an elevated train line on the backlot of Universal Studios that perfectly matched the ones in Chicago. The film crew tarped-in the New Street and Brownstone street sets to double for the Richmond District setting, completely covering them so that night scenes could be filmed during the day. This tarp measured 1,240 feet long by 220 feet wide over both sets, and cost $1.2 million to construct. However, this presented unusual problems. The sound of the tarp flapping in the wind interfered with the actors’ dialogue. Birds who had nested in the tarp provided their own noisy interruptions. The exterior of the Richmond Theater where Ellen Aim sings at the beginning of the film was shot on the backlot, with the interior done in the Wiltern Theater in L.A. for two weeks. The factory scenes that take place in the Battery were filmed at a rotting soap factory in Wilmington, California, for ten nights. The Ardmore Police roadblock was filmed near 6th street in East Los Angeles, near the flood basin. Although three districts are seen, the city has a total of five districts: the Richmond, the Strip, the Battery, the Cliffside, and the Bayside. An additional district, Ardmore, also appears in the film, but it may be a separate municipality as it is not prefaced with "the". The production employed 500 extras to play the citizens of the Richmond District. Cinematographer Andrew Laszlo shot the film with very low light, giving the images a stark, "low-tech" quality. The choreography for the two songs Ellen Aim sings and the one by the Sorels was done by Jeffrey Hornaday. The lighting for these concert scenes were done by Mark Brickman, who also lit concerts for Bruce Springsteen and Pink Floyd. In addition, 12 1950 and 1951 model Studebakers were used as police cars. More than 50 motorcycles and their drivers were featured as the Bombers, and were chosen from 200 members of real L.A.-based clubs like The Crusaders and The Heathens. According to cinematographer Andrew Laszlo, the film's style was dictated by the story. The Richmond's look was very soft and the colors did not call attention to themselves. The light in The Battery was contrasting and harsh, with vivid colors. Argyle prints and plaids are used in the Parkside District, and neon lights color the Strip. Walter Hill later said he felt "humbled" by the shoot: I think I thought