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[1. Manhunter / 2. Miami Vice]
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I'm not telling you to make the world better, because I don't think that progress is necessarily part of the package. I'm just telling you to live in it. Not just to endure it, not just to suffer it, not just to pass through it, but to live in it. To look at it. To try to get the picture. To live recklessly. To take chances. To make your own work and take pride in it. To seize the moment. And if you ask me why you should bother to do that, I could tell you that the grave's a fine and private place, but none I think do there embrace. Nor do they sing there, or write, or argue, or see the tidal bore on the Amazon, or touch their children. And that's what there is to do and get it while you can and good luck at it.
— Joan Didion
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Picture in a picture? Split screen? Mann steals from Godard and DePalma on this one.
ReplyDeleteThat's one way to look at it, I guess.
ReplyDeleteVirgil. Fine to credit antecedents I guess, but I don't think these are trademarked shots. Further, I'm not sure they're derivative of Godard or even DePalma. Maybe you could say why you think they are (which films and why especially or exclusively these directors?)
ReplyDeleteEven so though, I think those shots derive meaning from their place in Mann's film, not via extrinsic reference.
Or even further: one would have to work slightly hard to NOT end up with these kinds of shots!
"Good poets borrow, great poets steal." -- TS Eliot
ReplyDeleteI'm not slamming Michael Mann. He steals and makes it his own. But by the time Mann used these shots, they had been trademarked by Godard and his slavish disciple DePalma, so all I'm saying is that I don't think these are sterling examples of Mann's originality. I'd like to see other examples of a shot that Mann owns... perhaps most of it to be found in his later hi-def work.