‘I know how dramatic it was in real life’: Michael Mann chats about ‘The Insider’

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As I sat there at the Egyptian Theater, watching “The Insider” once again, it took me back to my own days as a journalist. The film is a powerful reminder of the importance of truth, integrity, and the fight against corporate influence in news media.

On this past Wednesday, I had the pleasure of attending the debut of a fresh weekly series at the legendary Egyptian Theatre in Hollywood. This event is a joint production between the Los Angeles Film Critics Association, making it a must-attend for any cinephile like myself.

While “Heat” is commonly associated with director Michael Mann as his iconic work, it’s important to note that the main focus was actually on “The Insider,” a dramatic thriller based on real events. Co-written by Mann and Eric Roth, this film centers around Jeffrey Wigand (Russell Crowe), a tobacco industry whistleblower, and Lowell Bergman (Al Pacino), a “60 Minutes” producer, as they battled legal threats and corporate interference to bring Wigand’s story to the public.

As the night unfolded, Chang remarked, “The film ‘The Insider’ occupies a unique and intriguing place within Michael Mann’s body of work. It’s both widely praised, making it one of his most celebrated movies, yet ironically, it’s also one that seems to be less valued by some viewers.

In the original text, Chang mentions that the film “The Insider” received four awards from the Los Angeles Film Critics Association (LAFCA) at the end of 1999: for best picture, cinematography (Dante Spinotti), actor (Crowe), and supporting actor (Christopher Plummer as Mike Wallace). Notably, this piece is written by a member of LAFCA. Afterward, it was nominated for seven Academy Awards, but ended up winning none, in categories such as best picture, director, adapted screenplay, and actor.

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Starting with unparalleled insight into the production of his latest film “Ferrari,” the director initiates an online collection, which includes draft scripts and video excerpts.

81-year-old Mann stepped onto the stage, greeted by a rousing applause. He shared that he had known the genuine Lowell Bergman before the film and they were working on a project about an Armenian arms merchant, whom Mann described as resembling a character like Sydney Greenstreet. During their collaboration, Bergman confided in Mann about work-related troubles he was experiencing at “60 Minutes” regarding a specific story concerning the tobacco industry.

In simpler terms, “That experience you’re going through, it is your story,” Mann explained to Bergman, abandoning the plan of portraying an arms dealer to instead focus on Bergman’s personal narrative on screen.

Mann concluded, “That’s the story.” In essence, he was referring to his deep involvement with genuine individuals and their extraordinary situations. He understood the potential damage from impending lawsuits and corporate actions aimed at ruining Wigand’s life. The allure for him was not just the story itself, but the intense engagement with these people in such unique circumstances, and the challenge that came with it – that was the real essence.

In order to prevent similar debilitating legal issues as portrayed in the movie, Mann stated that careful secrecy procedures were implemented during the project’s development. The production’s editing suites, in fact, boasted security measures crafted by a former State Department employee who had previously designed protective systems for the U.S. embassy in Moscow.

Mann explained that while they didn’t stray too far from reality, the difficulty in creating a 2 hours and 45 minutes film is: “How can I capture the essence of the movie experience as these events affected Jeffrey Wigand and Lowell Bergman?” He added, “I aimed to come near to the level of intensity these incidents had on their lives. Wigand’s life was severely impacted, and although Bergman’s career recovered, it never returned to its peak when he was with ’60 Minutes.’

Mann went on to say, “I wanted to convey the intensity of the real-life events. How might I approach the storytelling to make the audience feel immersed in the characters’ experiences? Let’s see things through their eyes.

At the movie’s premiere, one notable critic voicing opposition was “60 Minutes” journalist Wallace. The film portrays a moment where Wallace temporarily wavers in his backing of Bergman but then regains his composure.

Mike Wallace frequently expressed concern about his reputation during our phone conversations, according to Mann. I wished he could be less sensitive. However, when I interviewed Muhammad Ali for the opportunity to direct ‘Ali’, things were quite different. Since Ali had control over the director, he stated that what mattered most to him was avoiding hagiography – biased or excessively idealized portrayal of a person’s life. He took pride in his entire life, flaws and all, because he acknowledged them and strived to correct his mistakes. This attitude is starkly different from Mike Wallace’s.

In the transition of “The Insider” from focusing on Wigand’s personal narrative to exploring the broader issue of corporate manipulation within media outlets, journalist Bergman struggles with his superiors to air the story. A significant quote from him is, “The press is accessible — for those who possess it.” Towards the end of the movie, Bergman also remarks, “What was shattered here can’t be mended again.

In his opening remarks, Chang stated, “This film subtly yet powerfully addressed a hidden danger to the general public’s health. It exposed the corruption in media owned by corporations and, most importantly, highlighted the immense challenge of revealing the truth, whether one is a whistleblower or a journalist.

Chang noted that after 25 years, during a period when concerns about public health and accountability are particularly relevant, and following an election season which exposed the corrupt and cowardly behavior of media moguls like never before, “The Insider” no longer whispers – it growls loudly.

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2024-12-06 02:59