Yesterday I was on the phone with an actor from Minneapolis for a project I am shooting next week. It’s not an elaborate shoot, but I am casting three actors for a shoot I am doing in Des Moines which is doubling for San Francisco. (Not as hard as you think since many of the older San Francisco Victorian houses were built by Midwesterners for relocated Midwesterners.) No matter your budget, you always have schedule and budget issues when casting a project. It’s the nature of the beast when you try to bring a group of people (cast & crew) together for a production.
And it’s easy to think when producing lower-budget projects that more money and time would solve your problems. But listen to difficulties and last-minute solutions that the great director Billy Wilder had in casting the classic Sunset Boulevard:
“I wanted to make things a little harder for myself, I wanted to do that thing which never quite works—a picture about Hollywood. Originally it was a comedy, possibly for Mae West. The picture became about a silent star and a writer. And we could not find the person to play the great silent star. Mae West did not want to do it. Mary Pickford, no. We were about to sign or not sign Pola Negri for the movie. Then we came upon the idea of Gloria Swanson. She had already been abandoned; she was a death knell—she had lost a lot of money on the Paramount lot. But I insisted on her. A wonderful idea, that carried with it the great value that she had been a silent star, and had made a picture with Erich von Stroheim called Queen Kelly, which we could also use on the projection screen in her home. We did a screen test, she did a few lines, where an angry Swanson maintains that she’s still the greatest. Now we had a picture.
Montgomery Cliff was to play the writer. Three days before, he pulled out. It so happened Mr. Clift had had an affair with an older woman in New York. And he did not want to make his first big picture, playing the lead, the story os a man being kept by a very rich woman twice his age…Leading men at that time we all under contract to the studios. And I had to start shooting on Monday, right? So I went through the list Paramount had at that time. And they had a young actor named William Holden. Beedle was his name really, and he had changed it. He made a picture I enjoyed, it was very good, Golden Boy, I gave Holden the script to Holden at one o-clock, and at three he was at my house, and he said, “Absolutely, I want to do it.”‘
Conversations with Wilder (interviews with screenwriter Cameron Crowe)