He leaves many friends, ranging from the world of politics to music to business and beyond, and countless others who filled the last third of his life with love, joy, excitement, and wonder.

They were associates, affiliates, friends, family, whatever you wanna call them.

Put yourself in my shoes.

I'm questioning the validity of somebody's death, and I'm calling people and talking to them, "Hey, I'm Connor O'Donnell with the state police.

Do you think he's dead?" And then some of them were like, "Yeah, that...

Let me tell you, some weird stuff's going on."

They hadn't heard of her, nor were they aware he supposedly had children.

This woman from overseas would call or would somehow correspond with me via email, text, and the phone number was Nick's number before he died.

It's really beautiful.

The lovely thing, too, about...

You know, so you get to the end of the Pacino sequence.

He, he g- he takes the blindfold off.

You, uh, the scene opens up, right, 'cause he leaves the apartment, right, and he's in the middle of Beirut and, uh, says to Mike Wallace, "We're on." Right? Um, but you get, to your point, Dan, you get that moment with Wigand not too long after, right? It's like a couple scenes later, and it's the same scene as Bergman with the sheep but just with Wigand because, like, it has nothing to do with anything seemingly, right?

Yeah.

Like, it's e- you, you learn in one scene that seemingly has nothing to do with the plot or anything everything you need to know for everything, right? Like, um, and again, it's that, it's, it's p- it's part of the, it's part of the, the Michael Mann process thing, right? Um, and I think that's maybe where the cold n- like, that's, I think when, when things...

I think a lot of people perceive process as a cold, robotic thing, but I think for someone like Michael Mann-

When you find out the math behind a card trick, you're like, oh, that – I mean, you can't but help but have the –

Right.

That's I wish I saw that, you know, I appreciated in that regard.

I appreciated the press tour in that sense that they kind of were giving these cagey answers because like, yeah, I don't care.

Now, granted, I think some of the most interesting behind the scenes stuff about the movie is the copyright fair use doctrine stuff.

Right.

Like like that stuff.

wouldn't know what

What I love,

I think there's a more... there's a more cowardly version of this movie that ends when they toss the dice.

Yeah.

Right.

Like, like, which I think that, and I think if the movie ends there, I walk away from the movie and I say, good movie, you know, like I'm like, yeah, good movie.

Right.

But that's like a, you know like a lesser filmmakers would be like and we'll never know if they did it or not but the them tossing the dice and you think as a viewer you're gonna get that moment and then it's just the hard cut to them eating fucking filet mignon and lobster and the beautiful follow-up is he's got this spread in front of him and he's like can i get like a burger because you just to your point dan like you realize that these two men we've been watching are dogs chasing cars right they wouldn't they wouldn't know what to but they've caught the car yeah so now they're like well now what do i do yeah oh god and and that's like the i think the beauty of the commitment to like follow through on not only showing the results of their giant bet at the end but also allowing them to win and and allow the sort of tacit dissatisfaction

Right.

And, um, as Kelso-

Speci- specifically, I, I would say the, obviously, the most in, like, Manhunter, but, like, uh, you know, I said to you last night when we heard the horrible news, like, I just was like, "Oh, yeah, I g- I, we gotta just rap about Dollar Hyde and Kelso for, like, a little bit," 'cause it's...

And obviously, like, Dollar Hyde's the more prominent of those two Michael Mann roles, but, um, it both speak to, like, Noonan's power in terms of he, I think, had such an acute sense of interiority, um, which, you know, is, is its own special beautiful thing when an actor can accomplish that.

And it's the kind of thing that fits in really well with the Mann-verse, right, in terms of just, like, people that can carry...

W- like, don't even necessarily need a lotta lines, don't need a ton of screen time, but, like, can carry in them whole histories, right, um, that, that you don't even need to know about, but you're just kind of aware.

And they, they carry in them sort of this, that interiority in and of itself is this attention to detail that obviously Michael Mann movies are so well known for.

And I feel like that's, at least to me and in, in my brief hypothesis that I was able to put together before we had this conversation [laughs] that was, like, the thing.

RoboCop 2, like, um, and later on just, like, even his stunning voice in Anomalisa.