Issue link: http://digital.copcomm.com/i/1515786
Michael Mann (left) directs a racing sequence on location in Modena, Italy during the production of "Ferrari." P H OT O : LO R E N Z O S I S T I / N E O N 38 C I N E M O N T A G E F E A T U R E By Peter Tonguette I n the world of international motor- sports, the glamorous drivers, glitzy sponsors, and incredible racecars draw most of the attention, but any real auto racing fan knows that it's the pit crew that does the heavy lifting. The pit crew ushers the racecar into place to refuel, to detach and discard worn tires, to affix new tires, and to send the FILM SPEED HOW THE POST TEAM OF 'FERRARI' WORKED TOGETHER TO BRING AN AUTO EPIC TO LIFE momentarily sidelined racer back to the course in good shape. If the pit crew has done its job, no one will have noticed their expeditious handiwork. Something of the same spirit of com- mitted professionalism and grace under pressure characterizes the post-production team on Michael Mann's "Ferrari," released to theaters late last year. The Neon release stars Adam Driver as Enzo Ferrari, the styl- ish, sophisticated automotive pioneer who, as the film opens, finds his attention split between his racecar empire and his mud- dled personal life: He is bereft over the loss of his son with his wife, Laura (Penelope Cruz), while also maintaining a relationship with his mistress, Lina (Shailene Woodley), with whom he also has a child. This is a