Cinemática fórmulas3/16/2024 ![]() Mann’s Miami Vice movie, for example, seems to actively repel any aesthetic evocation of the original series. These adventures have sometimes put him at odds with audience expectations. Ferrari is his first feature film in the near-decade since Blackhat. With their jittery camerawork and conspicuously digital textures, these latter films alienated some viewers, and tested Mann’s ability to make bank at the box office. In the new millennium, he was an early adopter of digital technology, exploring its potential and pushing its possibilities in Collateral (2004), his big-screen Miami Vice feature (2006), the John Dillinger caper Public Enemies (2009), and the globe-trotting hacker thriller Blackhat (2015). In the 1990s, Mann would swap out the lambent gloss for steelier palettes, lending cooler, chillier intensity to the crime epic Heat (1995), and the based-on-a-true-story whistleblower drama The Insider (1999). As executive producer on the popular NBC crime drama Miami Vice, he engineered a pop, pastel, art deco revival that would leave its mark on everything from video games ( Grand Theft Auto: Vice City owes Mann a debt, if not some residual checks) to men’s casual couture. Early, in Thief (1981) and Manhunter (1986), he realized gritty, borderline nightmarish visions of the realms of criminals, cops, and killers, in gauzy, neon-dreamy hues that proved massively influential. ![]() He has crafted exhaustively detailed, finely-tuned films, which are also exceptionally stylish. For more than 40 years, Mann has worked to close that gap between the idealized imagination, and the world beyond it. ![]()
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