{"id":461400,"date":"2022-06-11T15:00:40","date_gmt":"2022-06-11T12:00:40","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/"},"modified":"2022-06-11T15:00:40","modified_gmt":"2022-06-11T12:00:40","slug":"46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/","title":{"rendered":"#46 Things We Learned from Steven Soderbergh&#8217;s &#8216;Out of Sight&#8217; Commentary"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a23fe5872187\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a23fe5872187\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-1'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/#%E2%80%9C46_Things_We_Learned_from_Steven_Soderberghs_%E2%80%98Out_of_Sight_Commentary%E2%80%9D\" >&#8220;46 Things We Learned from Steven Soderbergh&#8217;s &#8216;Out of Sight&#8217; Commentary&#8221;<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/#Out_of_Sight_1998\" >Out of Sight (1998)<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/#Best_in_Context-Free_Commentary\" >Best in Context-Free Commentary<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/#Final_Thoughts\" >Final Thoughts<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/buradabiliyorum.com\/en\/46-things-we-learned-from-steven-soderberghs-out-of-sight-commentary\/#Recommended_Reading\" >Recommended Reading<\/a><\/li><\/ul><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h1><span class=\"ez-toc-section\" id=\"%E2%80%9C46_Things_We_Learned_from_Steven_Soderberghs_%E2%80%98Out_of_Sight_Commentary%E2%80%9D\"><\/span>&#8220;46 Things We Learned from Steven Soderbergh&#8217;s &#8216;Out of Sight&#8217; Commentary&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h1>\n<div id=\"\">\n<figure class=\"sf-entry-featured-media \">\n                <img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"450\" src=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/06\/out-of-sight.jpg\" class=\"articlethumb wp-post-image\" alt=\"Lopez and Clooney in Out Of Sight\" srcset=\"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/06\/out-of-sight.jpg 800w, https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/06\/out-of-sight-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\"\/><br \/>\n                        <span class=\"sf-entry-flag sf-entry-flag-creditline\">Universal Pictures<\/span><\/p>\n<\/figure>\n<p>        <!-- START BYLINE --><\/p>\n<div class=\"row align-items-center justify-content-center my-4 text-center medium dark-gray\">\n            By\u00a0Rob Hunter\u00a0\u00b7 Published on June 11th, 2022\n            <\/div>\n<p>        <!-- END BYLINE --><\/p>\n<p>        <i data-stringify-type=\"italic\">Welcome to\u00a0<\/i><b data-stringify-type=\"bold\"><i data-stringify-type=\"italic\">Commentary Commentary,<\/i><\/b><i data-stringify-type=\"italic\"> where we sit and listen to filmmakers talk about their work, then share the most interesting parts. In this edition, Rob Hunter revisits Steven Soderbergh\u2019s Out of Sight<\/i>.<\/p>\n<hr\/>\n<p><strong>Steven Soderbergh<\/strong> has made more <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/watch-movies-tv-seriess\/\" data-internallinksmanager029f6b8e52c=\"8\" title=\"Watch Movies &amp; TV Series\" target=\"_blank\" rel=\"noopener\">movies<\/a> since \u201cretiring\u201d than I have made in my entire life \u2014 for clarity, I have made zero \u2014 but it\u2019s long been clear that the man can\u2019t not make movie. He\u2019s directed roughly thirty-three features, averaging nearly one per year since his debut in 1989, and it\u2019s his seventh movie that brings us here today. <strong><em>Out of Sight<\/em><\/strong> wasn\u2019t originally meant for him, but fate intervened with the result being a stellar adaptation of <strong>Elmore Leonard<\/strong>\u2018s novel.