According to a 14 Apr 1980 LAT article, development began when writer Al Schwartz showed his friend, Jon Voight, thirty-three pages of a script, to which Voight gradually made plot and dialogue additions. The story claimed that Voight initially did not want to star in the film, and production notes in AMPAS library files indicated that upon completion of the first draft, Voight and Schwartz began searching for an actor to play “Alex Kovac.” After Voight finished production on Coming Home (1978, see entry) and The Champ (1979, see entry), he and Schwartz wrote a second draft of the screenplay, at which point the actor decided to star in the film. The 14 Jul 1980 DV stated that Voight offered the script to Metro-Goldwyn-Mayer (M-G-M) while filming The Champ, but studio passed on the project, concerned that the story “might offend their then-hotel-gaming-arm, the M-G-M Grand,” in Las Vegas, NV.
       A 19 Dec 1979 DV brief announced the participation of director Hal Ashby, who had worked with Voight on Coming Home, Ann-Margret, Burt Young, and actor-drama teacher, Lee Strasberg. The 29 Feb 1980 HR suggested that Voight convinced Strasberg to join the project after writing a role especially for him. Strasberg, however, does not appear in the onscreen credits.
       Following the 19 Dec 1979 DV item stating that the picture was expected to begin principal photography 17 Feb 1980 in New York City and Las Vegas, the 20 Dec 1979 LAT reported that a majority of the film would be shot around New York City beginning Mar 1980. Referring to the film by the title, Looking for a Way Out, the 7 Jan 1980 HR stated that Ann-Margret was to begin shooting at Caesar’s Palace Hotel and Casino in Las Vegas in six weeks’ time.
       A story in the 24 Jan 1980 HR anticipated a late Mar 1980 production start date, following Lorimar’s agreement to distribute the film domestically through United Artists. However, a 26 Nov 1980 Var article indicated that Lorimar’s three-year deal with United Artists would not be renewed before expiring at the end of that year. As a result, Paramount Pictures would assume domestic distribution responsibilities for eight Lorimar features, including Lookin’ to Get Out.
       Following a 14 Feb 1980 DV announcement that the scheduled New York City production start date had been delayed until 14 Apr 1980, the 9 Apr 1980 DV reported that principal photography had again been postponed to 12 May 1980. The 12 May 1980 HR reported that filming was expected to take place that week at Caesar’s Palace, the M-G-M Grand, and various Las Vegas locations. In his 14 Jul 1980 DV “Just for Variety” column, Army Archerd reported that Burt Young had helped secure the M-G-M Grand Hotel as a location for the film through “friends up there.” The hotel granted filmmakers permission to work in the casino over the course of a month. Conflicting reports in the 24 Jan 1980 HR and the 14 Jul 1980 DV estimated the projected budget at $10 million and $12 million, respectively.
       On 28 Jul 1980, an LAHExam news story reported that Lookin’ to Get Out had been filming on Soundstage 14 of the M-G-M studio lot in Culver City, CA, which contained hotel suite sets built to recreate those of the M-G-M Grand Hotel in Las Vegas. Production, however, was interrupted by a Screen Actors Guild (SAG) strike. The 21 Aug 1980 Var announced that filming had resumed 20 Aug 1980, under a new SAG interim agreement. According to the 23 Sep 1980 HR, the film was currently shooting at Laird International Studios in Culver City, CA, and the company remained unaffected by the strike.
       The 10 Jul 1980 HR, 17 Jul 1980 DV, and 27 Jan 1981 HR included David Schroeder, Bill Cameron, and Martin Garner, respectively, among the cast, although the actors are not credited onscreen. In addition, the 9 Sep 1980 Var mentioned that retired M-G-M studio guard Alfred Mariorenzi had been hired to portray an M-G-M Grand Hotel guard in the film, but he is not cited in cast credits.
       Over a year after principal photography concluded, a 13 Oct 1981 DV news item stated that Hal Ashby was forced to drop out of directing Tootsie (1982, see entry) for Columbia Pictures, due to unfinished editing and post production work on Lookin’ to Get Out, which was expected to open Feb 1982. The 3 Sep 1982 HR claimed that during the lengthy post production process, Ashby also completed work on his Rolling Stones documentary, Let’s Spend the Night Together (1983, see entry), then titled Time is on Our Side. Near the completion of Lookin to Get Out, the 4 Mar 1982 DV reported that the release date had been rescheduled from Apr 1982 to late summer 1982. A 29 Apr 1982 LAHExam story estimated the final production cost at $27 million, and suggested that, following multiple box office disappointments, Lorimar would take a temporary hiatus from production and search for new co-financing opportunities in theatrical distribution.
       While the 3 Sep 1982 HR stated that the film had been scheduled for limited release Oct 1982, the 22 Sep 1982 Var announced an 8 Oct 1982 opening in 850 theaters. On 1 Oct 1982, an HR brief claimed that composer John Beal was recording a score for the film, although he does not receive onscreen credit and his involvement in the project has not been determined.
       In the wake of generally poor reviews and box office returns, an 8 Dec 1982 DV story indicated that Lorimar took a $6.2 million write-off on the film; the 6 Oct 1982 Var review suggested that the budget actually totaled $17 million.
       In addition to being Voight’s screenwriting debut, Lookin’ to Get Out marked the motion picture debut of Voight’s daughter, actress Angelina Jolie, who is credited onscreen as “Angelina Jolie Voight.”
       A 28 Jun 2009 LAT article announced that a director’s cut of Lookin’ to Get Out was to be released on DVD that week, as part of Warner Home Video’s Directors Showcase series “devoted to underappreciated work by major filmmakers.” The director’s cut is about fifteen minutes longer than the theatrical version.
       The VHS print viewed for this record was titled, Looking to Get Out.
      End credits include “Special thanks to Robert C. Jones for being there and Michael Haller for being here,” as well as “Special Thanks and Appreciation to the MGM Grand Hotel And Their Representative Steve Pelzer For His Invaluable Assistance.”