Thematic preoccupations1. Professionalism: Mann’s films are obsessed with the common bond between men and the notion of professionalism between them. The protagonists in his films are the very best at their respective vocations: from an efficient safe-cracker in Thief to 60 Minutes producer, Lowell Bergman in The Insider. These men are loners who have little time for families and personal relationships.2. Family vs. Profession: Family and material items only get in the way of or cause the downfall of a Mann protagonist. Each one is driven by an all-consuming goal, often in the form of a dream. In Thief, Frank hopes to create a family and retire from a life of crime but is unable to follow through. However, in Manhunter, Will Graham is able to do his job successfully and return to his family safely.3. Dreams: In Mann’s films there is always a key scene between two people in which they tell each other their dreams and personal philosophies. During the course of the narrative, Mann protagonists are forced to make a life-altering decision that will determine their fate and inevitably push their dreams just out of reach. They often sacrifice their dreams when they acknowledge and embrace their aloneness. In Heat, when Hanna realizes that he cannot be with Justine because he is consumed by his job, he is then free to catch Neil. The use of color and physical space to symbolize the isolation of Neil (Robert De Niro) in Heat.4. Color: There are several colors that he uses in every movie that symbolize specific meanings. Blue often represents romance and safety. In Manhunter, when Will Graham is at home, he makes love to his wife in a room bathed in blue light. In Miami Vice the main characters retreat to a staging area under a freeway bridge illuminated in blue neon. No harm will come to them in these spaces. It has also been equated with isolation and loneliness as in Heat when Neil arrives at his home bathed in blue light. Green is equated with danger and death. In The Insider, when Wigand golfs at night and is threatened by a mysterious man, the lighting of the scene is an eerie green. In Manhunter, Will Graham tries to catch a serial killer by using himself as bait, to the backdrop of a green-colored FBI headquarters and a view of Graham through a green nightvision scope. Red, to a lesser degree, is also associated with danger and death. In the climatic bank heist in Heat, two cops hide behind a red truck (using a blue bus as visual cover to advance to the bank) and Hanna returns to his hotel room to find his step-daughter, Lauren, in a tub filled with her blood. Gray and white represent authority and conformity. In Manhunter, Lecter’s prison cell is completely white, which enhances his intimidation of Will Graham.5. Architecture: Mann’s films also pay particular attention to architecture and a sense of place. It is used to enhance or reflect the mood of his characters. His films are full of empty houses, lonely hotel rooms, endless oceans, and dark city streets. Mann’s urban films are populated by hi-tech buildings that are spartan and impersonal by design, like the prison that houses Lecktor in Manhunter or Neil’s home in Heat. Characters inhabit clean, uncluttered spaces with large picture windows that often offer a view of an expansive body of water. In Miami Vice, Sonny and Isabella cruise to Cuba in a speedboat with a clear horizon of undisturbed water. Water represents a place of relaxation (Manhunter), a search for identity (The Last of the Mohicans) and a place of refuge (The Insider) for the Mann protagonist.6. Firearms: Most of Michael Mann's crime/cop film protagonists wields .45 ACP caliber pistols. Some examples are James Caan (Thief), Don Johnson (Miami Vice), Al Pacino & Robert De Niro (Heat) and Tom Cruise (Collateral). Michael Mann is a firearm instructor himself and he also pays extra attention to recording sounds of firearms in his films. As a result his film characters wield their guns in a professional style and firing sounds in Mann's films are usually loud and realistic.