il a en effet récemment créé Michael Mann Books : une collection qui publiera une série de romans qui seront également adaptés à la télévision et sur grand écran.
The Goldwyn Theater might not be the best equipped to demonstrate the full beauty of a 4K presentation (no shade intended – it was great but I had no basis to compare), but the new print looked fantastic, with eye popping detail that shines a bright light on the work of cinematographer Spinotti. A particular stand out is how the new print makes clear some of the technical achievements Mann and Spinotti employed to make the city of Los Angeles itself as much a character as the actors moving inside it. “L.A. is a weigh station on the way to somewhere else,” said Mann tonight about the way the city looks throughout Heat. One way that was achieved was to combine then-new computer effects to heighten the city’s iconic cityscape.
For example, in the scene in which De Niro’s McCauley and Brenneman’s Eady talk on a balcony overlooking Sunset plaza, Spinotti explained how the L.A. landscape seen in the shot was filmed on a very low framerate to increase exposure. Meanwhile, De Niro and Brenneman were filmed on location in front of a green screen blocking the actual view, which was added to the background of the shot in post. It’s unnoticeable in previous home video releases but in the new print, it makes L.A.’s nighttime view look like a surreal dream, or perhaps a nightmare. It adds to the sense, as it was said more than once tonight, of how all the film’s characters are in their own way imprisoned in Los Angeles.
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