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In 1978, Mann created the Aaron Spelling-produced, largely forgotten private eye show (shot, of course, on location at California's famous Folsom Prison, with a few real prisoners drafted into the cast—another aspect of Mann's peculiar realism), came in 1979, followed by his first feature, , Mann's "conceptual realist" method—location shooting and in-depth research, used to inform a style that has little to do with classical "cinematic realism"—involved casting police officers as criminals and former criminals as cops; Farina was cast in a bit part as a heavy.A few years later, Farina retired from the CPD and decided to pursue acting full-time; twenty years after 's leads, playing Gus Demitriou, a chauffeur and front for Chester "Ace" Bernstein (Dustin Hoffman).
Part of that can be ascribed to the fact that the two share a cinematographer, Stuart Dryburgh, who shot —an intuitive and often intrusive handheld camera, un-geometric framings that make somewhat disorienting use of deep focus, too-close camera placements that distort space—to construct a ready-made formal approach.
Take, for example, a brief sequence where Cajun jockey Leon Micheaux (English actor Tom Payne; current FCC guidelines require every ambitious cable television show to feature at least one character with a slippery accent) gets ready for a race.
The way in which the cameraman seems to be dancing around Micheaux, continually getting too close and then side-stepping away, is straight out of Mann's film; in fact, the sequence bears a strong resemblance to one where a bit character delivers a USB drive, passing through a crowded market along the way.
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a high-water mark of style and efficiency that the frequently-frustrating series has never managed to live up to, aside from a couple of episodes neatly directed by Carpenterite horror specialist Brad Andersonthat Milch is drawn to the milieu as a locus of activity, where bets bind people of different classes and background together.It's where down-on-their-luck chumps come to gamble their disability checks on horses owned by millionaires. Television tends to get presented as, talked about, and written about as a writer's medium where style functions largely as a vehicle for "narrative," and the role of directorspilots, however, are special cases, not just because they're both directed by well-known filmmakers with distinctive styles, but also because the filmmakers in question happen to be the shows' executive producers and are therefore responsible, in part, for establishing the look and feel of episodes to follow.Televisual style is commonly defined as an ongoing conversation between individual formal approaches (episodes, directors) and a grand design (narrative arcs, creators); Scorsese and Mann, then, are in the unique position of getting to start the tone for the conversation.Scorsese's pilot, the most expensive ever produced, feels like the first half of a fairly good feature.Sure, this makes for an entertaining 73 minutes, but, since the episodes that follow neither adopt nor adapt most of the pilot's distinctive features (including its playful editing and use of various Scorsesean visual gimmicks, including irises and title cards), it overshadows the rest of the series. Unlike Scorsese, whose TV work has been limited almost exclusively to documentaries, Mann has extensive experience with episodic and serial television; as a matter of fact, it wouldn't be a stretch to call him a major figure in the development of the latter.After graduating from the London Film School in 1967 and making a handful of documentaries, Mann returned to his native United States, where he landed work writing episodes of (this, remember, was an era in American television when all a cop show needed to get made was an actor and a last name).