In “Ferrari,” his first film since 2015 — and in “Heat 2,” his first ever novel — the director returns to his great theme: outsiders with a brutal determination to win.
Michael Mann stood at the center of a long, sunlit room, scrutinizing a model of the Ferrari factory as it looked in 1957, thinking about how to improve its appearance. “This should be a pattern,” he said, pointing at the windows, “so that you have almost a musical rhythm, like, two-two-two-two-two, then it breaks, to drive your attention to the entryway.” Around him, a half-dozen collaborators listened closely. After Mann’s decisions were finalized, a construction team would be dispatched to a nearby site to build a replica of the 1957 factory.
It was a May afternoon in Modena, Italy, a small city in the north of the country. Mann was at the production offices of his 14th feature film, “Ferrari,” which will trace three months in Enzo Ferrari’s life, culminating with the 1957 Mille Miglia — an infamous, and tragically fatal, road race. That morning, Mann took the train up from Rome, where he spent the previous day auditioning 26 actors opposite Adam Driver, who will star in the film. “I looked at it as extra rehearsals,” Mann said. “A chance for Adam to start locking in the character.” Dressed for the summertime, Mann wore a roomy ombré button-up that bled from green to black, with white jeans and white Ecco sneakers. He spoke with the thick Chicago accent, full of bent vowels, that he has never lost despite living in Los Angeles for decades. This accent suited him in his 20s, when he drove a taxicab and worked in construction, and it confers on his directorial pronouncements a street-hardened authority.
Mann’s specialty is the meticulous construction of major Hollywood entertainments: big-budget epics and thrillers rich with genre pleasures, rigged with dazzling set pieces and heavy on movie stars like Daniel Day-Lewis (“Last of the Mohicans”), Will Smith (“Ali”) and Tom Cruise (“Collateral”). As interested as he is in making movies for mass enjoyment, though, Mann is by his own description “not a journeyman director — these guys who go from gig to gig to gig. I need a real compelling reason to do something.” Years ago, he spoke of his ambition to move more rapidly between projects, but when I mentioned this to him in Modena, Mann laughed. “I failed utterly in that plan,” he said.
There was, for one thing, the coronavirus. Mann was working in Japan when the pandemic hit, directing the pilot for the HBO Max series “Tokyo Vice,” about a young American crime reporter investigating the Yakuza. Shooting was barely underway when the virus halted production. At that point, it had been five years since the release of Mann’s last film, the underrated cybercrime thriller “Blackhat.” During this gap — one that “Ferrari” will finally close — he tried to bring several ambitious projects to life without success, facing the kind of disappointment all directors grow accustomed to, but perhaps especially those who make films that cost what Michael Mann films cost, and who insist on the complete creative control he insists on.
Mann’s artistic signature is to establish a core of painstaking realism, then create around it a heightened visual and emotional atmosphere that can edge, at times, into a kind of hallucinatory, macho camp. It’s an aesthetic Mann began exploring when he oversaw the epochal 1980s cop show “Miami Vice.” Since then, he has set forlorn peals of electric guitar over a parade of steely faces. He has filmed handsome men walking in slow motion in bulletproof vests, or gazing contemplatively at vast bodies of water that swirl in hypnotic abstraction, or striding beside private jets with sunglasses on. He has rigorously avoided comic relief, while allowing for moments of oblique humor, as when a hardened undercover cop announces, “I’m a fiend for mojitos.” He has scored sex scenes with the anguished rock of Audioslave. Somehow, it works: Chasms of unanswered yearning and alienation seem to roil beneath Mann’s images, and his movies lodge in the brain like fever dreams.
Mann enjoys a cultlike adoration of the kind typically reserved for directors further out on the fringes. His blockbusters have their ferocious partisans, as do his lesser-known pictures and outright bombs, which reliably come up for — and tend to reward — reappraisal. In 2014, the Criterion Collection put out a beautiful edition of his 1981 theatrical debut, “Thief,” helping to spark a broader re-engagement with Mann’s work that included retrospectives at the Brooklyn Academy of Music in 2016 and at the Museum of the Moving Image this spring. Film scholars devote books and podcast series to him. Underground clothing lines make coveted bootleg tees and caps in homage to his films. Among fellow directors, Mann’s admirers and acolytes include Alfonso Cuarón, Ava DuVernay and Christopher Nolan.