<\/p>\n<p><em>Out of Sight<\/em> is new to 4K UHD from KL Studio Classics, and among the many reasons that make it worth adding to your collection is a commentary track that is a real joy to listen to. He\u2019s joined by the film\u2019s writer, Scott Frank, and the two share an entertaining and informative chat. Now keep reading to see what I heard on the commentary for <em>Out of Sight<\/em>\u2026<\/p>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Out_of_Sight_1998\"><\/span>Out of Sight (1998)<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p\">Commentators: Steven Soderbergh (director), Scott Frank (writer)<\/p>\n<p class=\"graf graf--p\"><strong>1.<\/strong> Producer <strong>Michael Shamberg<\/strong> spent months telling Soderbergh that the opening title credits needed music or a song instead of just the street sounds, \u201cand I got really steamed at him\u2026 I think it\u2019s because I knew he was right and I was resisting it.\u201d<\/p>\n<p><strong>2.<\/strong> By contrast, they were also told they had to have the Universal Pictures <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">theme<\/a> over the opening logo, but they won that battle, \u201cif you can call it a battle.\u201d<\/p>\n<p><strong>3.<\/strong> The <em>Out of Sight<\/em> script originally stuck to chronological order for its sequences, but it wasn\u2019t working so Frank switched things up and returned to an earlier idea that allowed it to unfold in a jumbled order like in Elmore Leonard\u2019s novel.<\/p>\n<p><strong>4.<\/strong> Barry Sonnenfeld was initially attached to direct, but they couldn\u2019t quite agree as to what the movie was going to be. He asked what it was like, Frank replied that he wasn\u2019t really sure, and Sonnenfeld decided to go make a movie that he was far clearer on. That film turned out to be 1999\u2019s <em>Wild Wild West<\/em>, so make of that what you will.<\/p>\n<p><strong>5.<\/strong> The tracking shot at 4:01 features a lens flare, and when Soderbergh noticed cinematographer <strong>Elliot Davis<\/strong> attaching a flag to the camera to eliminate it he acted quickly to keep the flare instead.<\/p>\n<p><strong>6.<\/strong> The prison basketball scene was one of the most difficult for <strong>George Clooney<\/strong> as he\u2019s quite good at the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/game\/\" data-internallinksmanager029f6b8e52c=\"7\" title=\"Game\" target=\"_blank\" rel=\"noopener\">game<\/a> but had to pretend to be bad. \u201cTo be bad in front of 500 cons at Angola Prison in Louisiana absolutely destroyed him, he was so mortified.\u201d<\/p>\n<p><strong>7.<\/strong> The actor jogging with <strong>Luis Guzman<\/strong> at 6:00 is <strong>Paul Swallow<\/strong>, and he was very popular with the very real inmates in the yard. One prisoner shoved Guzman aside to get next to Swallow and told him \u201cI wanna ride you!\u201d<\/p>\n<p><strong>8.<\/strong> Clooney wanted to cut the conversation between his character Jack Foley and Chino (Guzman) because he hated his performance. It was late in the day, and Clooney was tired, but Soderbergh feels it works.<\/p>\n<p><strong>9.<\/strong> \u201cOne thing I miss from the script,\u201d says Frank only to be im<a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a>tely interrupted with Soderbergh saying \u201cOh here we go.\u201d Frank misses some backstory between Karen Sisco (<strong>Jennifer Lopez<\/strong>) and her father Marshall (<strong>Dennis Farina<\/strong>). Soderbergh prefers merely hinting at it.<\/p>\n<p><strong>10.<\/strong> Jack hits a guard with a flower vase, but in the script it was supposed to be a cross. Producer <strong>Danny DeVito<\/strong> was worried about using the religious symbol so they changed it to the vase.<\/p>\n<p><strong>11.<\/strong> Clooney\u2019s delivery at 15:30 of \u201cDon\u2019t point that thing at me\u201d is him doing James Garner.<\/p>\n<p><strong>12.