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Hello again!
Years ago, when I first started thinking about taking the plunge into fan-editing instead of just lobbing suggestions from the sidelines and offering up a test here and a demo there, I actually saw a version of this project through to completion, although I since lost the password to the account (and forgot the username on top of that, LOL). Which is fine - even for an edit as technically uncomplicated as this one is, (it really is, honestly, like 4 total cuts and an audio track replacement in the front channels) it’s probably way better that I start over from scratch on this one.
The edit is named in honor of the “Miami Nice” podcast, from the creators of “One Heat Minute,” where the concept of this cut originated. The hosts have since created their own version of this cut for their own personal use, but I figured I’d try to make that dream a reality as well, since - unlike most dreams - it seemed so easily within reach.
For fans of this once-derided but since-reclaimed film, there’s usually a big dilemma: Which version do you put on when you start to feel that familiar fiending for mojitos? The Theatrical Cut; which most people love for how abruptly and beautifully it starts and never slows down, or the Director’s Cut; which most people love for how it fills out the side stories without interrupting the movie’s immaculate vibes. This cut tries to scratch that itch like this:
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Movie begins as per the Director’s Cut: Universal logo, and two title cards (Universal Pictures presents, A Michael Mann Film)
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Cuts straight from black to “Numb/Encore” in the club as per the Theatrical Cut
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Movie then continues as per the Director’s Cut alllll the way to the Hospital meeting, just before the climactic shootout.
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Movie reverts back to the Theatrical Cut, before the Director’s Cut can include the (not very good) Nonpoint cover of Phil Collins’ “In the Air Tonight.”
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The actual Phil Collins version of “In the Air Tonight” is instead placed into the sound mix.
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The movie concludes from the shootout to the end titles there as it would in the Theatrical Cut.
And that’s the “Miami Nice” cut. An attempt to realize the hypothetical “Best of Both Worlds” synthesis of Director’s Cut and Theatrical Version. My only other tweak to the concept was to replace the end credits suite with selections from John Murphy and Klaus Badeldt’s original score.
The edit runs 2hrs and 16min. 2.40:1, 23.976fps, 1080p, DDP5.1. PMs are open, or if you prefer email, it shouldn’t be too difficult to figure the gmail address out 😃 Any suggestions, comments, critiques, questions - all are welcome.