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Mann on the set of “Thief” (1981).Credit…Photograph by Marv Newton
This February, Mann turned 79 and ushered in an improbably busy year. In April, his “Tokyo Vice” pilot made its debut, setting the show’s fleet feel and stark tone. Not long afterward, it was announced that the financing had materialized for “Ferrari.” And next month, in a particularly unexpected curveball, Mann will release his first-ever sequel, in the form of his first-ever novel, “Heat 2.”
Of Mann’s many movies, none have inspired the sustained obsession — in audiences, and in him — as “Heat.” Al Pacino plays a brilliant police detective named Vincent Hanna, and Robert De Niro plays a brilliant thief named Neil McCauley. They are mirror-image foils engaged in an operatic cat-and-mouse game that unfolds across the criminal netherworlds of Los Angeles, “heading simultaneously for a collision in which both cannot survive,” as Mann put it.
“Heat 2” spans nearly 500 pages, two time frames — before and after the events of the movie — and multiple continents. Rather than representing some larkish detour from the body of Mann’s work, the book drills down into themes that run throughout his filmography.
Vincent and Neil are archetypal Mann protagonists: damaged men who dedicate themselves all-consumingly to their work, chasing an exalted state where extreme capability becomes its own goal. Or, as a member of Neil’s crew memorably puts it, where “the action is the juice.” They derive profound meaning, exhilaration and sense of selfhood from what they do — even at the cost of deep dysfunction and unhappiness in other parts of their lives. In this way, “Heat” crystallizes one of Mann’s career-long preoccupations, paying tribute with one hand to the great American myths of roguish individualism while undermining those same myths with the other.
Mann told me that “Heat 2” took the better part of two years to complete. “I have no idea how to write a novel, OK?” he said. “I do know how to make very, very large movies.” But, he added, “when things are a little bit difficult for me, I’m on the frontier. And I perform better, in my own estimation, on a frontier.”
When Mann describes the path he took to filmmaking, he often mentions formative screenings in college of “Dr. Strangelove” and G.W. Pabst’s Weimar-era landmark “Joyless Street.” But on a couple of occasions, he has recalled an earlier, inexplicable thrill he got “just driving under a steel bridge on a rainy night” and looking up at its gargantuan span, or moving along “those caged iron bridges” around Chicago, their latticeworks cutting up the landscape into a multitude of flickering frames. This excitement wasn’t something that Mann associated with filmmaking at first, but it lingered in his eventual understanding of himself as an artist. If you’re an admirer of Mann’s movies — which exude a hard-hammered visual poetry and tell stories of men traversing liminal realms, searching for things just beyond their grasp — this is as perfect an artistic origin story as you could hope for. “I have an attraction to these twilight zones,” he said.
Time and again, Mann has set up camp on, and then blurred, the borders that separate documentary from fiction, genre from “prestige” drama, literalism from abstraction and the multiplex from the art house. This was true of “Thief,” a hard-nosed, Marx-inflected neo-noir about an expert Chicago burglar, played by James Caan. While shooting, Mann sprayed down the city’s nocturnal streets with tens of thousands of gallons of water, so that they took on an unreal, painterly glow — even as he enlisted a local thief named John Santucci to teach Caan how to breach real vaults onscreen using real techniques and real tools, in what feels like real time. And it was true of “Blackhat” (2015), a globe-trotting thriller that begins with a highly detailed and apparently highly accurate CGI visualization of the insides of microprocessors during a computer hack, captured at 12,000x magnification as they course with electrons — a sequence so extended it becomes trancelike.
“There is absolute beauty and visual joy, a dreamlike sensibility to his films,” Christopher Nolan told me, “but it’s all driven by the function of the storytelling, driven by the minutiae of his research and the extraordinary commitment to narrative detail. The aesthetics grow from that — I don’t know of any other filmmaker who does that.”
