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About The Production
"This is a performance-reliant movie," says director Steven Soderbergh, "and I thought it needed a certain visual style to keep it lively

"This is a performance-reliant movie," says director Steven Soderbergh, "and I thought it needed a certain visual style to keep it lively. I didn't want it to be too slick or too polished. I wanted to keep it contained and I wanted a rougher feel to it. This is not a 'crane shot' movie, it's a 'pan-and-zoom-and-run-and-gun' movie."

"I believe that you need to use every element at your disposal to create the most specific world possible on screen," the director continues. "I hate it when I see a movie and because of the way it's shot, its palette runs together so that somebody's house feels like their office which feels like another set in the film. You never come away with a real sense of place."

"It takes an enormous amount of testing and experimentation to achieve those visual distinctions. It would be much easier to have everything look the same," adds Soderbergh. "In Out of Sight, we had to come up with five distinct looks: the flash-backs, Glades prison, the cities of Miami and Detroit, plus night work in Florida and in the South that took up a key section of the film. We didn't want it to look like the usual night shots, so we came up with other ideas about how to light. This meant a lot of discussion about filtration and pushed developing and the use of different film stocks, which is the homework part of filmmaking. It's tedious and painstaking, but it pays off. It helps you achieve a certain intimacy with the audience a sense of 'I've been there....I've been in a place like that.'"

Achieving "a place like that," took the Out of Sight film crew on an odyssey which began in California's Mojave Desert and wound its way through Baton Rouge, Miami and finally Detroit before returning to home base.

The Mira Loma Detention Center in Lancaster, California stood in for Lompoc, where most of the movie's protagonists first meet, while the Louisiana State Penitentiary in Angola was used for scenes depicting Glades Correctional Institution in Florida.

Situated on 18,000 acres, an hour's drive from Soderbergh's hometown of Baton Rouge, the filming at Angola proved to be an unexpectedly pleasant surprise for all concerned. Some 500 inmates joined the cast and crew for scenes depicting Jack Foley's life and escape from Glades, and although the Out of Sight production personnel were always keenly aware that they were in a maximum security facility, the experience was not totally uncomfortable. Says Clooney, whose scenes included a basketball game played on an outdoor court in the middle of the prison yard, "there are around 5,000 inmates in Angola and you know you're working closely with several hundred capitol offenders, people convicted of heinous crimes. And for more than a week, we were amongst the general population. You might be talking to a really nice guy and then the realization would hit no one is in Angola for being a nice guy--so there was a strange mixture of emotions."

Next the company flew to Miami for ten very warm days filming in the South Beach area, the Miami-Dade airport, and Ft. Lauderdale.

By far the most physically demanding location was Detroit, where most of the scenes were filmed December. But when the Out of Sight crew wasn't filming out of doors, they took advantage of two of Detroit's more beloved locales: the Kronk Gym and the State Theatre.

The Kronk Recreation Center has been an integral part o

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