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The A To Z Of Michael Mann
Public Enemies sees the return of Michael Mann with a typically stylish and finely-detailed gangster epic . To mark its release we've embarked an alphabetic jaunt through the tropes and traits that make him one of cinema's true auteurs. Welcome to Mikepedia.
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The A To Z Of Michael Mann | Lighting
The A To Z Of Michael Mann | Lighting

Lighting

With his passion for nighttime shoots, Mann’s is lucky to be able to boast a photographer’s eye and cinematographers of the calibre of Dante Spinotti and Dion Beebe. Mann works from a broader colour palette than the Dulux puppy: his neo-noir nightscapes spanning the spectrum from Manhunter’s glaring whites to the purples of Miami Vice, and require the most scientific approach imaginable. "It's a little like being in front of a Caravaggio scene and changing it into a Kandinsky painting," says Beebe, of an artist challenge that would surely stump even Tony Hart. For Collateral, 80 per cent of which was shot in the dark, Mann’s calculations had to include existing street lighting: his approach, repeated in Public Enemies, is to take the camera deep into the shadows and create an HD experience of staggering detail.

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4 RE: Indigo
Posted on Friday July 3, 2009, 21:10 by odddaze
Not a big fan of the Mann, whilst Heat, Collateral, The Insider & Manhunter are all great, Ali, Miami Vice (whichis a terrible, terrible movie) and Public Enemies really aren't all that, they are slow, dull and unfufilling. All well made, but just not all that great. Read More

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