The Production

Principal photography began on location in Vancouver, B.C., in July 1998. The Greater Vancouver area doubles for Whidbey Island, Washington; Evergreen, Colorado; and San Francisco. For the last quarter of the movie, the production moved to New Orleans.

Beresford says: “The setting of the film is the northwestern part of the country, and Vancouver and Seattle are extremely similar physically and very close geographically. Vancouver is a spectacular city, a port city with huge mountains behind it, and the contrast between it and the heat and exoticism of New Orleans helps the story really work.”

In determining the look of the picture, production designer Howard Cummings says: “We start out in a place (the Pacific Northwest) that’s mostly natural colors in greens and browns, then move to New Orleans, which is all about neon-colored lights. Also, our main character is in a prison for quite a while, so it’s very colorless.”

“At one point, she makes a decision to go on the run, so I added all these red neon lights outside the window while she’s thinking that she’s going to cross the line and actually break the law. After that, the movie gets heavily layered with colors. It starts with a very monochromatic look and ends up with a very colorful look as the drama increases.”

As for filming in New Orleans, co-producer Richard Rothschild says: “The European look of the French Quarter is great, but that look presents a challenge. Production companies need a lot of space to lay out vehicles and equipment and cameras and lights, and essentially, there is no space in the Quarter. There is no space to stand, no space to work, and no space to get out of the way of the hundreds of tourists who flock to you every time you start to shoot.”

The cast and crew rose to the challenge, however, and the production was able to capture the unique atmosphere of New Orleans. One important scene, a charity gala at a hotel in the French Quarter, was actually filmed in the courtyard of the historic Hermman-Grima House, which is open to the public and located adjacent to Bourbon Street. The interiors of the film’s hotel were shot in a mansion in Vancouver. Other sites included the Prince George Regional Correctional Facility in the northern part of British Columbia, which the designers actually had to make uglier; and a historic above-ground cemetery in New Orleans.

The wardrobe also plays a big part in the movie because, Judd says, “it helps define the immense contrast between my former life and the things that are meaningful to me when I get out of prison. So it starts with very comfortable casual, kind of very expensive clothing – Libby being unaware that she and Nick have been living beyond their means.”

Libby goes from wearing Armani at her trial to work shirts and jeans in prison. “And for most of the time I’m looking for my son,” Judd says, “I’m wearing the same way-too-big linen pants, which sums up how intensely focused I am on getting my son back to the exclusion of anything else, fashion included. Then there is the beautiful Armani gown that I wear for the auction, a gown I need in my search for Matty, but which I have to steal because I can’t afford one anymore.”


(Producer) is one of the entertainment industry’s most talented and respected producers of film and television. Currently presiding over his own production company, Mandy Films, Goldberg has held a number of distinguished positions in the industry, including Head of Programming for ABC and President of Twentieth Century Fox Films.

As head of Twentieth Century Fox, he oversaw production on hit films like “Broadcast News,” “Big,” “Die Hard” and “Working Girl.” Independently, he produced such hit features as “WarGames,” the Julia Roberts thriller “Sleeping With the Enemy,” the Eddie Murphy comedy “The Distinguished Gentleman,” as well as critically-acclaimed films like Robert Altman’s “California Split” and John Hancock’s “Baby Blue Marine.”

At ABC, he was responsible for developing and introducing the Made-For-Television movie format. As a television producer he has been responsible for some of the most highly acclaimed telefilms ever made, including the Peabody Award-winning “Brian’s Song,” the Emmy Award-winning “Something About Amelia” and “Alex: The Life of a Child,” based on the book by Frank DeFord.

In partnership with Aaron Spelling he was responsible for an unprecedented string of hit television series, including “Charlie’s Angels,” “T.J. Hooker,” “Starsky and Hutch,” “The Rookies,” “Fantasy Island,” “Hart to Hart” and the beloved, award-winning “Family.” They also produced over thirty-five movies for television, including the film that brought John Travolta to national attention, “The Boy in the Plastic Bubble.”

Goldberg recently produced, with Martin Starger, the television adaption of A.R. Gurney’s “Love Letters” for ABC-TV, and is producing a highly-anticipated feature film version of “Charlie’s Angels” for Sony Pictures, to star Drew Barrymore and Cameron Diaz, as well as the medical thriller “The Millenium Plague” for ABC-TV.