Production
- In 1974 The Big Con author David Maurer filed a ten million dollar lawsuit claiming at least part of the film's story had been taken from his book. The matter was resolved out of court in 1976.
- The movie was filmed on the backlot of Universal Studios, with scenes also shot at the Santa Monica Pier and in Pasadena.
- Doyle Lonnegan's limp in the film, used to great effect by actor Robert Shaw, was in fact completely authentic as Shaw had slipped on a wet handball court at the Beverly Hills Hotel just a week before filming began and had split all the ligaments in his knee. He had to wear a leg brace during production which was kept hidden under the wide 1930s style trousers he wore. This incident was revealed by Julia Philips in her 1991 autobiography You'll Never Eat Lunch in This Town Again. She said that Shaw saved The Sting since no other actor would accept the part, that Paul Newman hand delivered the script to Shaw in London in order to ensure his participation, and that he had to be paid an extremely high salary. Philips' book also asserts that Shaw was not nominated for a Best Supporting Actor Academy Award because he demanded that his name follow those of Newman and Redford before the film's opening title.
- Rob Cohen, later a director, starting in the 1990s, of action films such as The Fast and the Furious, years later told of how he found the script in the slush pile when he was working as a reader for Mike Medavoy, a future studio head then an agent. He wrote in his coverage that it was "the great American screenplay and ... will make an award-winning, major-cast, major-director film." Medavoy said that he would try to sell it on that recommendation and promised to fire Cohen if he couldn't. Universal bought it that afternoon, and Cohen still has the coverage framed on the wall of his office.
Read more about this topic: The Sting
Famous quotes containing the word production:
“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)
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains ichthyol, a medicinal preparation used externally, in Websters clarifying phrase, as an alterant and discutient.”
—State of Utah, U.S. public relief program (1935-1943)
“The society based on production is only productive, not creative.”
—Albert Camus (19131960)