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This year marks the 30th anniversary of the classic crime thriller of Michael Mann "Heat", which celebrated the legendary actors Al Pacino and Robert de Niro appearing in the same scene for the first time for the first time despite having previously starred in "The godfather Part II". The "Heat" dinner scene, in which Pacino's world -class policeman, Vincent Hannah, is located by De Niro's stoval thief, Neil McCowouli, has been an obsession for a certain kind of cynefrefr. has been subject to provisions of the entire film and TV spectrum, including recently in "Daredevil: Re -born". Prior to the closing of the night's show of "Heat" at the classical film festival in 2025, Pacino and writer/director Michael Man participated in Q&A, where they talked about that moment and how they felt in a set at the time.

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Pacino talked about how pleasant he felt with De Niro, whom he knew for decades before production began, thanks to MAN's jurisdiction behind the camera and the way the director created a sense of security for his actors. But when moderator Ben Mankievich asked Mann whether he feels an extra sense of importance while filming that scene because he meant in the big scheme of movie history, Man responded as cool as one of his characters: "Not at all."

"By that point, we had a very thorough pre-production, we fired five to six weeks," Mann explained. "When I make a movie, I work very hard on the schedule and I take a scene as it is very important and I usually put it in the middle of the schedule. Because when you shoot a movie, everyone is getting better in making that movie as you do. Therefore, you would never do this, I would never do it. them together.

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One of my favorite parts of Q&A was MAN to talk about the nature of Neil and Vincent, the two twins of this narrative. "It's a very complex scene," he said. "I can't imagine anyone else doing this except Al and Bob. These two men are really antithic to each other. They have some components of their individuals who are completely opposite to each other, and the two that are the same. They are the only two people in the film who are totally self-conscious. There is no self-deception.

I have never heard of how to explain a key factor that has entered the choice of location to shoot this scene and why he chose to have three cameras working at the same time as the scene:

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"That's why I chose Kate mantillin because it was a black and white interior. I didn't want to get into what these two actors had to do (...)He moves a little in the chair), and puts his hand closer to the place where there are probably hidden weapons, (during) the dialogue, you will see that Al is making another move that was the counter. There was a kind of organic unity of taking over. So I wanted to catch the two, their work at the same time. Important, there is an organic unity to take 10 which is different from taking 11 and different from taking 12. That's why I used three cameras. Most of the scene is 11. "

Watching This well -researched movie At the Chinese Theater TCL in Hollywood, one of the best China in the world, was transcendent. Pacino and De Niro do some of the best things on their spectacular careers, they are surrounded by the one who is who is of scary characters (including Dennis Chasebert, who once told me what it was like to work with De Niro), and there is no framework of cinematography of Dante Spinati that feels out of place. Even the controlled chaos of the celebrity shootout worked better for me on the big canvas than so far, with the sound effects that split the ears, blot through the theater throughout their glory.

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You can hear me talk about my experience at this year's TCM Film Festival, where I also saw "suspicion", "Back to the Future", "Fire in the UK Coral" and "City Speech", today's episode of /film daily podcast:

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"Heat" is available at 4K here.