OUT OF SIGHT
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'
"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 outside...at night...in 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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