In Modena, I saw firsthand how Mann’s interest in creating uncanny dream worlds rests upon a foundation of extreme nuts-and-bolts authenticity. Discussing possible shooting locales for “Ferrari,” and how they would be decorated, Mann paid special attention to the wallpaper that would hang in the bedroom of Enzo’s wife, Laura. His production designer, Maria Djurkovic, had gathered some options. “This doesn’t do it,” Mann said, dismissing them all. He tapped a photo of the original pattern: “It’s the sparseness of the ribbons that really gets at a certain heaviness. And this green.” To Mann, famously demanding, it was crucial to get it right. “We think she died in this room,” he said.
Pinned to a wall behind him were several images of vintage Ferraris painted different screaming reds. He’d tasked his crew with making full-body 3-D scans of these vehicles, crafting perfect facsimile shells and fitting these with contemporary drivetrains capable of high-performance racing. Special recordings, Mann said, would capture the engine sound of period-accurate “small-displacement V12s running very high, this shriek, driving down narrow canyons through masonry, then suddenly they’re out in an open field.” He smiled. “It’ll feel like the air is being ripped apart.”
Mann is something of a Method director, building immersive worlds by first immersing himself in their grain. “I have all this data, real people, real language,” he told me. “It’s not stuff you make up sitting in a room in L.A.” During commentary recorded for “Thief,” Mann talks with Caan about how top-of-the-line vault doors are layered with both copper (“obviously a very soft metal”) and titanium (“very hard”), “so that, when you drill it, if you have a hard bit to cut through the titanium, it hits the copper, it’s going to bind up,” Mann says, extolling “the value of this kind of detail” in making a performance feel truly lived in.
Daniel Day-Lewis, who is one of Mann’s close friends, told me about spending several days with him in the Alabama wilderness before making “Mohicans,” living off the land together in a recreated “18th-century hunter-trapper course.” There, they learned tracking techniques and methods for laying trap lines. They also did “a huge amount of weapons training — black-powder weapons, principally,” Day-Lewis said, explaining that such firsthand experience “creates for each person involved, on both sides of the camera, a belief in the authenticity of what they’re reaching for.”
I’d heard a rumor that, for a short passage in “The Insider,” which dramatizes the true story of a tobacco-industry whistleblower and the “60 Minutes” producer he confides in, Mann sneaked into Baalbek, Lebanon, making financial arrangements with political leaders so he could shoot in the neighborhood where the events depicted actually happened — acting as a middleman, in effect, between Disney and Hezbollah. When I asked Mann about this, he laughed and shook his head. “What happened is, we were going to go to Israel to shoot it,” in the majority-Arab city Umm al Fahm, “and Disney told us, No, no, it’s too dangerous, you can’t go there.” Mann called the journalist Lowell Bergman, portrayed in the movie by Pacino. He asked him, “Can you get us into Lebanon and the Bekaa Valley?” And then he notified the studio of this new plan. He received a frantic response. “They said: ‘Are you out of your [expletive] mind? Go to Israel!’”
No sequence in Mann’s filmography makes the case for the virtues of authenticity as explosively as the showstopping bank robbery in “Heat,” which spills into a broad-daylight melee in Downtown Los Angeles. De Niro and Val Kilmer, who plays his protégé, underwent urban-combat training beforehand, proving such capable students that, according to Mann, Fort Bragg instructors later screened footage of Kilmer reloading his rifle to show cadets how it was done. Before filming, dozens of cars were pummeled at a shooting range with high-caliber rounds, and the crew fitted the holes with detonatable squibs, painted over with Bondo putty. During filming, they triggered the squibs in time with the actors’ guns, ripping open the munitions-accurate damage. Nolan calls “Heat” Mann’s masterpiece, and when we spoke, he singled out a “tiny detail during the bank robbery, where the money is stacked and wrapped in plastic, and they put it into the duffel bags, then use a razor to slash the plastic and bang it, so that it comes loose and takes the shape of the bag.” This moment flies by, but it “grounds the entire robbery in a technical reality that you respect and enjoy,” Nolan said. “You feel you’re watching a film about experts made by experts.” The sequence’s most indelible aspect is its terrifying sound. Mann recorded the gunfire — “full-load” blanks, containing the same powder charge as live ammo — not on a soundstage, as is common practice, but out on the streets, as it reverberated off the sunny steel-and-glass canyons onscreen.
