Filmmaker Michael Mann is known for his rigorous studies and exhaustive preparation, with his paintings in existential and temperamental portraits such as “Heat”, “The Insider”, “Ali”, “Miami Vice”, “Blackhat” and the recent “Ferrari”. “»
Mann now offers the public an unprecedented insight into his artistic process through michaelmannarchives. com. Released today at noon Pacific time, it begins with a deep dive into the making of “Ferrari,” adding 20 pieces of video created especially for the site, never-before-seen photographs, annotated script pages and production documents. production, adding Mann’s running notes, many of them handwritten.
Access to the “Ferrari” site will cost 65 dollars. After the initial release, there are plans to continue publishing Mann’s filmography, and the next few pages will be faithful to other films. (Users will want to access the movie file individually. )An avid online fandom for titles like “Heat” or “Miami Vice” would likely spark a lot of interest in this kind of behind-the-scenes exploration.
On a recent afternoon in his old offices in West Los Angeles, Mann sat down with The Times, sitting with the youngest of his four daughters, Becca Mann, who worked intensively with her father on the file.
Mann’s notoriously difficult attitude is softened by the presence of his daughter; He turns out full of energy through their paintings together. In the conversation, Mann remembers, with unexpected details, decades-old studies or express moments from the production of his oldest films.
The life of Mann’s extensive private archive was the initial impetus for the online project, the fact that all of this material was there for publication. But from there, the purpose began to take on a broader dimension.
“Making a movie is a spectacular, rewarding and artistic act,” says Mann, 81. “It’s a very gigantic project. The film lasts two hours, which is equivalent to a year and a half. It takes a lot to decide, to think about what I’m going to do.
Mann goes on to talk about something deeper. “Directors have no idea how other directors make a movie,” he says. “And so each of us expands on our own specific process. It’s an opportunity to convey that, to convey everything. I’m very passionate about it. I think it’s the most productive task a guy or woman can do, period. And I’ve been thinking about it since I was 20 years old and my enthusiasm for it is surely unwavering and unwavering.
“Ferrari,” set in 1957 Italy, tells the story of a turbulent era in the life of Enzo Ferrari, the Italian automaker who created the prominent brand. Played by Adam Driver, Ferrari struggles to keep his business afloat and build a winning car racing team while juggling a private life that finds him stuck between his ex-spouse, Laura (Penelope Cruz), still mourning the untimely deaths of his son Dino and his wife, Lina Lardi (Shailene Woodley). with whom she secretly has a young son, Piero.
The new is structured around six scenes from “Ferrari,” two of which Mann describes as the “most fundamental” of the film, a series in which the characters attend an opera performance and a heated argument between Enzo and Laura Ferrari at home.
Other sections of the canopy are the recreation of the Mille Miglia motor race and the horrific and fatal Guidizzolo accident of 1957, exploring everything from the recreation of vintage racing cars to the special cameras used to capture the waterfalls.
Some of the most notable documents are Mann’s private handwritten notes, in which he can be seen traversing layer after layer of meaning and intent. “The most important user to lead is myself,” he says.
This fluid feedback is then filtered into more formal documents to distribute to others involved in production, as the concepts are subtle and refined. The continuity of the procedure is all the more remarkable because the date from one page to another can jump several years. (Mann’s interest in “Ferrari” dates back to the 1990s. )
The site’s video elements are more complete and in-depth than those that accompany movie promotion. They can transfer between footage of Driver and Woodley’s practice session and the final film edit of the same scene. The audio assets come from Mann’s early pre-production recordings, such as when he and Cruz talk about Laura and Enzo’s dates long before the film was filmed. (Mann’s pre-production photographs of Cruz in the Ferrari family’s current apartment are perhaps some of the most striking photographs on the entire site. )
Until now, Mann’s archives have been stored in various locations, divided between documents, film elements and physical objects. Becca Mann worked as an archivist for her father about a decade ago, at first just to check that documents were stored properly, and then she saw her involvement grow over time.
“That’s what happens if you go out with him,” says Becca Mann, 43, with an affectionate smile. “I go to the garage to see if there’s dust and then. . . “
“In 25 words or less, all this,” adds his father with a laugh.
Becca Mann remembers finding items that fascinated her and knew that other people would appreciate the opportunity to see them, too.
“We came across this kind of crazy, beautiful document, covered in coffee stains and containing all the essential elements of ‘Heat’ on a single page,” he says. “That’s when you have to focus on what percentage: what is the best, most appropriate and as direct as possible with those things. “
Becca Mann notes that as you go back in time, there are fewer and fewer curtains on each film, which can be a challenge for later versions of the archive’s website. Mann himself uses his archives to study projects. For “Ferrari,” Mann’s execution procedure was the same as in past films, except that even more attention was paid to documenting the paintings along the way.
Explaining his interest in the archival project, he reflected on how other filmmakers have fostered his evolving practice over the years. He cites the profound and continuing influence of Russian director Sergei Eisenstein, as well as what he learned about storytelling from his friend, the filmmaker Sydney. Pollack, who collaborated on the first drafts of the “Ferrari” project.
While working as George Cukor’s assistant in London in the late 1960s on a film that was never made, Mann watched the director of “The Philadelphia Story,” “A Star Is Born” and “My Fair Lady” adapt a film. . actor a rehearsal.
“I don’t know what he said, but it lasted about 10 or 15 seconds and he walked away and the functionality went from A to Z,” Mann said. “And he made me realize that if you need to direct, you have to be able to do it. You have to know what to say to put yourself in the shoes of a very determined and hard-working actor. »
“Ferrari” is considered a box office flop, grossing just over $42 million worldwide on a reported budget of $95 million and not winning any major awards. Still, that didn’t dampen Mann’s emotions about the decades of paintings that went into creating it.
“I’m confident in the long-term relevance of the film,” says Mann. “I think it’s an intelligent film. I think Adam’s paintings are stunning. Penelope’s paintings are geniales. Shailene. La writing of Troy [Kennedy Martin] is great. There’s no doubt about that. “
Many of Mann’s films have had a long tail, finding a passionate and supportive audience over time. Just look at the recent screenings of “Miami Vice” in New York and Los Angeles or the excitement over the recent release of a 4K disc of “Blackhat. ” “
“It’s no mystery to me,” Mann says of why some of his films take longer to engage audiences than others, mentioning “Heat’s” “contrapuntal” finish.
“It’s emotionally conclusive, but it doesn’t leave you with: OK, it’s over, where are we going to get pizza?This is not fast food. There are many degrees to those things.
Which vintage of Mann will the archive explore next? “We don’t know what we should do next,” says Becca Mann. “We will be informed a lot about what other people respond to. This allocates a huge amount of material. The purpose is to do anything that activates and lives with the files.
Meanwhile, Mann notes that he is in the process of writing the screenplay adaptation of his novel “Heat 2,” with the preference to begin filming later this year or early 2025. On casting rumors involving Driver and Austin Butler for In In the roles originally played by Robert De Niro and Val Kilmer, Mann simply says: “I can’t communicate anything about that. “
The Michael Mann Archives Project offers an exclusive look at the unique strategies of a director who has been at the forefront of Hollywood for more than four decades. Allowing him to get under the hood, so to speak, only deepens the appreciation of the intensity of the painting that goes into making one of his films.
“I wouldn’t need to make a movie any other way,” Mann said. “If they said to me, ‘Here’s $20 million, show it 3 weeks before filming starts,’ it wouldn’t be for me. ” Make it up as you go. ” is not for me.
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