Most interviews with the cast anad director of Miami Vice are similar, but there are one or two interesting snippets to be taken from this one at www.hollywood.com.
Here are my highlights:
HW: Michael, the music was such an integral part of the television show. How important was it for you to maintain that level of authenticity, in terms of the music, with this film?
Mann: Music is always key to me, whether it’s Miami Vice or not Miami Vice. It’s dictated by the story, about what Crockett and Tubbs and Isabella and Trudy are doing. And, since the movie tries to get into the lives of these folks as intensely as possible, I wanted music that, hopefully, had the power to do that, consequently, the Mogwai and some of the Audioslave. So that’s what informed most of those choices.
HW: And he shares some pretty steamy scenes with Gong Li as a woman on the other side of the law – sexy even though not much dialogue between them.
Farrell: Isabella and Crockett are two people who find each other, in the wrong place, at the wrong time, though they’re the right people. That’s the unfortunate thing about what transpires between the two of them. To quote good ol’ Jerry Maguire, they do kind of complete each other. They are two people that live in very volatile environments. He’s on one side of the law and this woman, Isabella, is on the other side of the law, and they come together in what is a very dangerous idea and a very bad idea. The scene they have in Havana, they say at the bar, “You know, this is never going to last. It’s never going to work,” but they find in each other, in that act of making love, that it’s almost overwhelming. It’s almost too much to take. Crockett’s someone that would have had one night stands, over the years, prolifically, and never be emotionally attached to anyone, and one of the primary reasons would be the work that he involves himself in. But, he finds, with this woman, someone that seems to make complete sense, perfect sense. And so, doing our scene together was just about emotional investment, or emotional realization, in seeing some of yourself–maybe the best of yourself, and none of the worst–in the other person, but there is something quite tragic too it, as well, I suppose.