<\/strong> The \u201cinfamous\u201d trunk scene was originally crafted as a single shot \u2014 they did forty-five takes with take forty-four ending up in an early cut \u2014 but <em>Out of Sight<\/em> preview audiences hated it. \u201cIt\u2019s really hard to find words to describe how derailed the audience became,\u201d says Soderbergh with Frank adding that \u201cit just layed there.\u201d They went back and reshot the scene, and Soderbergh still kicks himself for not recognizing earlier that it wouldn\u2019t work.<\/p>\n<p><strong>13.<\/strong> \u201cYou never know what\u2019s important and what\u2019s not important until it\u2019s there,\u201d says Frank. \u201cYeah,\u201d adds Soderbergh, \u201cbut you keep thinking as you make more movies that you will know, but then you never do.\u201d<\/p>\n<p><strong>14.<\/strong> Clooney was \u201creally sick\u201d during the night shoots for the scene where Karen shoots through the trunk.<\/p>\n<p><strong>15.<\/strong> They couldn\u2019t film this whole sequence \u2014 Karen exiting the trunk, the introduction of Glenn Michaels (<strong>Steve Zahn<\/strong>) \u2014 in Louisiana during principal photography because its was cold and you could see the actors\u2019 breath, so these beats were shot later in California\u2026 where it was in the 40s.<\/p>\n<p><strong>16.<\/strong> The prison scene at 26:00 was populated by extras from an \u201cex-cons for Christ\u201d group.<\/p>\n<p><strong>17.<\/strong> Karen\u2019s fantasy about catching Jack in the bathtub originally included her overhearing Jack and Buddy Bragg (<strong>Ving Rhames<\/strong>) talking about baths, but they decided it felt too convincing regarding the pair\u2019s relationship.<\/p>\n<p><strong>18.<\/strong> Soderbergh put a \u201ccrash cam\u201d in the center barrel for the crash at 34:23, and he was watching on a live feed. The shot looked amazing with the close-up view of the car spinning, the wheel slamming into the lens, and the camera breaking. When they checked the dailies, though, they realized the camera had malfunctioned and didn\u2019t actually start recording until the impact itself.<\/p>\n<p><strong>19.<\/strong> The live feed mentioned above, referred to be Soderbergh as a \u201cvideo tap,\u201d is something he no longer uses as he feels it makes a filmmaker passive.\u201dI think it pulls the energy on the set away from where it ought to be which is where the camera is and where the actors are.\u201d<\/p>\n<p><strong>20.<\/strong> Frank created the scene between Maurice Miller (<strong>Don Cheadle<\/strong>), Richard Ripley (<strong>Albert Brooks<\/strong>), and Jack in the library. Soderbergh praises his ability \u201cto mimic, or reproduce I should say, what\u2019s the kindest word I can use? Rip-off [Leonard\u2019s] voice.\u201d<\/p>\n<p><strong>21.<\/strong> Don\u2019t worry, that\u2019s a fake fish being squished at 39:50.<\/p>\n<p><strong>22.<\/strong> The idea to have <strong>Michael Keaton<\/strong> reprise his character of Ray Nicolette from <em>Jackie Brown<\/em> (1997) \u2014 Ray is in both of Leonard\u2019s novels \u2014 was followed by a call to Quentin Tarantino who invited Soderbergh into his editing suite to see all of Keaton\u2019s footage. Keaton did his work here for free.<\/p>\n<p><strong>23.<\/strong> The photo of Clooney at 48:15 was shot by Soderbergh in his own LA apartment on the same camera he used to film <em>Schizopolis<\/em> (1996).<\/p>\n<p><strong>24.<\/strong> The POV driving scenes in Detroit that start at 56:56 are among Soderbergh\u2019s favorite scenes in the film. \u201cI shot all this stuff myself, on January 14th 1998, my 35th birthday. I was on the front of an insert car shooting this stuff, it was cold as all get out, I had frozen tears going down my face.\u201d<\/p>\n<p><strong>25.<\/strong> \u201cI think for the most part in this movie the actors all brought something,\u201d says Frank, but he refuses to elaborate regarding \u201cfor the most part\u201d despite Soderbergh\u2019s asking.