Mann running beside Al Pacino during the filming of “Heat” (1995).Credit…Photograph by Frank Connor
Mann is committed to total veracity, it seems, except when the prerogatives of compelling image-making win out. While plotting the restoration of Enzo’s neighborhood barbershop in Modena, still open, to its 1957 appearance, he indicated an archival image and said, “Even if the real chairs were darker, I want them to look the way they look in this light.” Later that day, he told me, “all these decisions — every one means something, particularly when you’re dealing with interiors, because that character picked that lamp, picked that fabric, picked that curtain, picked that cheap radio.” He recalled the home décor of the serial killer Francis Dolarhyde, in Mann’s 1986 Hannibal Lecter movie, “Manhunter.” “He’s got the vertical control on his television so he can see the subcarrier frequency, because he thinks there’s a message in there. There are so many pieces of psychopathy that are manifested in the shape of a toaster. Really! It was, ‘Find me a psychotic kitchen chair.’”
He added, “You don’t dwell on these things when you’re shooting, but the audience sees it all.”
One pitch-black night when Mann was in his teens, he drove south from Chicago to a rural Illinois back road, turned off his headlights and floored the gas pedal — hurtling, for a few crazed seconds, into total darkness. He was full of a restless ambition that had yet to find its object, he said, and in “Heat 2,” he lends this quasi-existential stunt to the young Vincent Hanna. “He’s searching, he has that crazy vibration in the nerves running through his arm when he’s 18, saying, I’ve got to get the [expletive] out of here, wanting to move and go places and do things,” Mann told me. “I’m talking about myself, too, when I say that.”
Mann was born in 1943 into a secular Jewish family — “in the city,” he emphasized, noting wryly that “directors from the Chicago suburbs make comedies.” His father, Jack, was a Russian immigrant from Ovruch and a combat veteran of World War II. “He didn’t talk about it much, but it affected everything,” Mann recalled, describing “an absolutely loving man” who suffered from symptoms of PTSD long before it had a name. Jack ran a small supermarket for several years, before he was driven “out of business by a big chain that opened up a block and a half away. My younger brother and I, as amateur arsonists, one night tried to burn it down. We were angry. I think we succeeded in blackening the back door.”
Jack’s wartime experience left him with “a very dark view,” Mann said. Fighting in Germany, “he’d read in Stars & Stripes how American planes had bombed such-and-such a refinery, interrupting the supply of the Germans during the Battle of the Bulge. Then four, five weeks later they’d pass the refinery, and everything around it was bombed, but the refinery itself was untouched, because Shell wants to take control of it.” Jack returned to America with “a cynicism about systems,” Mann said, adding, “I totally inherited that cynicism.”
In 1969, Jack died from a pulmonary embolism, just 56. “It shattered my family,” Mann recalled, explaining that his mother, Esther, “made a different life for herself” — starting her own business and entering into new relationships — but “operating from the thesis that ‘the meaningful life I’ve lived is over. I’m not going to just drift into widowhood; I’m going to make a life for myself, but it’s all superficial.’”
No facile interpretive pipeline neatly connects Mann’s biography and the movies he makes. Whereas his filmography is littered with broken, solitary, state-raised men, he says his parents loved each other deeply, and Mann and his own wife, an artist named Summer, have been married since 1974, raising four daughters. “In a city that’s not renowned for child-rearing, he’s managed to raise this wonderful, solid family that’s so close,” Day-Lewis said of Mann, adding, “You go to their house, and it’s an oasis.” But the cynicism Mann inherited from his father can be felt everywhere in his films, and his interest in upstart heroes who assert themselves against powerful forces — mob bosses in “Thief”; predatory tobacco companies and cowardly media conglomerates in “The Insider”; and the U.S. government in “Ali,” his Muhammad Ali biopic — certainly doesn’t contradict the picture of the angry young kid seeking vengeance against the chain grocery that crushed his father’s market.
