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As you gaze around Michael Mann’s workspace, located in an unassuming building in downtown Los Angeles, it’s easy to spot hints about the topic of his current movie. A glass case on the windowsill proudly displays a miniature replica of a vibrant red Ferrari. And on a shelf behind his desk, there is a collection of books dedicated to the renowned Italian car brand. Interestingly, Mann himself possesses two of these volumes.
Mann shares, “What attracted me to Ferrari and kept me there for numerous years is its unique ability to do what very few others can.” He adds, “It connects with the reality of life and the true nature of people… It embodies the essence of how life operates.”
Sitting at his workspace, wearing grey sweatpants and a black V-neck shirt, he exudes a tense energy. His complexion is pale, with speckles of freckles on his arms; his eyes, framed by wire glasses, are a greyish-blue color and resemble those of a watchful bird. As he talks, he fidgets with his hands or gestures fluidly in the air. When emphasizing a statement, he lightly taps the glass surface of the table with his fingertips.
This year, Mann reached the age of 80 and remains in great physical condition thanks to his consistent exercise routine. He was born in 1943 in Chicago to a Jewish family who had relocated from Russia. He jokingly mentions that he became an atheist around the age of 11, but his family still holds a strong connection to their cultural beliefs and heritage. Prior to our interview, he observed Yom Kippur with his loved ones.
Growing up in Chicago gave Mann his twangy, midwestern accent that he still has today. It also shaped his character and provided the gritty backdrop for his films, including his debut neo-noir film Thief and his biopic of bank robber John Dillinger, Public Enemies. According to Mann, there is a cynical wit to urban life in Chicago, influenced by its robust and tough history. He found the city’s history of organized crime fascinating, almost like a Shakespearean story. While working in Chicago during university breaks, he held construction jobs and drove taxi cabs, often finding himself in industrial wastelands that were strangely poetic, especially when swept by the wind.
Mann’s latest movie, Ferrari, takes place in Modena, Italy and features extravagant historical scenery. This film is a departure from his previous work, Chicago, and marks his return after an eight-year break. Set during a tumultuous time for Enzo Ferrari’s business and marriage, the movie stars Adam Driver as the charming Italian car maker and Penélope Cruz as his wife, Laura. The heart of the story is their relationship, which takes center stage over the iconic red cars that Mann is known for. The director effectively immerses viewers in the emotional journey of the couple, making for a compelling watch.
The original screenplay for Ferrari was penned three decades ago by Troy Kennedy Martin, a British screenwriter known for his work on The Italian Job and the creation of the Liverpool-based police drama Z Cars. According to Mann, the script was initially written in the 1990s but underwent some revisions to reach its current form. Mann credits Kennedy Martin for the foundation of the screenplay, which he shot for the film. Mann was personally familiar with Kennedy Martin, who passed away in 2009, as they both spent time in London – Mann at film school and Kennedy Martin working on British TV commercials. Despite being an unlikely fan, Mann praises Z Cars as a brilliant piece of British television from the same era as Cathy Come Home.
The journey towards transforming the script into a movie was lengthy and meandering. Mann remembers, “I essentially took charge of the script from the start.” He then worked on it as part of a contract he had with Disney in the 1990s. Later, he obtained the rights to the story for a few years. Whenever he questioned whether to pursue it further, he would revisit the script and reaffirm, “Yes, this has a distinct quality to it,” which motivated him to keep going.
“I had the option to produce the film as a modest, standalone project with a budget of $25-30 million, but that approach would not have been suitable,” he elaborates. “In the American market, there was a belief that racing films were not profitable.”
The shift in perspective can be attributed to the success of his Netflix documentary series. He explains, “Formula One didn’t gain popularity in the US until recently, and it’s all thanks to the Netflix show Drive to Survive. So, now is the perfect opportunity to do it.”
Mann revised the screenplay, resolving previous uncertainties, and filmed the movie in Italy during the summer and fall of 2022. In certain aspects, it differs from Mann’s typical style. Ferrari possesses a nostalgic tone, lacking the roughness and brutality often present in his other works. However, Mann found familiar themes within it, particularly what critic Scott Foundas referred to as “existential tragedies set in urban environments”. Mann’s protagonists are typically isolated individuals, fighting against society.