<\/p>\n<p><strong>26.<\/strong> Frank loves the transition at 1:01:32 \u2014 the violence is unfolding in the background as Maurice (Cheadle) spray paints the screen red \u2014 and compliments Soderbergh who adds only that \u201cI don\u2019t know if it means anything.\u201d<\/p>\n<p><strong>27.<\/strong> They mention the \u201cdew rag controversy\u201d regarding Maurice\u2019s appearance outside of prison. The character wears a purple dew rag at all times in Leonard\u2019s novel, but Cheadle suggested that he wouldn\u2019t do so on the outside as he was intentionally trying to change his image. Soderbergh agreed, but Leonard \u2014 who happened to visit the set one day while filming a non dew rag scene \u2014 had other thoughts.<\/p>\n<p><strong>28.<\/strong> He mentions a few times about characters\u2019 breath being visible and starts to say you can\u2019t buy that feeling of cold \u2014 but then he corrects himself adding \u201cin <em>Titanic<\/em> they digitally added the breath in everybody\u2019s mouth, so you can buy it, but I can\u2019t buy it.\u201d<\/p>\n<p><strong>29.<\/strong> There are two characters named Ray here, and it still bugs them that they didn\u2019t realize it until it was too late. \u201cThat\u2019s really lame.\u201d<\/p>\n<p><strong>30.<\/strong> The conversation between Karen and Moselle (<strong>Viola Davis<\/strong>) at 1:08:15 was shot in two different locations. The shots on Lopez were filmed on location in Detroit, and the shots on Davis were filmed months later on a soundstage in Los Angeles. \u201cI hate doing stuff like this.\u201d<\/p>\n<p><strong>31.<\/strong> Clooney was attached to the movie before Soderbergh came aboard. \u201cI inherited him and couldn\u2019t get rid of him.\u201d<\/p>\n<p><strong>32.<\/strong> The cocktail lounge sequence between Jack and Karen was filmed on a soundstage. They had debated filming in the real one atop the Westin Hotel, but went the other direction instead.<\/p>\n<p><strong>33.<\/strong> Frank wonders aloud why Soderbergh doesn\u2019t cut to the three guys at the bar when Jack takes a seat at Karen\u2019s table \u2014 we just watched her rebuff their advances \u2014 and the director says only that you want to stay on Jack and Karen. \u201cHuge laugh gone forever now,\u201d says Frank. Soderbergh disagrees.<\/p>\n<p><strong>34.<\/strong> Clooney actually had the idea to shave his hairline up to make his character look a little bit older. It\u2019s best noticed around 1:21:10, and while it made Soderbergh paranoid that people would notice he loves the choice.<\/p>\n<p><strong>35.<\/strong> The hotel seduction scene between Jack and Karen was modeled in part on Nicolas Roeg\u2019s <em>Don\u2019t Look Now<\/em> (1973). That film intercuts a love scene with shots of the players getting dressed afterwards, and \u201cthere was something about the juxtaposition of those two events that was so intimate that you would never think it would be, and I just decided to rip that off.\u201d<\/p>\n<p><strong>36.<\/strong> Traditional sex scenes bore Soderbergh, and he paraphrases someone else saying \u201cAs soon as an actor takes their clothes off in a movie you\u2019re watching a documentary.\u201d The audience stops seeing the character and instead sees a naked actor. \u201cI don\u2019t know how to shoot it.\u201d<\/p>\n<p><strong>37.<\/strong> The conversation with Jack in bed and the nighttime outside the hotel window at 1:27:00 was filmed on a set. The scene cost the film an extra $100,000 because the fake city lights weren\u2019t flickering properly and had to be digitally tweaked.<\/p>\n<p><strong>38.<\/strong> Soderbergh considered adding a post-credits scene showing Glenn in a bar telling the story as if he had been the central character and hero. He also thought about doing something similar for the film\u2019s trailer.<\/p>\n<p><strong>39.