Production
Lawrence Gordon came up with the original idea for the film. The premise had the Governor of Louisiana's daughter kidnapped by a criminal, who strapped dynamite to her head and threatened to blow her up in 48 hours if the ransom was not met. The meanest cop goes to the worst prison in the state and gets out the most vicious criminal for his knowledge of the kidnapper who was his cellmate. Roger Spottiswoode was hired and he wrote the early drafts as did Bill Kerby. The project started at Columbia Pictures and moved to Paramount Pictures. At one point, even Walter Hill wrote a draft.
Clint Eastwood was originally approached to play Det Sgt. Jack Cates and Richard Pryor was set for the role of Reggie Hammond. Eastwood wanted to play the criminal role and ended up playing one in Escape from Alcatraz instead. As a result, 48 Hrs. went into limbo for two years. Then, Gordon called Hill and asked him if he would make the film with Nick Nolte as Cates. The character of Reggie Hammond was originally named Willie Biggs, but Eddie Murphy felt that was too stereotypical of a black man's name and changed it to Reggie Hammond.
Murphy started a few weeks after principal photography began because he was finishing up a season of Saturday Night Live. The shoot went well but Hill ran into problems with studio executives. Michael Eisner, then head of Paramount, was worried that the film was not funny enough. Hill and his co-screenwriter, Larry Gross wrote more material tailored to Nolte's and Murphy's personalities. By Hill's account, they rewrote Murphy's character right to the very last day of shooting. Executives also found the footage of the gunfight in the hotel to be too violent and were worried that it would kill the film's humor. They told Hill that he would never work for Paramount again as a result.
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Famous quotes containing the word production:
“Just as modern mass production requires the standardization of commodities, so the social process requires standardization of man, and this standardization is called equality.”
—Erich Fromm (1900–1980)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)