HALLOWEEN III 25th Anniversary Edition



ALEX THOMSON Carataker of Vision (THE KEEP)

COLLATERAL Music from the motion picture



WATCHING MOVIES the borderline thoughts



The use of HD cameras is a way for be Tactile, Michael Mann as great Director pay attention to technology and devices availables but as living quantun leap and a step forward he was a precursor of that “naked eye” technology since ALI, so enjoy this reel with some of stunning  images from this kind of HD medias.

Thomson Grass Valley Viper – Sony F900Sony F23  V-2430-f23

Fractal Cinema Dante Spinotti works in Michael Mann films


Try to imagine of being able to travel backwards in time carrying with you one Film Title: Public Enemiesof the best high definition camera available on the professional market and, once joints in years 30’s, to begin to resume the moments and vivid colors of those times. Public Enemies is written by Michael Mann, Ronan Bennett and Ann Biderman and come from the bestseller of Bryan Burrough (the Italian edition published by Sperling Kupfer) ; this book narrates of a country, the States, during the crisis of `the
29, while the bands of brave cold blood’s gangster are running with fast car through  the citie’s roads armed of powerful and automatic weapons ,heisting banks and destroying keeping books loans like modern Robin Hood. These guys act in that way are destined to be confronted with the reaction of Washington and at times baby FBI with  head a young person and unscrupulous director, Edgar J.Hoover (played by Billy Crudup) and the agent Melvin Purvis (a stoic Christian Bale). A epic as well as bloody-thirsty confrontation that will carry icone of the imaginary US collective  like the nobleman  John Dillinger (Johnny Deep with an interpretation that goes beyond the reliability of the personage), Pretty Boy Floyd (Channing Tatum) ; Baby Face Nelson (Stephen Graham) behind the slabs or often with their name carved over a tombstone. There is not a nostalgic translation of the facts but the search of the authenticity, of the realism meant also like a refusal of the subjects of conventional beauty,but Polly Hamilton interpreted by Leelee Sobiesky and Marion Cotillard in the role of Billie are both splendid and refusal of every idealization in favor of a more pragmatic approach, often with an accent on the humble life or the quotidianity , with a resumptions that’s for help us to render tangible what we are observing. This is the type of visual concept ,HigDef avant garde of sonorous visual authenticity/(powerful and defined sounds effects .45 ACP Tommy Gun included) and novelist dogma which Michael Mann, collaborating with Dante Spinotti, dantepublic has intentionally required for Public Enemies; the dosed use of the classic conceptualized lighting system, typically named Hollywood’s Lighting, that take form on the use of powerful Beebe Night Lights for the nocturnal ambush to the hut of Little Bohemia ,scene set in the forests of the Wisconsin,and use of other lights form for give priority to the use of the practical natural light/already existing in location and available for any determined scene; so PE is being full  of nocturnal scenes of action, so the conceptual key for this film is give by the readiness of the digital cameras in the reading of the shadows , totally and positively different regarding if compared to Film emulsion and this has allowed a dynamic use of the filmic grammar obtaining a modern film with hyper realistic look that does not get lost in romantic classicism and that it succeeds to conserve to Mann his solid trademarks also starting from the use of music, symphonic and ambient score by Elliot Goldenthal, music and use of the music that take the  “your breath” for how proper it is,as always happens in all the  Michael Mann’s works ,anyway about this factor I have already have a  wide analysis in my other pages .So back to visual things the GOOD and expert Italian director of photography Dante Spinotti here to its fifth hard job with Michael Mann (Manhunter,the Last of the Moichans, Heat and The Insider) composed Public Enemies in format 2.40:1 using HD camera Sony F23, excellent for sharpness and depth of field (but also used the F950 model with T950 adapter) in coupling to the small (but great) Sony EX1 for inner takes inside the cars, Spinotti used  set of lenses Carl Zeiss Digiprimes and zoom Fujinon HAe10x10 (T1.8) while for some other scenes he shot in super 35mm with film Kodak Vison 3 500T 5219 using film cameras ARRI 435, 235 with the splendid optical spherical Cooke S4 nearly to give a tribute to the past of Manhunter(and Joe Dunton Hardware) – “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice.
Other task like dress the characters goes to costume designer’s Colleen Atwood (already costume designer in Manhunter) ,work does in excellent way because it transform everything in to “woven narrative” probably accomplished by a casting at least fabulous and I recap this concept  with the” face ” of the character of Charles Winstead (interpreted from the amazing Stephen Lang). winstead-10The production design, carefully splendid, is by Nathan Crowley (Dark Knigh,Batman Begins, Escape from L.A WTFK.) while in phase of pre-production the research’s work in location (how lights hits some building during the hours of day)sees engaged, like always, the Bravo photographer Gusmano Cesaretti he is also in dresses of Co-producer. There is who has compared Michael Mann to an author who prepares itself as Rembrandt and executes like Picasso others like Caravaggio that then is transformed in a Kandinsky, but what is the painting if not the main source through the cinema expresses itself visually? Interesting and true concept because in observing some of they works I have understood the visual process of Michael Mann.,he is the father of  a identification’s cinema (the scene of the Biograph Theater is a magum opus), he start to revolutionized it  with ALI, he  stylized this skills with Collateral and Miami Vice , and come now with  the  Hi Def as contemporary phenomenon, witness of the change of visual forms, and now with this story  carried in to 30’s works to the perfection and that clean our preconception born from the repertory of grainy, dirty images, sometimes sepia or black white images (Mann cites that images with a editing game during the extradition to  Indiana State scene), and far away from the reasoning that who it has lived those times and places has lived them  to colors and in the high definition of our eye.


