Out of Sight - crew, film crew
The entire team, the film crew of the film "Out of Sight"
Out of Sight (1998)
Timing:
2:3 (123 min)
6.681/10
1207
1207
6.843/10
12587
12587
7/10
105000
105000
Film crew
Director
Producer
Executive Producer
Casting
Kathy Driscoll
Casting
Editor
Additional Second Assistant Director
David M. Bernstein
Additional Second Assistant Director
Art Direction
Costume Design
Betsy Heimann
Costume Design
Stunts
Ousaun Elam
Stunts
Bruce Paul Barbour
Stunts
Jim Palmer
Stunts
Robert Apisa
Stunts
Al Whiting
Stunts
Brian J. Williams
Stunts
Eddie Perez
Stunts
Daniel Maldonado
Stunts
Dick Hancock
Stunts
Ramiro González
Stunts
Bennie Moore
Stunts
Alex Madison
Stunts
Garfield Wedderburn
Stunts
Richard Drown
Stunts
Gene Williams
Stunts
Steve Martinez
Stunts
Malcolm Ian Cross
Stunts
Peewee Perez
Stunts
Victor Prince
Stunts
Production Design
Stunt Coordinator
G. A. Aguilar
Stunt Coordinator
Set Decoration
Maggie Martin
Set Decoration
Stunt Driver
Ned Corrigan
Stunt Driver
Makeup Artist
Anita Gibson
Makeup Artist
Mark Shostrom
Makeup Artist
Margot Boccia
Makeup Artist
Key Makeup Artist
Katherine James
Key Makeup Artist
Sound Re-Recording Mixer
Gerry Lentz
Sound Re-Recording Mixer
Original Music Composer
Unit Production Manager
Frederic W. Brost
Unit Production Manager
Production Supervisor
Mary Morgan
Production Supervisor
Pat Chapman
Production Supervisor
Set Dresser
Kurt Braun
Set Dresser
James E. Hurd Jr.
Set Dresser
Mike Malone
Set Dresser
Tristan Paris Bourne
Set Dresser
Jeremy Alan Read
Set Dresser
Chris Patterson
Set Dresser
Patrick McGuire
Set Dresser
Fred Schwendel
Set Dresser
Michael A. Johnson
Set Dresser
Harry Frierson
Set Dresser
Alexander Kirst
Set Dresser
Shane L. Ashton
Set Dresser
L. David Gordon
Set Dresser
Second Assistant Director
Stunt Double
Utility Stunts
Felipe Savahge
Utility Stunts
Director of Photography
Property Master
Emily Ferry
Property Master
Visual Effects Supervisor
Brad Kuehn
Visual Effects Supervisor
Supervising Sound Editor
Script Supervisor
Wilma Garscadden-Gahret
Script Supervisor
Hairstylist
Mary L. Mastro
Hairstylist
Waldo Sanchez
Hairstylist
Deborah Mills-Whitlock
Hairstylist
Visual Effects Producer
Chris Del Conte
Visual Effects Producer
First Assistant Director
Animation
Allen Ruilova
Animation
Boom Operator
Keenan Wyatt
Boom Operator
Screenplay
Novel
Set Designer
Keith P. Cunningham
Set Designer
Al Hobbs
Set Designer
Mary Saisselin
Set Designer
Harry E. Otto
Set Designer
Lauren Cory
Set Designer
Foley Artist
Paul Stevenson
Foley Artist
Construction Coordinator
Chris Snyder
Construction Coordinator
Art Department Coordinator
Blair Huizingh
Art Department Coordinator
Dialogue Editor
Marvin Walowitz
Dialogue Editor
Mike Chock
Dialogue Editor
Art Department Assistant
Andrea Brody
Art Department Assistant
Foley Editor
Ezra Dweck
Foley Editor
John Dunn
Foley Editor
Props
Charles Guanci Jr.
