“Before I started working with him, he was described to me as ‘a director who prepares like Rembrandt and executes like Picasso,’ and I felt that was pretty insightful.”Dion Beebe ASC ,Aug.2004 American Cinematographer Hell On Wheels
Dante Spinotti, Mann’s cinematographer on four of his films, described the director’s visual processes in the following way. “It’s a little like being in front of a Caravaggio scene and changing it into a Kandinsky painting.”  The Kandkinsky-like qualities Spinotti is evoking are Mann’s intoxicating passion with the painterly, expressive, plastic possibilities of the cinema, with the way that framing, colour and light can transform a room in a house or a street at night. But while images in Mann’s films can sometimes be abstracted, expressive or surreal they are almost always tied to a character’s point of view, or the mood of the narrative, and always linked to emotion and affect.
“MICHAEL MANN Cinema of images by Anna Dzenis”
…BELOW THIS IS WHAT I FEEL
The Keep-The Last of Moichans
The Keep-The Insider-Public Enemies