“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.” [25] 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”

The Keep-The Last of Moichansnarciso1

Manhunter-Heat-Collateral-Miami Vice

The Keep-The Insider-Public Enemies

Jericho Mile-Thief-ALIpicasso32L-Italienne-c-1917-Posters

PUBLIC ENEMIES Original Motion Picture Soundtrack


Waiting for the showtime start 6 November here in Italy finally I can press play over this interesting Soundtrack produced by Michael Mann Himself over Decca Label(B00013072-02) for his latest effort where Johnny Deep plays John Dillinger, famous gangster lived in to 30’s around US Midwest
Main compositions committed by restored and very original Elliot Goldendthal, back to scoring after 6 years since his last teathrcal work(SWAT) but involved in to the production of his opera GRENDEL and for the Beatles music of Across the Universe; This time is back to work with Michael Mann after HEAT(1995) and we see him employed to conduct a big orchestra with more than 70 elements.(Open and look at the booklet inside)
A powerful soundtrack in to the original compositions but reveal itself a fine blend with other songs, fine as the best Whiskey(call it burbon)of the after prohibition era
Start the soundtrack the terrific TEN MILLION SLAVES by Otis Taylor from Recapturing the Banjo(2008) and repeat his talent with another one on position 10 NASTY LETTER from Truth is not Fiction(2003),a real genius this contemporary bluesman from Chicago.
Least of all the Track #2- CHICAGO SHAKE by Bruce Fowler Big Band(2008),Fowler is one of Hans Zimmer orchestrator, and tracks #8- BYE BYE BLACK BIRD from Mrs. Costello Diana Krall , sing over arrangements by Goldenthal Himself this new version of a classic tune, amazing track, no less than this incredible rarity hypnotic that we can listen on track #12 – GUIDE ME O THOU GREAT JEHOVA, original recordings by Old Regular Baptist overlay by Elliot Goldenthal orchestrations.
As I note,I would point out the orginal compositions, powerful,different, miser of usual Goldenthalisms and in my view meet its best with the track #15 – JD DIES,this is the Opera Omnia of that outstanding soundtrack, death track that has reminiscence to Antonio Pinto ‘s “Requiem” from Collateral but could also remind a little bit of “Finale” from Titus Soundtrack. For what concern the last 6 track composed by Goldenthal I feel to draw a personal ranking from my tastes,# 7 LOVES IN THE DUNES, #3 DRIVE TO BOHEMIA,#5 BILLIE’S ARREST,#13 GOLD COAST RESTAURANT,#9 PHONE CALL TO BILLIE ,#11 PLANE TO CHICAGO(this latter remind me for a second to a famous Ruggero Leoncavallo’s opera)
A Memorable Soundtrack, excellent also in to sound record matter ,and keep in to 47 minutes of length a immense narrative’s soul , a real must for whom is following Michael Mann also in his musical Choices ,choices super visioned also here (since Collateral soundtrack)by three daughters as musical consultant Aran,Becca and Jessie Mann.
At the end of my short review the chronological sequence of the tracks used in to the feature with some happy surprises ,from rejected tracks HANNA SHOTS NEIL composed by Elliot Goldenthal for Heat’s final sequence,passing by BEAM by John Powell’s Thin Red Line directed by Terrence Malick till the tracks AFTER THE SHOOTING by Gustavo Santolalla for the soundtrack Things we Lost in Fire directed by Susanne Bier,and last but not the least THE LAST ROUND UP by Gene Autry sing by Johnny Deep after Jail Escape and than present again in to end credits.
Images and music, a functional soundtrack that helps to convey the magical power of author’s cinema by a Avant Garde Filmmaker as Michael Mann, he is able to give us ability to touch,taste what we watch on the big screen  everything in its cinema turn more tangible , real because his stories and the way of tells us are set up and feeding of realism ,and this soundtrack really seems open a space time window on the musical background of that times