Props
Brett Gollin
Props
Grip
Assistant Property Master
Otniel Gonzalez
Assistant Property Master
Joy Taylor
Assistant Property Master
Key Hair Stylist
Bonnie Clevering
Key Hair Stylist
Leadman
David C. Potter
Leadman
Jon J. Bush
Leadman
Second Second Assistant Director
Michael Risoli
Second Second Assistant Director
William D. Robinson
Second Second Assistant Director
Carpenter
John Blanchard
Carpenter
Construction Foreman
Gary Gagliardo
Construction Foreman
William Gideon
Construction Foreman
Painter
Guy Hietala
Painter
Tammy DeRuiter
Painter
Mark Woodworth
Painter
Special Effects
Larry M. Shorts
Special Effects
Ryan Arndt
Special Effects
Cliff Wenger
Special Effects
Scott Hastings
Special Effects
Mike Sasgen
Special Effects
Dieter Sturm
Special Effects
Craig Tex Barnett
Special Effects
Carol Wenger
Special Effects
Creig Symons
Special Effects
Derrick Crane
Special Effects
Don Gray
Special Effects
Don Hastings
Special Effects
Darrell Roberts
Special Effects
Music Supervisor
Anita Camarata
Music Supervisor
Special Effects Technician
David K. Nami
Special Effects Technician
Gunter Anderson
Special Effects Technician
Foley Mixer
David Betancourt
Foley Mixer
Production Sound Mixer
Paul Ledford
Production Sound Mixer
ADR Mixer
Detlef Halaski
ADR Mixer
Digital Compositor
Will McCoy
Digital Compositor
Sean MacKenzie
Digital Compositor
Standby Painter
Chuck Eskridge
Standby Painter
Post Production Supervisor
Caitlin Maloney
Post Production Supervisor
Greensman
Michael Hendrick
Greensman
Utility Sound
Sam Sarkar
Utility Sound
Mark C. Grech
Utility Sound
Jimmy Armstrong
Utility Sound
Gail Carroll-Coe
Utility Sound
Jerry Rose
Utility Sound
Sound Recordist
Eric Flickinger
Sound Recordist
Assistant Sound Editor
Oscar Mitt
Assistant Sound Editor
Rotoscoping Artist
Erin M. Cullen
Rotoscoping Artist
Gilbert Gonzales
Rotoscoping Artist
Swing
Kathleen A. Runey
Swing
Sound Editor
Foley Recordist
Carrie Cashman
Foley Recordist
Key Special Effects
Roto Supervisor
Karen Klein
Roto Supervisor
Visual Effects Technical Director
Brian Shows
Visual Effects Technical Director
Makeup Effects Designer
David LeRoy Anderson
Makeup Effects Designer
Paint Coordinator
Hank Giardina
Paint Coordinator
Steven Kerlagon
Paint Coordinator
What's left behind the scenes
- Scenes at "Glades" were filmed in Angola Prison in Louisiana. 500 real prisoners served as extras.
- The number of takes for the scene in the trunk: 45. However, none of them made it into the final cut. This was because it was originally intended to shoot the scene in one take, but this shooting style did not appeal to viewers during test screenings. Therefore, the scene was reshot, adding references to Jack's ex-wife and a conversation about "Three Days of the Condor" (1975).
- The photograph of Jack Foley (George Clooney) in his personal file was taken during the filming of "From Dusk Till Dawn" (1996).
- Upon its release, "Out of Sight" was the only film to feature two actors who had previously played Batman: Michael Keaton and George Clooney.
- Michael Malone played one of the bank patrons in the film's opening scene. However, he is credited as Elgin Marlow. Mike is a good friend of Steven Soderbergh and starred in his film "Schizopolis" (1996).
- Samuel L. Jackson played a small role for free: a prisoner in the film's final scene.
- The exterior of the Ripley mansion is a real, existing house. However, the interiors are sets. The owners of the mansion liked the rooms created by the set decorators so much that they requested sketches and drafts.
- The trunk scene required 45 takes. However, none of them made it into the final cut. The reason was that the scene was originally intended to be shot in one take, but this filming style did not appeal to audiences during test screenings.
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