Hmmm.  I think it's her knowing that Julien's issues (both with his sexuality and his righteousness) lead him to places that are really destructive for both of them.  She knows that he keeps putting himself and other cops at risk. (Edit: all that said, she's neither the best nor the worst mentor.)  I don't think…

I'm not; I don't even consider that comment racist (I might be wrong), I see it more as resigned.

KNEEL BEFORE SPOILERS

“I’m not getting you two killed!”

(Fluttershy voice):  @avclub-cfe912f5cb3aa572bd1c9ae2a9b82207:disqus you rock!  Woo hoo.

Indeed.  I'd say they have some of the best titles on record, evocative without being confining.

You're welcome.  "Incubation" and "Interzone" are my go-tos.

Finished it but didn't fully like it until I reread it.

Joy Division.

The Cello Concerto, which is badass. This is my favorite film score from multiple sources.

Me too.  The most underrated movie of the 00s.

Yes.  Mann insisted on getting the really long reverberations down right.  You can hear not just how loud they are, but the sound goes on for at least five seconds.  Guns wouldn't sound like that out in the open with no buildings around.

Mann's commentary and the features on the DVD are the place to go.  Yet More Fun Facts:  some drill instructor used a moment in the robber sequence with Val Kilmer and told the recruits "if you cannot change out a magazine faster than this actor, get the hell out of my army!"

It's another Chuck Adamson true story.

It does. Collateral was, in part, Mann going back to the locations of Heat and reshooting them digitally. (The refinery off the 405 freeway appears in both, for example.) He also pulled a nice self-reference where Heat starts at the Aviation/I-105 Blue Line station and ends at LAX, and Collateral does the reverse.

Ferocious, aren't I?

Nope. @onthewall2983 mentions the publicity shot above with them together. Mann just felt it should be shot with alternating angles to keep to the rhythm of their conversation.

I love that beat. What they're really saying to each other is "'til death do us part." And actually, the little smiles come after the line "or maybe we'll never see each other again." (Neither of them want that.)

I always thought that's what Mann was trying to do with Robbery Homicide Division.

When D'Angelo started this feature, I said that you could do it entirely with Michael Mann scenes. Glad to see he finally got around to *one* of them (-;