Thanks to reelsoundtrack
• After escape, packing at farm – Guide Me O Thou Great Jehovah by Indian Bottom Association Old Regular Baptists
• Chase in the woods – Ten Million Slaves by Otis Taylor
• Dinner song – Chicago Shake by The Bruce Fowler Big Band
• Second dinner song – Ballroom Bounce by The Bruce Fowler Big Band
• Dance with Billie – Bye Bye Blackbird by Diana Krall
• Walking into the hotel & coat check – King Porter Stomp by Benny Goodman ; His Orchestra
• (Unknown scene) – After The Shooting by Johan Soderqvist and Gustavo Santaolalla
• Kiss, love scene – Love Me Or Leave Me by Billie Holiday
• Bank robbery – Instrumental version of Ten Million Slaves by Otis Taylor
• Tucson hotel, after racetrack – The Man I Love (Life from Carnegie Hall) by Billie Holiday
• In car after broke out of jail – Nasty Letter by Otis Taylor
• Radio song in Billie’s apartment – Am I Blue? by Billie Holiday ; Her Orchestra
• Talk about going to Caracas – Bye Bye Blackbird by Diana Krall
• (Unknown scene) – Close Your Eyes by Al Bowlly with Lew Stone and His Orchestra
• At the bar, fixing deportation – Dark Was The Night, Cold Was The Ground by Blind Willie Johnson
• (Making Shirts) – Hanna Shoots Neil by Elliot Goldenthal
• (Walter Dies) – Beam by John Powell
• Closing credits – The Last Round Up by Gene Autry
• Original music for Public Enemies – Eliot Goldenthal

1 Ten Million Slaves / Otis Taylor 4:09
2 Chicago Shake / Bruce Fowler Big Band 3:10
3 Drive to Bohemia 1:11 Elliot Goldenthal
4 Love Me or Leave Me / Billie Holiday 3:21
5 Billie’s Arrest 2:20 Elliot Goldenthal
6 Am I Blue? / Billie Holiday & Her Orchestra 2:52
7 Love in the Dunes 1:50 Elliot Goldenthal
8 Bye Bye Blackbird / Diana Krall 3:47
9 Phone Call to Billie 1:44 Elliot Goldenthal
10 Nasty Letter / Otis Taylor 5:05
11 Plane to Chicago 3:24 Elliot Goldenthal
12 Guide Me O Thou Great Jehova / Indian Bottom Association Members 1:37
13 Gold Coast Resturant 2:04 Elliot Goldenthal
14 The Man I Love / Billie Holiday 3:07
15 JD Dies 3:56 Elliot Goldenthal
16 Dark Was the Night, Cold Was the Ground / Blind Willie Johnson 3:19


Public Enemies

publicenemiesposterORIGINAL POSTER

Fan’s Poster by IMDB Namo5 User(Dillinger’s pict supply/suggested by myself)


Johnny Deep and Michael Mann

Shot from Public Enemies’s set Chris Bale as Melvin Purvis

Johnny Deep as John Dillinger on his Way

Public Enemies is Shot by Dante Spinotti ASC on F23 Sony Cinealta Technology,featured 2/3″ CCD with Wide color gamut 14 bit Analog Digital Converter;used firstly by Spinotti on Clairmont System in to Michael Mann ‘s Nike commercial (Leave Nothing )that camera can obtain sharper denser image with considerable dynamic color range. The F23 capture at chroma subsampling 4:4:4 1920×1080 but work also at 60 fps with 4:2:2 settings and can be linked to HDcam SR for record image.Really a first class camera with a stunning sensivity without expense of noise if compared to other cameras of this category,the real sign that we’re reached a turning point to maturity on Digital Cinematography

