Neil McCauley, played by Robert De Niro, is a hardened professional criminal who has spent many years behind bars and is determined never to go back. A highly focused loner, McCauley's protection is that there's nothing in his life that he can't walk away from in 30 seconds flat. He and his crew -- Chris Shiherlis (Val Kilmer), Michael Cheritto (Tom Sizemore) and Nate (Jon Voight) -- are committing a series of well-planned, high-number robberies in and around Los Angeles.

Al Pacino plays Vincent Hanna, a lieutenant of detectives in L.A.P.D.'s Robbery/Homicide Division who searches through the remains of a crime for the scent of his prey and then hunts them down. Those are the elevated experiences of his life -- the rest is disorder. Divorced twice, Hanna's third marriage is precarious as he focuses all his attention on Neil McCauley.

Neil McCauley and his team rob an armored van of bearer bonds. Three guards are killed; Vincent Hanna takes over the case. McCauley and his crew are nearly impossible to identify, let alone track down. But Hanna's network of informants and the details of each man's life - wives, wives' lovers, failures and dreams, betrayals and vendettas -- generate clues Hanna is able to discover. Soon, Vincent Hanna and his detectives and Neil McCauley and his crime partners are driven towards a collision from which only some will survive.

"Heat" examines the characters of two extraordinarily driven men whose actions tear through the fabric of Los Angeles. Movieweb




Directed by
Michael Mann

Writing credits (WGA)
Michael Mann (written by)
Al Pacino .... Lt. Vincent Hanna
Robert De Niro .... Neil McCauley
Val Kilmer .... Chris Shiherlis
Jon Voight .... Nate
Tom Sizemore .... Michael Cheritto
Diane Venora .... Justine Hanna
Amy Brenneman .... Eady
Ashley Judd .... Charlene Shiherlis
Mykelti Williamson .... Sergeant Drucker
Wes Studi .... Detective Casals
Ted Levine .... Bosko
Dennis Haysbert .... Donald Breedan
William Fichtner .... Roger Van Zant
Natalie Portman .... Lauren Gustafson
Tom Noonan .... Kelso

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(on working with co-star Robert De Niro) "We ran into each other on 14th Street for the first time more than 20 years ago. I had seen him in The Wedding Party, which I liked. Over the years they considered the two of us for The Gang That Couldn't Shoot Straight. The Pope of Greenwich Village we were going to do together, and Bobby was going to direct that. We've read some scripts together.  (Boston Pheonix, 1997, Picking Up Support, By Peter Keough)

(on working with co-star Robert De Niro) "I remember seeing things that Bob had done in the past, and very recent times, and have been taken with the work so much that (turning toward De Niro) I even wrote you about it. Some of his great work -- which is plenty -- I can remember "Raging Bull" as something that you hadn't seen. Godfather Two and on and on. "GoodFellas." "Once Upon a Time in America," I was staggered by the subtlety of his portrayal and the warmth, which is what we often talk about with Bob among us actors who admire him so. It is the warmth and the way he approaches things." (The Journal, 1997, On Meeting "Heat"s Dynamic Duo", By Sally Kline, Journal movie reviewer)

(on working with co-star Robert De Niro) ``We know each other's minds,'' Pacino says. ``We have shared some things that are personal to us, such as our roles. I know Bobby through his roles. But, then, I don't think we actually talked about the actual work of actors.'' (Pilot Online, 1996, Al Pacino and Robert De Niro on "Heat", by Mal Vincent, The Virginian-Pilot, Copyright 1996, Landmark Communications Inc. )



``Al did his story. I did mine.' '(Pilot Online, 1996, Al Pacino and Robert De Niro on "Heat", by Mal Vincent, The Virginian-Pilot, Copyright 1996, Landmark Communications Inc. )



    "I thought, you don't need me for this part. But Michael [Mann, the director] was a friend of mine, and I knew Bobby and Al well and they were insistent. I tried to back out of it a couple of times, but they pushed it. I had to change myself with padding, hair, scars; it was a lot of work. It seemed to me they could have saved a lot of time and money by hiring somebody closer to the type. But when I got into the part I really liked it. It was a delicate part. The prison record, yet he had to have a mind that was respectable but it was abused. What he says is so far out but it makes sense.
    "That's the way these guys are. They're complex. I thought I could show different sides of this guy who was a thug and convict. In fact, I had done it before, in Runaway Train. With his brilliance, he could have done anything. It's that little-boy thing, they want adventures. They don't want to wear suits. It's kind of like acting."
(Boston Pheonix, 1997, Picking Up Support, By Peter Keough)

(about Pacino and De Niro) ``They are not public people. They both have a vision. Their talent is, as much as anything else, in choosing roles. Bob goes toward it quietly. You never know what he's thinking. Al seems to arrive with no preparation at all. He talks about his shoes. He talks about the weather. Then he does the scene and he has a clear view of exactly where he's going. It's uncanny.''
    "Bobby, on the other hand, doesn't seem to think a lot. He's very understructured, seemingly. Al is like a dog getting a scent. He smells it out. He comes in and plays with a scene."
    "They really love each other, yet they don't mind hitting each other as hard as they can. They're looking for the best out of their performance.''
(Pilot Online, 1996, Al Pacino and Robert De Niro on "Heat", by Mal Vincent, The Virginian-Pilot, Copyright 1996, Landmark Communications Inc. )



