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Director Sam Peckinpah was in ill-health throughout the shoot. The long-term toll of his drug and alcohol abuse suggested to many in the production that he was dying. Peckinpah would go off and take opportune naps, but still completed and delivered his initial cut of this movie on time, despite sickness and exhaustion.
Final movie of Sam Peckinpah. It was also Peckinpah's big "comeback movie". It was his first in five years, his last movie having been, at the time, Convoy (1978). This movie is also Peckinpah's only feature film of the 1980s.
Sam Peckinpah was fired when he refused to re-edit this movie after it was screened for a test audience on May 25, 1983, and met with a confused and mixed reaction. Producers Peter S. Davis and William N. Panzer took over editing, with the assistance of Editor Edward M. Abroms, and drastically altered the opening and ending sequences.
This movie marked some story element similarities with Director Sam Peckinpah's Straw Dogs (1971). Peckinpah once said: "Same thing. Here we have a dead dog in the refrigerator, in Straw Dogs (1971) there was a dead cat in the closet. Both involve a house under siege."
Several cast members who worked on this movie, such as Sir John Hurt, Dennis Hopper, and Burt Lancaster, took lower salaries, so they could work with legendary Director Sam Peckinpah.
This movie featured the first major American character in a Hollywood movie played by Dutch actor Rutger Hauer.
This was the first movie in two consecutive years where Sir John Hurt starred in a surveillance movie. Hurt appeared in George Orwell's Nineteen Eighty-Four (1984).
Craig T. Nelson was relatively unknown at the time, and felt uncomfortable at early read-throughs with Sir John Hurt and Rutger Hauer, due to the large amount of dialogue he had.
First feature film adaptation of a Robert Ludlum novel. It was the second Ludlum adaption overall for any filmed production, as The Rhinemann Exchange (1977) had been made-for-television. This movie was the first of three 1980s movies based on Ludlum novels. The others being The Holcroft Covenant (1985) and The Bourne Identity (1988).
No damage, special effects, or action work was meant to be done at Robert Taylor's former ranch residence, the filming location for the house seen in the movie. But the production just went ahead, and shot out windows, conducted a poolside shoot-out, and damaged the swimming pool.
Deleted scenes on this DVD include:
1) The sex scene is extended, and shot more wobbly, to express how Fassett's breaking point for revenge had occurred.
2) A deleted scene of Osterman and Joe talking on the phone about their deal.
3) An extended scene of Virginia flirting with Dick on the phone.
4) There is a deleted scene of John Tanner having an affair with his Director, Marcia, and wakes up to find her dead.
5) In the theatrical cut, Fassett switches on a Swiss ad. In the Peckinpah cut, he has a big image of Danforth.
6) Alternative ending is juxtapositioned between Tanner searching for his family, and the television studio.
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