Lightings work; The Sun shine in  cops office  The pre-production’s work about the look was quite complex ,Dante approach to HD was really intresting supported by Michael Mann that was fascinated by test results.There was a lot of night work also on ext.locations;for interioros was tested some unique lighting techniques as been used as 12’x12′ frame strung with x-mas lights to create large source with multiple highlights,then added grid to the backsidfe for a very subtle ambient bouce(Same technique used on Deception).There was a test on computer tweeked the sodium vapor OUT,many of that kind of light come from available location’s lights,tests over panavison,canon,fujinon,zeiss and angnenieux lenses centred on colour tweeking and simple definition test,headlight’s car test and polarized filter tests by Rosco that does windows; “Constant fussing with hard gels over windows and changing out various strengths of ND filters won’t be part of your shooting regimen if you buy into Rosco View” The two-part system consists of a wide-width polarizer filter in gel form and a matching optical-glass polarizer camera filter. Using the two together, you can control exterior brightness as seen through windows without affecting the lighting and exposure within the studio or set. By simply rotating the camera filter, you can change the degree of cross-polarization viewable on the window where Rosco View gel filter is placed. Rosco claims you’ll have only one stop of compensation at the camera. Then the Production used various gels packs to mimic every different light quality know to man,from sodium vapor,to sodium HOT,to fluoro green/blue/red/orange/yellow,to day light early/mid/late,to moonlight,to incandescent,halogen,very different source for understand the way for weight the light and his response on HD. In the name of “Chaos Mean Cash” Camera test been close to 16 Hrs a day,expecially concering makeup test over actors. A stunning Gunfight by nite shadowed by a oscillating tree under only a sodium lamp in Chicago’s alley is the pure example how this time our authors go-ahead with HD and its capability to keep details in low lights levels.

After Briefing , Dante Spinotti up First on Letf and Johnny Deep below greet fans.. Dante Spinotti Public EnemiesDante Spinotti

Bryan Carrol Co Producer


My Music Inspired by Public Enemies edit on cdr,just for fun…

  • Cavallino BRIAN ENO
  • Rachel Song VANGELIS
  • One More Kiss Dear VANGELIS
  • La Vie En Rose EDITH PIAF
  • The Way it is NICOLE ATKINS
  • Somewherenothere ALPHA
  • Gray Cloud Over N.Y. PHILIP GLASS
  • Romance Anonimo – Forbidden Games NARCISO YEPES
  • Dance of the Knights OP. 64 PROKOFIEV
  • 1% Of Monster MOGWAI
  • Oort MURCOF
  • Ruido MURCOF
  • O Fortuna Carmina Burana OROFF
  • Requiem “Dies Irae” VERDI
  • BWV565 J.S. BACH
  • Symphonic Interlude cavalleria rusticana MASCAGNI
  • Skies for Nash JULY SKIES
  • Stop Coming to my house MOGWAI
  • Bolero RAVEL
  • BELA BARTOK Sonata for Piano Pz 80
  • ROGER ENO Fleeting Smile
  • LISA GERRARD Space Weaver

MANHATTAN MEMORIES  SOUNDTRACK (show  at Biograph Theater)

  • “The Bad in Every Man (Blue Moon)” (1934) (uncredited) Music by Richard Rodgers Lyrics by Lorenz Hart Sung by Shirley Ross at the Cotton Club Reprised as background music for the death house scene
  • “What’s the Matter With Father” (1910) (uncredited) Lyrics by Harry Williams Music by Egbert Van Alstyne Played aboard the steamboat in the first scene
  • “Sidewalks of New York” (1894) (uncredited) Music by Charles Lawlor Lyrics by James W. Blake Played aboard the steamboat and danced by the patrons
  • “Long, Long Ago” (1883) (uncredited) Written by Thomas Haynes Bayley Played as background music when the 1907 intertitle is shown
  • “Academic Festival Overture in C, Opus 80” (uncredited) Written by Johannes Brahms Played as background music when Jim Wade gets his law degree
  • “Mary Had a Little Lamb” Traditional children’s melody Played as background music in the montage showing years going by
  • “The Man That Broke the Bank at Monte Carlo” (uncredited) Written by Fred Gilbert Played as background music for the first scene in the casino
  • “Heart’s Wounds” from “Two Elegiac Melodies, Op. 34” Music by Edvard Grieg Played when Eleanor tells Jim she has to leave him



1. Ten Million Slaves – Otis Taylor
2. Chicago Shake – The Bruce Fowler Big Band
3. Drive To Bohemia – Elliot Goldenthal
4. Love Me or Leave Me – Billie Holiday
5. Billie’s Arrest – Elliot Goldenthal
6. Am I Blue? – Billie Holiday
7. Love In The Dunes – Elliot Goldenthal
8. Bye Bye Blackbird – Diana Krall
9. Phone Call To Billie – Elliot Goldenthal
10. Nasty Letter – Otis Taylor
11. Plane To Chicago – Elliot Goldenthal
12. O Guide Me Thou Great Jehova – Indian Bottom Association, Old Regular Baptists
13. Gold Coast Restaurant – Elliot Goldenthal
14. The Man I Love – Billie Holiday
15. JD Dies – Elliot Goldenthal
16. Dark Was The Night, Cold Was The Ground Blind – Willie Johnson

Music for my ears ,words for my mind(American Cinematographer VOL 90 N°7)My Soundtrack Review
Me & JohnnyII
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