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Criminal Manne

Biography

A Billboard-charting MC who spent the ’90s offering mixtapes away from his trunk, single artist Offender Manne can be a member from the Task Playaz and comes from Memphis, Tennessee. Using the Task Playaz, Manne strike in 1998 using the monitor “Buck & Nude” which resulted in a cope with the solid indie label Relativity Information. Following the group’s one “Buck beside me” became the very first video shown in the Wager television network’s important show Rap Town, the group agreed upon a cope with Rap-A-Lot Information but begun to dissolve around 2002. That same season, Manne went single using the recording Play Time’s Over, after that 2003 noticed him drop Community Dope Manne, a Rap-A-Lot recording that presented Lil Turn and La Chat combined with the famous 8Ball & MJG. Road Ways adopted in 2005 and climbed to 97 within the Billboard 200 albums graph, while 2006 noticed the collaborative recording Atlanta 2 Memphis drop with Pastor Troy along for the trip. 2007 mixtape daNeighborhood Dopeman showed up hosted from the starmaker DJ Theatre. The Takeover mixtape with Frayser Boy got a yr later with the state recording Got Work in ’09 2009, a group of mixtapes with DJ 5150, DJ Scream, and Traps N Trunks brought the MC to 2014, annually he slice the Arm & Hammer LP, together with his OJ Da Juiceman cooperation Kings from the Capture. In 2016, he got back within the charts because of a visitor appearance on Adolescent Dolph’s recording Ruler of Memphis.

Quick Facts


Full Name Criminal Manne
Profession Rapper
Music Songs I'm Trippin, Fist Full of Bricks, Trap Talk, High Like Dis, Tryna Buss Sumthing, Neighborhood Dope Manne, Ain't Barying It, That's All I Do, Thuggin, Dope Manne, Underground Kings, Stop Traiting, Stank Hoe, Weigh It Up, Whoop Me a Bitch, Everythang Cool, Stay Out My Bizz, Whoop Yo Azz, Yean Know, Stop Lying, Gone Head Hate, Bout Dat Money, Icy White, Fan Me a Nigga, Take it how You Wanna, Dope House, Not No Mo, Keep It Real, Let's Smoke, Crim and Gangsta, Hoe Yean Know, My Folks
Albums Street Ways, Solo Tape, Play Time's Over, Atlanta 2 Memphis, Got Work, Neighborhood Dope Manne, Da Neighborhood Dopeman Mixtape, Roll, Trap Talk


  • Facts
  • Filmography
  • Awards
  • Salaries
  • Quotes
  • Trademarks
  • Pictures

#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.


Producer

Producer

TitleYearStatusCharacter
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

Writer

TitleYearStatusCharacter
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

Director

TitleYearStatusCharacter
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

Camera Department

TitleYearStatusCharacter
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

Cinematographer

TitleYearStatusCharacter
17 Days Down the Line 1972 Documentary short
Jaunpuri 1971 Short
Insurrection 1968 Documentary short uncredited

Actor

Actor

TitleYearStatusCharacter
The Intern 2015/I Tai Chi Class
Hancock 2008 Executive

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
The Making of 'Last of the Mohicans' 2010 Video documentary archive footage
Collateral 2004 script revisions - uncredited

Soundtrack

Soundtrack

TitleYearStatusCharacter
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

Thanks

TitleYearStatusCharacter
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

Self

TitleYearStatusCharacter
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

Archive Footage

TitleYearStatusCharacter
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

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2005 BAFTA Film Award BAFTA Awards Best Film The Aviator (2004) · Sandy Climan
· Graham King
· Charles Evans Jr.
2005 PGA Award PGA Awards Outstanding Producer of Theatrical Motion Pictures The Aviator (2004) · Graham King
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) · Eric Roth
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) · Eric Roth
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) · Richard Brams (co-executive producer)
· Christopher Canaan (supervising producer)
· Rose Schacht (supervising producer)
· Ann Powell (supervising producer)
· Branko Lustig
· Mark Allan (co-producer)
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) · Penelope L. Foster (unit production manager plaque)
· Frank Beetson (first assistant director plaque)
· John R. Kittleson (second assistant director plaque)
1979 Primetime Emmy Primetime Emmy Awards Outstanding Writing in a Limited Series or a Special The Jericho Mile (1979) · Patrick J. Nolan

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2013 IDA Award International Documentary Association Best Limited Series Witness (2012) · David Frankham (director/executive producer)
· Abdallah Omeish (director)
· Ike Martin (producer)
· Allison Kunzman (producer)
· Youree Henley (producer)
· Julie Herrin (producer)
· Josiah W. Hooper (producer)
· Ra'uf Glasgow (co-producer)
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) · Graham King
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) · Sandy Climan
· Charles Evans Jr.
· Graham King
2005 OFTA Film Award Online Film & Television Association Best Director Collateral (2004)
2004 ACCA Awards Circuit Community Awards Best Motion Picture The Aviator (2004) · Sandy Climan
· Charles Evans Jr.
· Graham King
2004 Golden Schmoes Golden Schmoes Awards Best Director of the Year Collateral (2004)
2002 Black Reel Black Reel Awards Best Film Ali (2001) · Paul Ardaji
· A. Kitman Ho
· Jon Peters
· James Lassiter
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) · Pieter Jan Brugge
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) · Eric Roth
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) · Eric Roth
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) · Eric Roth
2000 OFTA Film Award Online Film & Television Association Best Picture The Insider (1999) · Pieter Jan Brugge
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) · Eric Roth
2000 OFCS Award Online Film Critics Society Awards Best Adapted Screenplay The Insider (1999) · Eric Roth
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) · Pieter Jan Brugge
2000 WGA Award (Screen) Writers Guild of America, USA Best Screenplay Based on Material Previously Produced or Published The Insider (1999) · Eric Roth
1992 Primetime Emmy Primetime Emmy Awards Outstanding Miniseries Drug Wars: The Cocaine Cartel (1992) · Richard Brams (co-executive producer)
· Gordon Greisman (co-executive producer)
1987 Edgar Edgar Allan Poe Awards Best Motion Picture Manhunter (1986)
1985 Primetime Emmy Primetime Emmy Awards Outstanding Drama Series Miami Vice (1984) · Anthony Yerkovich (executive producer)
· John Nicolella (supervising producer/producer)
· Liam O'Brien (supervising producer)
· Mel Swope (producer)
· Richard Brams (co-producer)
· George E. Crosby (co-producer)
1981 Palme d'Or Cannes Film Festival Thief (1981)
1979 Edgar Edgar Allan Poe Awards Best Television Episode Vega$ (1978)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1999 LAFCA Award Los Angeles Film Critics Association Awards Best Director The Insider (1999)

TitleSalary
Ali (2001) $5,000,000

#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]

#Trademark
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.

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