ENEMY OF THE STATE
About The Production
Principal photography commenced in Baltimore, Maryland
Principal photography commenced in Baltimore, Maryland. Location
shooting began on a ferry in Fells Point and continued in locations
throughout the city and in Washington D.C. In mid-January, the
company moved to Los Angeles to complete production in April 1998.
Unlike his approach to many of his films, Scott did not begin
the project with a special look in mind. "I wasn't familiar
with the East Coast," he explains. "I didn't really
know D.C., I didn't know Baltimore and I never shot winter over
there and we scouted in summer when it was very hot and humid,
so I was a little bit lost. I stumbled into it in a way. We kept
looking at movies like 'Seven,' which was a great looking movie,
the most interesting looking movie in the last few years. But
I wanted to go for harder, tougher, colder. It was winter, but
we were lucky and got beautiful weather."
The filmmakers decided to use multimedia in creating the look
of the film and shot many of the scenes with digital cameras as
well as with many of the same miniature cameras built for use
by the surveillance community. "We actually shot some of
the scenes using button hole cameras," says Bruckheimer.
"We mounted it on the camera operator and he'd move around
the room in place of one of the actors playing an NSA agent."
They also relied heavily on television cameras, monitors and still
photographs to tell their story. "We tried to get away from
the digital world and give it a new look," says Scott. "It's
the total opposite of what they did in 'Contact'; it's much cruder
with glitches in the footage to make it look more interesting.
We used all the flashes and the kick and the speed changes. We
used monitors that weren't functioning 100 percent."
The filmmakers also used still photographs, purchasing some of
the satellite shots from a private company that monitors the earth
24 hours a day from the North Pole to the South. They have the
ability to pull up photos of any location in the world at any
given hour. At this point in time, only still photos are available
within a 20-block radius, outside of that, moving images can also
be purchased. The NSA agents in the film, to initially analyze
who Dean is and begin to track him, use this method of data recovery.
Although the NSA did not give the filmmakers access to its resources
or property, the company was able to shoot an aerial establishing
shot from public air space well above the grounds of Fort Meade.
For the interior of the NSA, production designer Benjamin Fernandez
recreated a control room on a stage that was constructed using
verbal information from several people who used to work at the
"It was really taking a little bit of information from Steve
and Marty and Larry," says Scott. "They're a pretty
closed shop in terms of what information they feel is confidential,
even in terms of the look of a room. We also used the Baltimore
Sun articles. That was really our best form of information
in terms of how the place looked to these guys. What we recreated
came off a description from 2 or 3 people who all corroborated
"It felt like the stock market when everyone described it,"
he continues. "With the guy standing in the center. That
used to be Larry Cox's job for 11 years and he's what they call
a collection manager. He's the guy who sat in the center and pulled
in the information from all the different bays around him. There's
a whole building dedicated to this and each floor has the number
of employees we had in that scene.&quo
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