With those goals in mind, Mann began working on creating depth for his film. He did an outstanding job in humanizing each of his characters, no matter how small they seem. No one walks into the movie feeling as if they’re just there to shift the plot in a certain way and then disappear from existence. Everyone feels like they have a rich inner life. Every detail in the film seems purposeful, especially in cases like that of De Niro’s house, which reflects his character’s psyche in many subtle ways.
This philosophy is most evident in the film’s two main characters, Pacino’s Vincent Hanna and De Niro’s Neil McCauley. Mann talks about this in LA . Weekly Interviewspeak:
“In the case of the two main characters, Hanna and Neil McCauley, I separated them because each was the driving force behind the thesis and antithesis into the ending. I decided that only those two would complete the ending. That’s why they have a unique relationship. And the ambition behind this is: I can have a TV series in it, and at the same time, we start. We’re 100% invested in Neil McCauley’s departure, and we’re also 100% invested in Hanna blocking him? simultaneous. “
By creating a web of characters with so much depth, it means that audiences won’t be able to decide who’s from. There is no obvious protagonist because, like in real life, morality is not black and white.
https://www.slashfilm.com/1059818/michael-mann-made-heat-with-two-ambitious-goals-in-mind/ Michael Mann created the heat with two ambitious goals in mind