As you look around Michael Mann’s office, in an anonymous building in downtown Los Angeles, clues as to the subject of his latest film aren’t hard to find. On the windowsill sits a glass box with a model of a bright red Ferrari inside. On a shelf behind his desk there is a row of books about the revered Italian car manufacturer. Mann himself owns two of them.
“What drew me to Ferrari and held me there for so many years is that it does what almost nothing else I can think of does,” Mann says. “It resonates with the way life really is, the way people really are … How life works.”