   "There are no caricatures in this picture. They are three-dimensional. These are guys who had all the money they needed and didn't have to do this and continued to do so. They're sociopaths. They compartmentalize things. They kill people if something goes wrong, but otherwise they aren't violent. They only do big jobs, nothing for under two million. They're addicted to it. It's the adrenaline. As my character says, `The action is the juice.' " (Boston Pheonix, 1997, Picking Up Support, By Peter Keough)

    "We had a month of arms training. The shootout in the middle we worked on for two weeks. The whole process, from December 26 to end of shooting in May, was like boot camp. I grew very close to Bob De Niro. He's the most decent person I ever met. He always made people feel comfortable, he never complained, and it was a very difficult movie, especially for him. He knew everybody's name. He engenders a loyalty you can see around him."
(Boston Pheonix, 1997, Picking Up Support, By Peter Keough)



RICHARD: Man, I can get killed for telling you some of this stuff.
VINCENT HANNA: You can get killed walking your doggie!

VINCENT HANNA: You know, we are sitting here like a couple of regular fellows and if I have to go out there and put you down, I'll tell you, I won't like it. But if it's between you and some poor bastard whose wife you're gonna turn into a widow, buddy, you are going down.
NEIL McCAULEY: There is a flip side to this coin. What if you do get me boxed in and I will have to put you down? Cause no matter what, you will not get in my way. We've been face to face, yeah. But I will not hesitate, not for a second.

EADY: You travel a lot?
EADY: Does it make you lonely?
NEIL McCAULEY: I am alone, I'm not lonely.

VINCENT HANNA: It's like you said. All I am is what I'm going after.

JUSTINE HANNA: You prefer the usual routine. We fuck and you lose the power of speech.

VINCENT HANNA: So you never wanted a normal life?
NEIL McCAULEY: What the fuck is that? Barbeques and ballgames?

CHARLENE SHIHERLIS: What else are you selling?
SGT. DRUCKER: All kinds of shit. But this here I don't need to sell and you know it, 'cause this here is the kind of shit that sells itself.

NEIL McCAULEY: A guy once told me, "Do not have any attachments, do not have anything in your life you are not willing to walk out on in 30 seconds flat if you spot the heat around the corner."

NEIL McCAULEY: We are here for the bank's money, not your money. Your money's insured by the federal government, you're not gonna lose a dime.

VINCENT HANNA: When it escalated into a murder one beat for all of them, they popped guard number 3. Why? Because what difference does it make? Why leave a living witness?

BREEDEN: There isn't a hard time invented that I cannot handle.

CHRIS SHIHERLIS: For me the sun rises and sets with her, man.

VINCENT HANNA: You don't live with me, you live among the remnants of dead people. You sift through the detritus, you read the terrain, you search for signs of passing, for the scent of your prey ... and then you hunt them down. That's the only thing you're committed to. The rest is the mess you leave as you pass through.

NEIL McCAULEY: L.A.P.D. What, where the fuck did this heat come from?
CHRIS SHIHERLIS: Maybe it's the bank they're after and not us, 'cause it's been hit a couple of times, or something.
NEIL McCAULEY: Assume they got our phones, assume they got our houses, assume they got us, right now, as we speak.

CHRIS: The bank is worth the risk. I need it brother. We should stay here and take it down.

NEIL McCAULEY: I am double the worst trouble you ever thought of.

VINCENT HANNA: My life's a disaster zone. I got a stepdaughter who's all fucked up because her real father is this large type asshole. I got a wife who I'm passing on the downslope of a marriage, my third, because I spend all my time chasing guys like you around the corner.

VINCENT HANNA: You can ball my wife if you want to, you can lounge around in her ex-husband's "post modernistic" bullshit house if you want to, but you CAN'T watch my television set, Ralph!

CHARLENE SHIHERLIS: It's like risk versus reward, baby.

ALAN MARCIANO: Why'd I get mixed up with that bitch?
VINCENT HANNA: Cause she's got a great ass...and you got your head all the way up it!

VINCENT HANNA: I keep my angst here, I preserve it because I need it. It keeps me sharp, on the edge, where I gotta be.

NEIL McCAULEY: I'm talking to an empty telephone, 'cause there is a dead man on the other end of this fuckin' line.

JUSTINE HANNA: I may be stoned on grass and Prozac, but you've been walking through my life dead.

NEIL McCAULEY: I do what I do best, I take scores. You do what you do best, try to stop guys like me.


Region 1 encoding (US and Canada only)
Color, Dolby
3 Theatrical trailers
Widescreen anamorphic format
Scene Access
Languages & Subtitles: English, French


(289k) (in the diner) "You know, we're sittin' here you and I like a couple of regular fellas. You do what you do, I do what I gotta do, and now that we've been face to face, if I'm there and I gotta put you away, I won't like it. But I'll tell ya, if it's between you and some poor b.... who's wife you're gonna turn into a widow. Brother, you are goin' down."
(79k) You can get killed walkin' your doggie!
(185k) (Interview: His character in "Heat") "Uh, this seems to me like a guy who's driven, and um, at the same time a complicated character I think. He seems to have a lot going on. Uh... he's torn, but he's work obsessed."


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