Enzo Ferrari shares a similar mindset. At the start of the film, he is dealing with personal and financial difficulties. His cars are not selling well, and his marriage to Laura is strained due to his secret affair. Director Mann was drawn to the dynamic conflicts between the characters, particularly Enzo’s engineer-like mentality and his chaotic personal life. Unlike most people who may question their decisions, Enzo simply asks himself “why not?” This contrast struck a chord with Mann, who saw it as a reflection of life’s unpredictability.
Mann explains that the film focuses on a specific timeframe – the summer of 1957 – rather than a lengthy biopic. He believes that biographies belong on the History Channel and are not successful. The compressed four-month period in the film allows for the collision of all the important events in Enzo’s life. Similarly, the locations in Modena, where Ferraris are hand-crafted, are also compressed. Everything in the film takes place within a 500-meter radius, adding to the intensity of the story. Mann emphasizes the importance of creating a believable and realistic setting for the events to unfold in one neighborhood. This is crucial in capturing the essence of Enzo’s life, as he rarely ventured outside of this area.
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Mann is renowned for his ability to cast actors together, such as pairing Madeleine Stowe and Daniel Day-Lewis in The Last of the Mohicans, or Russell Crowe and Al Pacino in The Insider. He has once again accomplished this with Adam Driver and Penélope Cruz. Despite being much younger than the 59-year-old Enzo Ferrari in the film, Driver’s makeup and hair dye effectively add the necessary years to his appearance. Mann praises Driver, stating that he is “terrific,” having seen his previous work and personally meeting him for drinks at the Chateau Marmont in LA. Mann recognized in Driver a quality that would make him a suitable Ferrari – his courage, honesty, sensitivity, and a unique blend of strength and aggression.
In the film, Cruz’s character Laura is portrayed as a weary and troubled woman, rather than the usual radiant beauty she plays. Mann describes her performance as a fierce revelation, channeling the fierce certainty of judgment from ancient northern Italian tribes. To achieve this look, the actress wore orthopedic devices in her shoes to create a distinctive gait and underwent changes in hair and makeup to appear less conventionally attractive. Despite these efforts, Mann notes that Penélope Cruz is naturally stunning without any added enhancements.
The movie does not have the same focus as Rush or Ford v Ferrari, as it is solely centered on the excitement and accidents of motor racing. Unlike those films, Ferrari is more focused on human emotions and thoughts rather than technical aspects like engine parts. However, director Mann still manages to create captivating competition scenes. He expresses his love for speed and how it allows him to fully immerse himself in the moment, shutting out the rest of the world. This intense focus is what makes the experience spectacular, even if it may seem like everything is moving in slow motion at high speeds.
The vintage Ferraris in the film are not just props – they are also a major focus. Director Michael Mann wanted to capture the powerful sound of the engines, and enlisted the help of Pink Floyd drummer Nick Mason, a passionate collector of classic cars. According to Mann, the Ferraris have a unique and musical sound that had to be accurately portrayed in the film. To achieve this, real cars were used for sound recording during post-production. The Maserati driven by Berra at the beginning of the film was owned by Mason and had 10 microphones placed on it to capture the authentic sound. Mann also utilized an abandoned railway tunnel to create a reverberating effect for the engines, adding to the authenticity of the film’s sound design.
The climax of the movie occurs during the Mille Miglia race, which was first held in 1927. Enzo was determined to win this race in order to revive his struggling brand. The intense scenes during the race are some of the most captivating moments in the film, perhaps partially due to the fact that they take place at night. Director Michael Mann often uses the dark and reflective cityscape to create a feeling of unease, as seen in his other films such as “Collateral” and “Miami Vice”. In his acclaimed 1995 crime drama “Heat”, there is a famous sequence where a helicopter follows getaway cars through a maze of brightly lit skyscrapers. Mann himself admits to having a romantic sense and enjoys filming at night.
Similar to renowned directors Ridley Scott and Martin Scorsese, Michael Mann, a brilliant filmmaker of his era, shows no signs of slowing down. While filming Ferrari, he also co-authored a bestselling novel sequel to his hit movie Heat, which quickly rose to the top of the New York Times bestseller list. His next project, Heat 2, will be a combination of prequel and sequel, featuring Driver as the main character. When asked about his thoughts on aging, Mann simply smiles and responds, “Not really. At a certain point in life, you realize you must take control of gravity before it takes control of you.”
The movie Ferrari will be released in theaters on December 26th.
Source: theguardian.com