In the late 1960s, Mann enrolled in film school in England. “I was not going to Vietnam,” he said. He made short documentaries about the ’68 student protests and other social upheavals of the era. In 1979, he shot his first feature, the TV movie “The Jericho Mile,” on location at Folsom prison, where he cast inmates opposite trained actors and incorporated the prison’s distinct hierarchies and customs into the script, about a convict who becomes an Olympic-class runner on the yard. By this point, Mann’s focus had shifted to stories of determined individuals who perceive the workings of oppressive systems and — even if it comes at a ruinous price — insist on charting their own paths through them.
Michael Mann at the London Film School in 1967.Credit…Courtesy of Michael Mann.
Mann has constantly evolved the look of his movies. His images have become less straightforwardly beautiful, his palettes increasingly leached of color, his framing less formal. Hand-held cameras drift, faces appear unfocused in extreme close-up and the digitally captured dark of nighttime degrades into extravagantly pixelated noise. But thematically he has remained consistent, returning continually to heroes who are peeled away from the dominant ideologies of what Mann has called “the normal range of human experience,” and, from this remove, come to see questions of selfhood, coercion and power more clearly than most of us.
‘Michael’s an unusual blend of things,’ Day-Lewis said. ‘He’s an intellectual, but he thinks like an engineer, and he has the spirit of an artist.’
Often, these characters’ worldviews are forged in prison. In a 2017 interview, Mann recalled the lasting impression of meeting convicts decades earlier who devoured philosophical texts, not with the abstract curiosity of “undergraduates,” but because they had “fundamental questions that they wanted answered, like: ‘How should I view my life in time? What’s property?’ They’ll read Kierkegaard, and Sartre and Marx and Engels. You encounter it with people that have sixth-grade educations, who become quite astute in this raw kind of way.” Frank in “Thief,” Neil in “Heat” and the hacker Nick Hathaway in “Blackhat” all share versions of this pedigree.
Mann told me about a particularly memorable encounter he had inside Folsom, making “Jericho Mile”: “I had one guy in Black Guerrilla Family, weight lifter, 6-foot-2, dangerous guy doing a life sentence. I said, ‘Hey, I’d like you to play such-and-such a role.’” The inmate rebuffed him, explaining, “ ‘I’d be allowing you to appropriate the surplus value of my bad karma,’” Mann said. “He wasn’t trying to impress me with big words. He was serious. He’d read Marx and Engels and knew about surplus value, and he was here because karma put him here.”
Like many of Mann’s protagonists, I remarked, this man seemed to have a bird’s-eye view of his position amid various superstructures. Mann nodded. “If you’re an experienced convict,” he said, “you have a systems analysis.”
The day after I visited the “Ferrari” production offices, Mann picked me up in the lobby of my hotel, and we walked down Modena’s cobblestone streets to get some lunch. He moved spryly, dodging the delivery trucks, mopeds and bicycles that whizzed around us. I’d heard that Mann keeps detailed daily journals going back decades, and at our table he set down his own voice recorder next to mine, along with a thick Mnemosyne notebook bulging with color-coded Post-it notes. “Glass of wine?” he asked.
Neil McCauley, like so much in Mann’s movies, is rooted in real life. In the 1970s, Mann befriended a Chicago detective, Chuck Adamson, who told him a story about getting coffee years earlier with a notorious local robber — the real McCauley. During this encounter, the two adversaries acknowledged a wary but genuine mutual respect, and made it known that, in any future confrontation, each was ready to shoot the other dead. In 1964, Adamson was part of a detail that gunned down McCauley in the street.
With Tom Cruise and Jamie Foxx during the filming of “Collateral” (2004).Credit…Photograph by Frank Connor
Inspired by that story’s tense, fateful symmetry, Mann began writing “Heat” in the late 1970s. In 1987, he turned a truncated version of his script into the pilot for an unproduced NBC series, which eventually aired as a TV movie under the name “L.A. Takedown.” This is mostly worth watching today in order to appreciate the vastly superior achievement of “Heat,” which Mann was finally able to make at the proper scale in 1995 — six months of preproduction, 107 days of shooting, 95 locations, $60 million budget — after the success of “Mohicans.” It was De Niro and Pacino’s first time sharing a movie screen.
