![]() Mann had a flair for mixing realism with Hollywood dramatics - like a pre-Christopher Nolan - and his films always looked stylish with their midnight blues, orange sunrises and sharp, clean edges.ĭion Beebe, who previously worked with Mann on Collateral, and later won an Oscar for Memoirs of a Geisha, was also attached to the project. ![]() I was excited for very much the same reasons, but mostly because Mann was returning to direct. When a film version was announced and set for release in 2006, it drew considerable interest for two reasons: a highly iconic show with one of the best buddy cop duos of all-time, Crockett and Tubbs, was returning to screens and it featured an A-list cast, including Colin Farrell, who was transitioning from action hero to serious actor with Alexander and The New World, and Jamie Foxx, whose ego was bursting in full bloom (more on that later) with a Best Supporting Actor nomination and a Best Actor win at the 2004 Oscars. The series’ executive producer, Michael Mann, pitched the idea as a feature film, but couldn’t secure enough funding and adapted it for TV instead. No film wracks my brain with more what-ifs and might-have-beens than Miami Vice, a film based off a police procedural series of the same name that debuted in 1984 on NBC. Have you ever wondered how different a movie could’ve turned out? About how different The Matrix trilogy would’ve been had Will Smith played Neo, or maybe how much better every single Keira Knightley film would be without her in it? ![]()
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