Lately I’ve been diving back into the world of Michael Mann, culminating in his masterpiece Heat. I want to comment on that film at some point, but I’m still collecting ideas, putting my thoughts together. I have also been watching the show Luck, which was on HBO a couple years back. It’s a show that centers around a racetrack and the personalities that surround are a part of that world. Mann was a producer and director of the pilot. The show was created by David Milch who is one of the most interesting minds and greatest writers in television. Deadwood, a show he created, is one of the high-water marks of television for me. It is as close to Shakespeare as we are likely to see in our time. I think anyone that wants to understand our country should visit that show. Anyway, while looking up information on Luck, I found this interview with both Milch and Mann. It is short but fascinating.
One of the first movie soundtracks I ever loved, that wasn’t strictly pop music, was the soundtrack to Michael Mann’s Heat. Moby, U2, and Brian Eno do make appearances, but vocals are kept to a minimum. The music is mostly hauntingly beautiful, with occasional forays into tense discord. Rarely do film and music link up so well together. Mann’s film is full of shades of blue, modern and sleek. The music has the same sleekness, full of ambient soundscapes that recall a city in the wee hours of the morning. The music rarely tells you how to feel. It is instead full of wonder, opening the door to a higher emotional state. The same piece may be lonely, beautiful, or tense, depending on the mood that you listen to it in. Above is a Michael Brooks instrumental called Ultramarine. It is a good piece to listen to because it features several elements that appear elsewhere on the soundtrack. It has percussive textures like Brian Eno’s Force Marker, a beautiful theme like Moby’s God Moving Over the Face of the Waters, and an overall ambience to it like much of the soundtrack.