So, as unexpected as it was to learn that Mann was publishing a novel, it wasn’t shocking that he was returning to the world of “Heat.” Its characters had been with him some 15 years before he made the movie, and they still captured his imagination some 30 years later. “I always wanted to do more with these people’s lives,” he said.
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LONDON, Feb 13 (Reuters) – British employers expect to raise wages for their staff by the most in at least 11 years but the 5% pay deals for workers would still fall well below expected inflation, a survey published on Monday showed.
With the Bank of England fearing the surge in inflation could be harder to tame if pay deals keep rising, the Chartered Institute of Personnel Development (CIPD) said 55% of recruiters planned to lift base or variable pay this year as they struggle to hire and retain staff in Britain’s tight labour market.
Expected median annual pay awards in 2023 rose to 5% – the highest since CIPD records began in 2012 – from 4% in the previous three months.
More than half of respondents reported having problems filling vacancies, and nearly one in three expected similar issues in the next six months.
“Skills and labour remain scarce in the face of a labour market which continues to be surprisingly buoyant given the economic backdrop of rising inflation and the associated cost-of-living crisis,” Jon Boys, senior labour market economist at the CIPD, said.
The survey also showed the gap between public and private employers’ wage expectations widened. Planned pay settlements in the public sector fell to 2% from 3% in the quarter before, compared to 5% in the private sector, the CIPD said.
The results highlighted the squeeze on living standards as key workers including nurses, teachers and public transport staff stage a series of strikes over pay and work conditions.
BoE Governor Andrew Bailey last week expressed concerns about wage-setting, despite signs that the surge in inflation has turned a corner.
Annual inflation fell to 10.5% in December after hitting a 41-year high of 11.1% in October. Bailey signalled inflationary pressures were still a worry despite the BoE raising interest rates to the highest since 2008 this month.
The quarterly survey showed recruiters were more willing to hire people returning to the workforce, including older workers and those with health conditions.
The CIPD surveyed 2,012 employers between Jan. 3 and Jan. 25.
Reporting by Suban Abdulla in London Editing by William Schomberg
The Guardian, also known as The Guardian UK, is a British daily newspaper that was first published in 1821. The newspaper is known for its progressive and liberal views and has a reputation for in-depth reporting and thoughtful analysis on a wide range of topics.
One of the defining characteristics of The Guardian is its commitment to independent journalism. The newspaper is owned by the Scott Trust, which is a charitable trust that exists to ensure the newspaper’s editorial independence. This means that The Guardian is not beholden to any commercial or political interests, and is free to report on the news in a fair and impartial manner.
Another defining characteristic of The Guardian is its focus on investigative journalism. The newspaper has a team of dedicated reporters who work on long-form, in-depth stories that uncover important information and hold powerful people and institutions to account. This type of journalism is often referred to as “public interest journalism” because it serves the public by bringing important issues to light.
One of the most famous examples of investigative journalism by The Guardian was the Snowden files. In 2013, the newspaper published a series of articles based on classified documents leaked by Edward Snowden, a former National Security Agency (NSA) contractor. These articles revealed the extent of the NSA’s surveillance activities and sparked a global debate about privacy, security, and government overreach.
The Guardian is also known for its coverage of the environment and climate change. The newspaper has a dedicated environment team that reports on issues such as pollution, deforestation, and the impacts of human activity on the planet. The newspaper’s coverage of these issues is often cited as some of the most comprehensive and insightful in the world.
The Guardian UK is also well known for its coverage of politics. The newspaper has a team of experienced political journalists who report on the latest developments in Westminster and beyond. The Guardian’s political coverage is known for its in-depth analysis and thoughtful commentary, which helps to provide readers with a deeper understanding of the issues at stake.
