Panes of glass

Michael and I talked about achieving an immediate feel […]
The medium is romantic, interesting and beautiful, but it also looks real […]
we could easily smooth that out in post

D. Spinotti

Two men at work in the age of film, days of yore––the year: 1986.

VISHNEVETSKY: I picture this film (and MIAMI VICE) as a pane of glass, smeared with color: […] watching these recent Mann films is us watching a screen. I think this is where some audiences and some very smart critics have problems with Mann’s digital work, that they are trying to push in when they really should be viewing across. The smear of movement we see in this film when its digital camerawork is projected on film […] really can be seen as a literalization, materialization of this concept.

KNIGHT: I’m not arguing that PUBLIC ENEMIES is any more literal or legible than MIAMI VICE in terms of story, but that it’s built in a narrower framework that points one way, given its historical “duty,” and that I find the every-which-way of MIAMI VICE a better attitude with which to marry Mann’s story ideas (or abandonment thereof) with his ramped up aesthetics. That’s my utopia: a mutable one, what Istvan Csicsery-Ronay calls mutopia.



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