<\/strong> \u201cI wasn\u2019t thrilled with the domestic trailer,\u201d says Soderbergh, but he loves the UPI international ones for <em>Out of Sight<\/em>.<\/p>\n<p><strong>40.<\/strong> The home invasion\/robbery at 1:36:45 is substantially different in Leonard\u2019s novel, and per Frank, \u201cit\u2019s the only thing in the book that doesn\u2019t quite work.\u201d There are no diamonds and Richard isn\u2019t even home leaving Jack with no believable reason for joining in on the break-in.<\/p>\n<p><strong>41.<\/strong> The house is a real one in Bloomfield Hills and was in the process of being built. The interiors had yet to be constructed, so fake interiors were built on sound stages in LA. The owners of the real house visited the LA set, loved the design of some of the rooms, and asked for a copy of the plans so they could recreate them in the real house.<\/p>\n<p><strong>42.<\/strong> Perennial Plumbing is written on the side of the van, and it\u2019s a running gag for Soderbergh since 1995\u2019s <em>The Underneath<\/em>. \u201cIn the film I\u2019m preparing right now, <em>The Limey<\/em>, there\u2019s a Perennial Fishing Company, and in the football movie I\u2019m supposed to make with Clooney soon there\u2019s a company called Perennial, so it\u2019s my little thing.\u201d The pair never made a football movie together, so I\u2019m guessing one of two things \u2014 either he was initially attached to Clooney\u2019s <em>Leatherheads<\/em> (2008), or \u201cfootball\u201d is code for <em>Ocean\u2019s Eleven<\/em> (2001).<\/p>\n<p><strong>43.<\/strong> Soderbergh thinks Clooney runs like Redd Foxx.<\/p>\n<p><strong>44.<\/strong> They had to extend Jack\u2019s response to White Boy Bob\u2019s (<strong>Keith Loneker<\/strong>) death a bit longer because audiences were laughing so much at the method of the big man\u2019s demise.<\/p>\n<p><strong>45.<\/strong> Composer <strong>David Holmes<\/strong> describes parts of his <em>Out of Sight<\/em> score as \u201ca combination of <em>Dirty Harry<\/em> and <em>The Rockford Files<\/em>.\u201d<\/p>\n<p><strong>46.<\/strong> \u201cI stole it from <em>To Live and Die in L.A.<\/em>,\u201d says Soderbergh regarding his choice to remove the non-music sounds after Karen shoots Jack. William Friedkin removes everything during part of a car chase in his 1985 masterpiece except for the sound of William Petersen\u2019s breathing, \u201cand it\u2019s an amazing sort of abstract moment.\u201d<\/p>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Best_in_Context-Free_Commentary\"><\/span>Best in Context-Free Commentary<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p graf--startsWithDoubleQuote\">\u201cHere we go, another episode of a couple of white guys sitting around talking.\u201d<\/p>\n<p>\u201c[He] plays one of the leads in <em>Schizopolis<\/em> which I\u2019m sure you\u2019ve all seen.\u201d<\/p>\n<p>\u201cWe could sit here and poke holes in this thing all night.\u201d<\/p>\n<p>\u201cDo people actually listen to these?\u201d<\/p>\n<p>\u201cI\u2019ve been stealing from him for years.\u201d<\/p>\n<p>\u201cBelieve me folks, the animal rights people are very on top of things these days.\u201d<\/p>\n<p>\u201cYou turned this movie into a sitcom.\u201d<\/p>\n<p>\u201cLot of fat on this movie.\u201d<\/p>\n<p>\u201cMost things I thought were important just don\u2019t matter.\u201d<\/p>\n<p>\u201cThat\u2019s my shot from <em>The Haunting<\/em> that I stole.\u201d<\/p>\n<p>\u201cWe were gonna have a scene where Ving actually goes to the airport and runs into Jack Lemmon and gives him the diamonds.\u201d<\/p>\n<p>\u201cLet\u2019s face it, every problem we had was with the script.\u201d<\/p>\n<p>\u201cA good producer can be a help, a bad producer can kill you.