The newspaper also has a strong digital presence. The Guardian’s website, theguardian.com, is one of the most popular news sites in the UK, and the newspaper has a large following on social media platforms such as Twitter and Facebook. The Guardian also has a number of mobile apps that allow readers to access the newspaper’s content on their smartphones and tablets.
In conclusion, The Guardian UK is a respected and influential newspaper that is known for its independent journalism, investigative reporting, and coverage of important issues such as the environment, politics and human rights. The newspaper’s commitment to public interest journalism and its digital presence make it a valuable source of news and analysis for readers around the world.
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How to Write a Resume in 2023: A Step-by-Step Guide
Whether you are looking for your first job or making a mid-career transition, knowing how to craft a resume that highlights your strengths and achievements is invaluable. This resume guide will show you, step-by-step, how to write a resume that will get you noticed by potential employers. Let’s get started!
Are you struggling to write a resume that catches the attention of employers? You’re not alone. Millions of people every year submit resumes that don’t get them the jobs they want.
Your resume is the most important tool in your job-seeking arsenal. A good resume can help you get your foot in the door, while a bad resume will likely keep you from even being considered.
This resume guide will teach you, step-by-step, how to make a resume that will help you stand out from the crowd. We’ll provide tips on how to format your resume, what information to include, and how to tailor your resume for different jobs using the right keywords.
Step 1. Choose a resume format
The right resume format can help highlight your strengths and downplay your weaknesses. It can also make it easier for recruiters to scan your resume and identify the key information they are looking for.
There are three standard resume formats to choose from.
Chronological Resume
This is the most popular resume format, especially for job seekers with lots of relevant experience. This format lists your work history in reverse chronological order, with your most recent jobs listed first. It’s ideal for:
Job seekers with a lot of professional work experience.
People with no employment gaps.
Those who want to showcase their career progression over time.
Functional Resume (also known as a Skills-Based Resume)
The functional resume is organized around your transferable skills and abilities rather than your work history. It helps you downplay your lack of experience in a particular field. While it is helpful for certain situations, it’s not always the best. Recruiters sometimes don’t like the functional resume format because it can make it seem like you’re trying to conceal something. So be wary of that.
Under each skill you list, try to add bullet points that provide specific examples of times when you’ve used that skill. This format is ideal for:
Hybrid Resume (also known as a Combination Resume)
A hybrid resume can be a great way to showcase both your work history and your skills. For many job seekers, it’s the best resume format. With this format, you would begin with a brief overview of your skills and accomplishments, followed by a chronological listing of your employment history. This format is ideal for:
Mid level job seekers with some experience in their field.
Career changers who need to highlight transferable skills.
People reentering the workforce.
Hybrid
Pros:
Puts equal emphasis on skills and experience.
Provides a lot of space for resume keywords.
Combines best elements of chronological and functional formats.
Step 2. Add your contact information and personal details
This is one of the most important sections of your resume. If hiring managers can’t contact you, it doesn’t matter how great the rest of your resume is. So you need to make sure that your contact info is accurate and up-to-date.
The following information should appear at the top of your resume:
Name
Phone number
Location (City, State, Zip Code)
Email Address
LinkedIn profile URL
Here’s an example:
It might seem obvious, but job seekers sometimes forget a key piece of contact information in this section. Double check to make sure it’s as easy as possible for recruiters to contact you for a job interview.
Do’s
Include your full name, including your middle initial if you have one. This will help ensure that you’re easily found in online searches.
If you have an unusual name or a name that could be easily mispronounced, consider including a phonetic spelling to avoid confusion.
You don’t need to include your full address but do add your city, state, and zip code. Recruiters often search for local candidates first.
Include a link to your professional website or online portfolio, if you have one.
Create a strong LinkedIn profile and be sure to include the URL on your resume (make sure it’s up to date).
Don’ts
Never include a work phone number, only a personal number.
Don’t include more than one phone number or email address. This will only confuse hiring managers.
Unless required, don’t include your date of birth. Employers may unknowingly discriminate against older job seekers. It can also make it easier for identity thieves to commit fraud.
