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13 - Michael Mann Interview

Published online by Cambridge University Press:  05 September 2016

R. Barton Palmer
Affiliation:
Calhoun Lemon Professor of Literature, Clemson University
Steven Sanders
Affiliation:
Professor of Philosophy Emeritus, Bridgewater State University
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Summary

Los Angeles is so hot right now. Not like Paris Hilton's twittered catchphrase (although I suppose it is that too) but more in the sense of sweating through your fingernails. The TV weatherman has run out of superlatives to describe the 112 degree inferno blazing outside and has resorted to fanning himself theatrically and hooting at a crimson map of the Californian peninsula, dotted with swollen yellow suns. In an anonymous room in the Four Seasons, I'm in a puddle, even with the air-conditioning on full blast and a shelf full of condensation- dripping water bottles standing by. I'm checking the capillary creep under my armpits and wondering if there's time to dash upstairs and change my shirt when the door opens and Michael Mann scurries into the room, looking like he just stepped out of the fridge where they keep the talent chilled. He's around the table in a trice to take my soggy hand in a firm grip and carefully place a discreet Dictaphone down beside mine. In any other circumstances this would be unusual, but Mann's attention to detail is legendary and this recorded insurance is part of that cautious data-mining. Squat and intense, with swept-back hair matching his silver glasses and a confident grin, he sits himself down and motions his bored-looking assistant into a discreet chair in the furthest corner. All set, he takes a final check on everything around him, rolls his shoulders and cocks his head to one side, exposing a thin, transparent hearing aid that follows the contour of his inner ear, waiting for my first question.

I start off our conversation by casually remarking that the director has come full circle with his new film, Miami Vice. It's a kind-of remake of the seminal 1980s TV series that Mann originally brought to television screens worldwide as executive producer, the pop-culture defining success of which allowed him to write his own ticket in Hollywood, after his Hannibal Lecter story Manhunter and the Nazi horror of The Keep. He takes the observation with a nod, and shrugs his shoulders. “The time was right to make this one,” he says quickly and finally and we move on.

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Chapter
Information
Michael Mann - Cinema and Television
Interviews, 1980-2012
, pp. 95 - 100
Publisher: Edinburgh University Press
Print publication year: 2014

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