According to director Michael Man, the “Heat Diner” scene gathered

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This year marks the 30th anniversary of the classic thriller “warm” Michael Man, who is known to have seen the legendary actors al Pacia and Robert de Niro in the same stage for the first time, despite the fact that they used to participate in the “Part Father”. has been obsession with a certain type of synophile for years and has been It was the subject of honor from all over the film and the television spectrum, including Daredevil: Born Again recently. Before concluding the night check “heat” at the classic TCM festival, the start and writer/director Michael Mann participated in the questions and questions where they talked about the moment and how he felt on the set at the time.

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He started talking about how comfortable he felt work with de Niro, whom he knew for decades before production, thanks to the competence of the man behind the camera and how the director created a sense of security for his actors. But when moderator Ben Mankiewicz asked Mann whether he feels an additional sense of importance during the shooting of this scene because of what it means in a big film story, Mann replied as cool as one of his characters: “Not quite.”

“By this point, we had a very thorough preliminary production, we filmed five to six weeks,” MAN explained. “When I planned a movie, I am very hard to work on planning, and I shoot such a scene that it is very important and I usually put it in the middle of the schedule. Because when you shoot the movie, everyone becomes this movie if you do. So, you will never do it at the end. McCal, Vincent Hannah and the meaning of their union.

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One of my favorite parts of questions and questions was Mann, which talked about the nature of the Neil and Vincent, two double pillars of this story. “This is a very complicated scene,” he said. “I can’t imagine anyone else does it except Al and Bob. These two men are really anti-thetetic one. carefully ”.

I also never heard him explaining the key factor that came into the choice of the scene, and why he decided that three cameras work at the same time when shooting the stage:

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“That’s why I chose Kate Montilini because it was a black -white interior. I wanted to intervene anything that these two actors were going to do (…), I wanted it to be all your attention to what was happening. Because Bob changed so (moved so (moved so (moved so (moved so (moved so.It moves slightly in the chair), and puts the hand closer to where he probably has a hidden weapon, (during) dialogue, you could see what Al is doing some other step that was the counter. There was some organic unity to accept. So I wanted to capture two, their work at the same time. That is, there is an organic unity that you need to take 10, which takes 11 and is different from 12. So I use three cameras. Most of the scene takes 11. “

See This well -studied movie In the Chinese TCL theater in Hollywood, one of the best cinemas in the world, was transcendent. Start and de Niro do one of the best works of their spectacular career, they are surrounded by those who are stunning characters (including Dennis Heisbert who once told me it was working with de niro), and there is no framework of Dante Spinati’s cinematography, which feels inappropriate. Even the controlled chaos of the famous film firing worked better for me on a big screen than ever before, with its sound effects that break down your ears through the theater in all its glory.

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You can hear how I talk about my experience at this year’s TCM Film Festival, where I also saw “suspicion”, “Back to the Future”, “Shooting in OK -Zagon” and “Talk about the City”, in today’s episode “The /Film Daily Podcast”:

You can subscribe to /shoot daily Apple podcast. Overcast. HoldOr wherever you receive podcasts, and send your reviews, questions, comments, problems and themes at bpearson@slashfilm.com. Please leave your name and overall geographical location when we mention your email on the air.

The “heat” is available on 4K here.