for Grownups Awards | Best Director | Collateral (2004) |
2005 | Saturn Award | Academy of Science Fiction, Fantasy & Horror Films, USA | Best Director | Collateral (2004) |
2005 | Empire Award | Empire Awards, UK | Best Director | Collateral (2004) |
2005 | IOMA | Italian Online Movie Awards (IOMA) | Best Director (Miglior regia) | Collateral (2004) |
2005 | OFTA Film Award | Online Film & Television Association | Best Picture | The Aviator (2004) |
2005 | OFTA Film Award | Online Film & Television Association | Best Director | Collateral (2004) |
2004 | ACCA | Awards Circuit Community Awards | Best Motion Picture | The Aviator (2004) |
2004 | Golden Schmoes | Golden Schmoes Awards | Best Director of the Year | Collateral (2004) |
2002 | Black Reel | Black Reel Awards | Best Film | Ali (2001) |
2001 | Bodil | Bodil Awards | Best American Film (Bedste amerikanske film) | The Insider (1999) |
2001 | Empire Award | Empire Awards, UK | Best Director | The Insider (1999) |
2001 | Robert | Robert Festival | Best American Film (Årets amerikanske film) | The Insider (1999) |
2000 | Oscar | Academy Awards, USA | Best Picture | The Insider (1999) |
2000 | Oscar | Academy Awards, USA | Best Director | The Insider (1999) |
2000 | Oscar | Academy Awards, USA | Best Writing, Screenplay Based on Material Previously Produced or Published | The Insider (1999) |
2000 | Golden Globe | Golden Globes, USA | Best Director - Motion Picture | The Insider (1999) |
2000 | Golden Globe | Golden Globes, USA | Best Screenplay - Motion Picture | The Insider (1999) |
2000 | DGA Award | Directors Guild of America, USA | Outstanding Directorial Achievement in Motion Pictures | The Insider (1999) |
2000 | Sierra Award | Las Vegas Film Critics Society Awards | Best Screenplay, Adapted | The Insider (1999) |
2000 | OFTA Film Award | Online Film & Television Association | Best Picture | The Insider (1999) |
2000 | OFTA Film Award | Online Film & Television Association | Best Director | The Insider (1999) |
2000 | OFTA Film Award | Online Film & Television Association | Best Writing, Screenplay Based on Material from Another Medium | The Insider (1999) |
2000 | OFCS Award | Online Film Critics Society Awards | Best Adapted Screenplay | The Insider (1999) |
2000 | OFCS Award | Online Film Critics Society Awards | Best Director | The Insider (1999) |
2000 | PGA Award | PGA Awards | Outstanding Producer of Theatrical Motion Pictures | The Insider (1999) |
2000 | WGA Award (Screen) | Writers Guild of America, USA | Best Screenplay Based on Material Previously Produced or Published | The Insider (1999) |
1992 | Primetime Emmy | Primetime Emmy Awards | Outstanding Miniseries | Drug Wars: The Cocaine Cartel (1992) |
1987 | Edgar | Edgar Allan Poe Awards | Best Motion Picture | Manhunter (1986) |
1985 | Primetime Emmy | Primetime Emmy Awards | Outstanding Drama Series | Miami Vice (1984) |
1981 | Palme d'Or | Cannes Film Festival | Thief (1981) | |
1979 | Edgar | Edgar Allan Poe Awards | Best Television Episode | Vega$ (1978) |
2nd Place Awards
Year | Award | Ceremony | Nomination | Movie |
---|---|---|---|---|
1999 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Director | The Insider (1999) |
Source: IMDb, Wikipedia