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Henry Fonda turned down the role of Howard Beale, saying that it was "too hysterical."
When Max and Diana discuss their one-night stand, they refer to it as a "many-splendored thing." William Holden starred in Love Is a Many-Splendored Thing (1955).
Throughout the entire movie, we never actually see Diana speak to Howard.
Beatrice Straight’s screen time totals 6 minutes. She was nominated for Best Supporting Actress along with Jane Alexander, (All the President's Men) Jodie Foster, (Taxi Driver) Lee Grant, (Voyage of the Damned) Piper Laurie, (Carrie).
MGM agreed to make the movie to settle screenwriter Paddy Chayefsky's lawsuit over receipts for his previous film, The Hospital (1971).
Director Sidney Lumet said that he shot the film using a specific lighting scheme. He said in the film's opening scenes, he shot with as little light as possible, almost shooting the film like a documentary. As the film progressed, he added more light and more camera moves and by the end of the film, it was as brightly lit and "slick" as he could make it.
The only music heard in the film comes from commercials and television show themes.
To date (2003), it is one of only two films in history to win three Academy awards for acting. The other is A Streetcar Named Desire (1951)
Walter Cronkite and John Chancellor were approached for the Howard Beale role, but neither was interested. However, Cronkite's daughter Kathy agreed to play left-wing radical Mary Ann Gifford and her character is loosely based on Patricia Hearst
Black radical Laureen Hobbs's character is loosely modeled after communist activist Angela Davis
Jane Fonda declined the role that won Dunaway her first Oscar
Gene Hackman declined the role that won Finch his only Oscar
Laureen Hobbs was based on former UCLA professor Angela Davis. Mary Ann Gifford was played by Kathy Cronkite, the real life daughter of news anchor Walter Cronkite.
The first film to win Oscars for both Best Actress and Best Supporting Actress since Who's Afraid of Virginia Woolf? (1966), ten years earlier.
The director and the screenwriter claimed that the film was not meant to be a satire but a reflection of what was really happening.
When Max and Diana discuss their one-night stand, they refer to it as a "many-splendored thing." William Holden starred in Love Is a Many-Splendored Thing (1955).
Throughout the entire movie, we never actually see Diana speak to Howard.
Beatrice Straight’s screen time totals 6 minutes. She was nominated for Best Supporting Actress along with Jane Alexander, (All the President's Men) Jodie Foster, (Taxi Driver) Lee Grant, (Voyage of the Damned) Piper Laurie, (Carrie).
MGM agreed to make the movie to settle screenwriter Paddy Chayefsky's lawsuit over receipts for his previous film, The Hospital (1971).
Director Sidney Lumet said that he shot the film using a specific lighting scheme. He said in the film's opening scenes, he shot with as little light as possible, almost shooting the film like a documentary. As the film progressed, he added more light and more camera moves and by the end of the film, it was as brightly lit and "slick" as he could make it.
The only music heard in the film comes from commercials and television show themes.
To date (2003), it is one of only two films in history to win three Academy awards for acting. The other is A Streetcar Named Desire (1951)
Walter Cronkite and John Chancellor were approached for the Howard Beale role, but neither was interested. However, Cronkite's daughter Kathy agreed to play left-wing radical Mary Ann Gifford and her character is loosely based on Patricia Hearst
Black radical Laureen Hobbs's character is loosely modeled after communist activist Angela Davis
Jane Fonda declined the role that won Dunaway her first Oscar
Gene Hackman declined the role that won Finch his only Oscar
Laureen Hobbs was based on former UCLA professor Angela Davis. Mary Ann Gifford was played by Kathy Cronkite, the real life daughter of news anchor Walter Cronkite.
The first film to win Oscars for both Best Actress and Best Supporting Actress since Who's Afraid of Virginia Woolf? (1966), ten years earlier.
The director and the screenwriter claimed that the film was not meant to be a satire but a reflection of what was really happening.