\u201d<\/p>\n<h3 class=\"graf graf--h3\"><span class=\"ez-toc-section\" id=\"Final_Thoughts\"><\/span>Final Thoughts<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<p class=\"graf graf--p\">Soderbergh always gives great commentary \u2014 here he is talking on <em>The Limey<\/em> (1999) and <em>Point Blank<\/em> (1967) \u2014 and <em>Out of Sight<\/em> is no different. He and Frank show both respect and admiration for each other\u2019s talents despite sending some zings each other\u2019s way, and their love extends to the rest of the cast and crew as well. They share anecdotes from the production, technical details on camera choice and lighting, and offer up the thought process that led to various scenes. It\u2019s a very fun listen between two friends who love movies.<\/p>\n<p class=\"graf graf--p\">Read more Commentary Commentary from the archives.<\/p>\n<p>        Related Topics: Commentary Commentary, Out of Sight, Steven Soderbergh<br \/>\n        <!-- AUTHOR BOX --><\/p>\n<div class=\"gray-bg p-4 border small mb-5\">\n<div class=\"row align-items-center text-md-center\">\n<div class=\"col-md-2\">\n            <img decoding=\"async\" src=\"https:\/\/secure.gravatar.com\/avatar\/dca6f7118e64ea9aa6ef4f60221cfe7e?s=96&amp;d=mm&amp;r=x\" class=\"circle img-fluid\" width=\"100px\" height=\"100px\"\/>\n        <\/div>\n<div class=\"col-md\">\n            Rob Hunter has been writing for Film School Rejects since before you were born, which is weird seeing as he&#8217;s so damn young. He&#8217;s our Chief Film Critic and Associate Editor and lists &#8216;Broadcast <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">News<\/a>&#8217; as his favorite film of all time. Feel free to say hi if you see him on Twitter <a rel=\"nofollow noopener\" target=\"_blank\" href=\"https:\/\/twitter.com\/FakeRobHunter\">@FakeRobHunter<\/a>.        <\/div>\n<\/p><\/div>\n<\/div>\n<p>        <!-- START RECOMMENDED READING 1 --><\/p>\n<section class=\"recommended py-5\">\n<h3><span class=\"ez-toc-section\" id=\"Recommended_Reading\"><\/span>Recommended Reading<span class=\"ez-toc-section-end\"><\/span><\/h3>\n<\/section>\n<p>                <!-- END RECOMMENDED READING --><\/p><\/div>\n<p><script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><\/p>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMLG0nwswvr63Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\">For forums sites go to <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/forum.buradabiliyorum.com\/\" target=\"_blank\" rel=\"noopener\">Forum.BuradaBiliyorum.Com<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/social-media\/\" target=\"_blank\" rel=\"noopener\">Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/filmschoolrejects.com\/steven-soderbergh-out-of-sight-commentary\/#utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=steven-soderbergh-out-of-sight-commentary\" target=\"_blank\" rel=\"noopener\">Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;46 Things We Learned from Steven Soderbergh&#8217;s &#8216;Out of Sight&#8217; Commentary&#8221; Universal Pictures By\u00a0Rob Hunter\u00a0\u00b7 Published on June 11th, 2022 Welcome to\u00a0Commentary Commentary, where we sit and listen to filmmakers talk about their work, then share the most interesting parts. In this edition, Rob Hunter revisits Steven Soderbergh\u2019s Out of Sight. Steven Soderbergh has made&#8230;<\/p>\n","protected":false},"author":1,"featured_media":461401,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/filmschoolrejects.com\/wp-content\/uploads\/2022\/06\/out-of-sight.jpg","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[],"class_list":["post-461400","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/461400","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=461400"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/461400\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/461401"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=461400"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=461400"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=461400"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}