Don’t use a quirky or unprofessional email address. Instead create a new professional sounding address just for your job search. Research has shown that formal email addresses perform better on resumes than informal ones.
Unless required, a headshot is unnecessary. How you look isn’t important, and a photo takes up valuable space on your resume.
If you use an outdated email service like Hotmail or AOL, consider creating a free Gmail account for your job search.
Step 3. Write a standout resume headline
One way to make sure your resume stands out is to write a catchy headline. This is a concise, one-line description of who you are as a candidate.
A well-written headline can grab a recruiter’s attention and encourage them to take a more detailed look at your resume. It can also highlight your most relevant skills and experience, making it easier for recruiters to see why you would be a good fit for the role.
You should place your headline near the top of your resume, so it’s one of the first things that a hiring manager or recruiter sees.
Here’s an example:
Resume headlines are most beneficial for people who have a lot of relevant experience, but anyone can use them.
If you don’t have any experience or are applying for an entry-level job, you can use your resume headline to show off your soft skills, your proficiency with tools, or your winning personal attributes.
When writing your headline, it’s crucial to include the job title that appears at the top of the description of the job you’re applying for. This is the most impactful keyword of all, and the headline is a good place to put it, especially if you haven’t held the exact position before.
Do’s
Always tailor your headline to each job you apply for.
Use title case (capitalize the first letter of each word) and use a bold or slightly larger font so the headline stands out visually.
Position yourself as an expert in your field. This can help to set you apart from other candidates who may not be as confident in their abilities.
Use numbers and statistics to back up your claims. The applicant in the example above uses “5 years experience” to highlight their expertise.
Use attention-grabbing action verbs. The example above uses the verb “leading,” which quickly tells employers what the applicant has accomplished.
Be specific. Generic phrases such as “hard worker” or “team player” are nice, but they don’t really tell employers anything. If you can, include a specific accomplishment or skill that makes you stand out from the rest.
Don’ts
Don’t make your headline too long or it will lose the reader’s attention. Keep your headline under ten words to make sure it packs a punch.
Avoid using jargon. Stick to language that can be easily understood by everyone.
Don’t be too salesy. A resume headline is not the place to make a hard sell; instead, focus on giving a snapshot of your skills and experience.
Steer clear of clichés. With so many resumes to sift through, recruiters will appreciate a fresh, original headline that cuts to the chase.
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Step 4. Add your resume summary statement or resume objective
Most recruiters only spend between six and eight seconds looking at a resume before they make a decision about a job candidate, according to a study by Ladders.
This means you need to make a strong first impression! You can do this by adding a resume summary statement underneath your resume headline.
A summary statement is a brief paragraph or a set of bullet points that summarizes your professional qualifications.
Your summary statement should expand on your resume headline and provide evidence of your skills, achievements, and experience.
Here’s an example:
Do’s
Keep it brief – no more than a few sentences or bullet points.
Look for patterns in your work history – anything that you can point to and say “this is what I do, and I’m good at it.”
Focus only on your most relevant skills and experience.
Use numbers and specifics to show that you are a results-oriented individual who is able to produce tangible outcomes.
Incorporate keywords from the job description whenever possible.
Tailor your summary statement to each job you apply for.
Don’ts
Don’t make bold claims that cannot be backed up.
Don’t just list your job duties; instead focus on your accomplishments.
Don’t include personal information unrelated to the job.
Avoid using personal pronouns (I, me, or my).
Resume summaries are ideal for job seekers who have plenty of relevant work experience and accomplishments that can be tied to actual numbers.
If you don’t have much job experience or are changing careers, you could write a resume objective statement instead.
Your resume objective basically explains what the object of your resume is. It is a short statement that communicates your reason for wanting to work in a new field. It should include:
The job title or field you are interested in.
Any transferable skills that make you a good fit for the position.
Relevant accomplishments that demonstrate how you would excel in the new role.
Your career goals and how the position you are applying for can help you achieve them.
For example, if you are a recent college graduate seeking a position in marketing, your resume objective might state: “To secure a position in marketing where I can utilize my creativity and analytical skills to contribute to the company’s success.”
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