Michael Mann - Quotes

There are 35 quotes by Michael Mann at 95quotes.com. Find your favorite quotations and top quotes by Michael Mann from this hand-picked collection about time. Feel free to share these quotes and sayings on Facebook, Pinterest, Tumblr & Twitter or any of your favorite social networking sites.

Miami is one of these great places that is a really sensual, physically beautiful place. ---->>>

Horses have really distinct personalities, and they're magical in many ways. ---->>>

We take safety very, very seriously on every film I make, and that's why I've never had a serious accident or anybody killed when I make a picture. ---->>>

There's people who live life authentically and there's people who live a life of fabrication. And it begins with the question of how you're gonna do your time. And these are observations I made about Folsom when I was there with Dustin Hoffman when he was directing 'Straight Time.' ---->>>

By the time I was 21, I knew what I wanted to do, and that was to direct films. ---->>>

Digital makes things feel more real, like you could reach out and touch them. ---->>>

I own a horse and ride, but I don't know racing or betting. ---->>>

I realized horses have personality when I bought one and I had one, who's now out to pasture, a horse named Drifter. Before that, I was a city boy. Horses, I used to go out to the LaBagh Woods and ride at a stable once every two years or something; no idea about horses. Dogs, I knew, had personalities, but not horses. ---->>>

We bring our preparation to the table, and opportunity may present itself, and if you are well prepared, you can seize opportunity and then maybe something good happens, and you call that luck. ---->>>

As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film. ---->>>

I like change. I don't like being in the same room for too long. ---->>>

What I try to do - I mean 'try,' because you don't get there all the time - is to have impact with content. It's those moments in which you're trying to bring people beyond filmed theater. If I have an ambition, it's that. ---->>>

To just tell a story from beginning, middle and end doesn't motivate me that much. ---->>>

I relate more to the fact that 80-inch plasma has just started to become ubiquitous and in people's homes the fairly decent 5.1 sound system and the big screen isn't that out of reach. ---->>>

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. ---->>>

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. ---->>>

There's a tired notion that the photojournalist has to be disengaged to be able to shoot what he shoots, and that's such a cliched idea of what the experience is. Of course they're engaged, and they're not distanced. ---->>>

Blu-ray and the technologies emerging around it are the premiere format for reproducing what we do as filmmakers. There's more space on the disc, more bit rate. ---->>>

I don't underestimate audiences' intelligence. Audiences are much brighter than media gives them credit for. When people went to a movie once a week in the 1930s and that was their only exposure to media, you were required to do a different grammar. ---->>>

I think the resolution involved in the high-def, Blu-ray image demands we pay attention to every detail to a level we've never seen before. The audiences have to believe everything they're seeing. As viewers, we're all so experienced and so much smarter than we realize. With Blu-ray, there will be less tricking of the eye. ---->>>

Personally, I find looking at all of the supporting materials and bring it all back to me - the people I worked with, the experience of working on a project - makes it come alive again. So, I try to put those experiences into my commentary for the viewers. ---->>>

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. ---->>>

A 65-ft.-wide screen and 500 people reacting to the movie, there is nothing like that experience. ---->>>

I've never made any film that I wouldn't go back and re-edit. ---->>>

In 'The Insider,' I had violence - lethal, life-taking aggression - all happening psychologically, all with people talking to other people. ---->>>

'Police Story' had some of the best writing on television, and one reason for that is because most of the scripts were based on real cases. ---->>>

The best-kept secret about Don Johnson is the fact that he is a terrific actor. ---->>>

Video looks like reality, it's more immediate, it has a verite surface to it. Film has this liquid kind of surface, feels like something made up. ---->>>

Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode. ---->>>

Dillinger at one point was the second most popular man in America after President Roosevelt. And he was a national hero for a good reason. He was robbing the very institutions, the banks, which had afflicted the people for four years, and after four years nothing was getting any better. ---->>>

HBO is not an advertiser-based model, it's a subscription model. So what's significant to HBO is not necessarily the debut of an episode, it's the cumulative numbers. ---->>>

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go. ---->>>

Music is always key to me, whether it's 'Miami Vice' or not 'Miami Vice.' It's dictated by the story, about what Crockett and Tubbs and Isabella and Trudy are doing. ---->>>

Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it's true, and look at the results. ---->>>

When you say that I can go and make a movie, I feel like I'm one of the most fortunate men. I feel myself to be a fortunate man that I found something to do that I really love. ---->>>

Biography

Nationality:
Born: 02-05, 1943
Birthplace: Chicago, Illinois, U.S.
Die:
Occupation: Director
Website:

Michael Kenneth Mann (born February 5, 1943) is an American film director, screenwriter, and producer of film and television. For his work, he has received nominations from international organizations and juries, including those at the British Academy of Film and Television Arts, Cannes and the Academy of Motion Picture Arts and Sciences (wikipedia)