Production
The screenplay was based on Harry Harrison's novel Make Room! Make Room! (1966), which is set in the year 1999 with the theme of overpopulation and overuse of resources leading to increasing poverty, food shortages, and social disorder. Harrison was contractually forbidden control over the screenplay and kept from knowing during negotiations that it was MGM buying the film rights. He discussed the adaptation in Omni's Screen Flights/Screen Fantasies (1984, ISBN 0-385-19202-9; edited by Danny Peary), noting that the "murder and chase sequences the 'furniture' girls are not what the film is about — and are completely irrelevant" and answered his own rhetorical question "Am I pleased with the film? I would say fifty percent".
While the book refers to "soylent steaks", it makes no reference to "Soylent Green", the processed food rations depicted in the film. The book's title was not used for the movie on grounds that it might have confused audiences into thinking it a big-screen version of Make Room for Daddy.
This was the 101st and last movie in which Edward G. Robinson appeared; he died of cancer twelve days after the filming, on January 26, 1973. Heston was the only member of the crew that Robinson told of his cancer (immediately before filming the scene of Robinson's character's death), knowing that this knowledge would deeply affect Heston, and therefore his playing of the scene. Robinson had previously worked with Heston in The Ten Commandments (1956) and the make-up tests for Planet of the Apes (1968).
The film's opening sequence, depicting America becoming more crowded with a series of archive photographs set to music, was created by filmmaker Charles Braverman.
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Famous quotes containing the word production:
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“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)