According to Robert Mitchum's autobiography, Mitchum himself was openly contemptuous of Shelley Winters throughout the shooting of the film, and later claimed to have wished Charles Laughton had actually used Winters in the scene when her character's body is seen dead underwater.
Charles Laughton reportedly worked well with the boy playing John, but did not get along with the girl playing Pearl and shouted at her on occasion. As Laughton had the camera continue to roll after the scenes were finished, the camera often caught her reacting to him. Some of these "out-takes" were used in the final editing process as reaction shots to the Preacher's character.
Robert Mitchum was very eager for the part of the preacher. When he auditioned, a moment that particularly impressed Charles Laughton was when Laughton described the character as "a diabolical shit." Mitchum promptly answered, "Present!"
Later on in life, Robert Mitchum, who was usually indifferent to such matters, said that Charles Laughton was his favorite director and indicated that this was his favorite of the movies in which he had acted.
Stanley Cortez, the cinematographer on "Night of the Hunter", had also worked on Orson Welles's masterpiece, The Magnificent Ambersons (1942). He remarked some years after the making of this film that only two directors he'd worked with had understood light, "that incredible thing that can't be described": Welles and Laughton.
Robert Mitchum's autobiography contains many spurious accounts of the making of the film; in one of them, Charles Laughton is said to have had no great love for children, and so despised directing them in this film that Robert Mitchum found himself directing the children in several scenes. In reality, Laughton obsessed over every facet of his first feature, including getting the performances of every actor (even the children) right; this would lead to him dismissing one actor, in particular, after all of his scenes had already been shot and starting again with another in the part.
The studio tank at Republic studios, where John Wayne shot Wake of the Red Witch (1948), was where the dummy of 'Shelley Winters (I)' in the underwater sequence was shot. The eerie shots were filmed by an underwater cameraman in a scuba outfit and a camera that had to be held by him on a hook. Initially the tank at Fox was used but the paint inside the tank was flaking, and the water was not clear.
Reports that screenwriter James Agee wrote an incoherent screenplay have been proved false by the 2004 discovery of his first draft. That document, although 293 pages in length, and manifestly overwritten (as is common with first drafts), is, scene-for-scene, the film that Charles Laughton directed. Likewise false are the reports that Agee was fired, related most infamously in Robert Mitchum's autobiography. Laughton, however much he gnashed his teeth at having such a behemoth of a text in his hands with only five weeks to go before the start of principal photography, calmly renewed Agee's contract and directed him to cut it in half; after much persuasion, he did. In Laughton's stage work ("Galileo", "Cain Mutiny Court Martial", etc), the great actor demonstrated he was a script editor of genius - he could induce the most stubborn and prideful writer to cut, cut, cut, and so he did in Agee's case. Later, apparently at Robert Mitchum's request, Agee visited the set to settle a dispute between the star and Laughton. Letters and documents located in the archive of Agee's agent Paul Kohner bear this out -- they were brought to light by Laughton biographer Simon Callow, whose excellent BFI book about "Night of the Hunter" diligently sets this part of the record straight. The Agee first draft may eventually be published, but it has been read by scholars -- most notably, Professor Jeffrey Couchman of Columbia University, who published his findings in an essay, "Credit Where Credit Is Due". To assert Agee's moral right to his screen credit in no way disputes Laughton's greatness as a director -- clearly, he was as expert with writers as he was with actors -- but Agee has been belittled, and even slandered, over the years (especially in Robert Mitchum's autobiography), when his contribution to "Night of the Hunter" was of primary and enduring importance. (Submitted by F. X. Feeney, film critic and author, who has read the original Agee script.)
While the poor critical reviews are often cited as the reason Charles Laughton never directed another feature, Laughton himself said that he much preferred directing in the theatre. In the theatre you could constantly change and amend the production - adding lines, changing lighting and sets - but with film once it was done it could never be changed.
Producer Paul Gregory and Charles Laughton presented key members of the crew, like cinematographer Stanley Cortez, each with a one percent interest in the film. This given to them on top of their salaries and is something that is never done. Gregory and Laughton said it was not done to encourage the artists, but reward them for their artistry. This was done over the objections of United Artists.
At their initial meeting, Lillian Gish asked Charles Laughton why he wanted her for the part; he replied, "When I first went to the movies, they sat in their seats straight and leaned forward. Now they slump down, with their heads back, and eat candy and popcorn. I want them to sit up straight again."
(at around 56 mins) The scene where the children get away in the rowboat leaving the frustrated, knife-wielding preacher chest deep in the water was actually filmed on a sound stage. Robert Mitchum was actually crouched down in the scene as the water level was a fairly shallow.
So disappointed was he by the poor reception of this film on its initial release both critically and commercially, Charles Laughton vowed never to direct a film again, and he never did. The film he was planning to direct next was going to be a screen adaptation of "The Naked and the Dead."
Kitty White was an acquaintance of Night of the Hunter novelist Davis Grubb. Charles Laughton was looking for a vocalist to sing composer Walter Schumann's lullaby and Grubb suggested to Laughton that he go hear White sing in a nightclub. He did and White was chosen to sing the haunting lullaby,
Robert Mitchum's autobiography contains many spurious accounts of the making of the film; one, for example, concerns director Charles Laughton, and how he supposedly found the script by James Agee totally unacceptable, rewriting it himself. This has been disproved by the discovery of Agee's 293-page first draft, back in 2004, which is, scene-for-scene, the film that Laughton directed.
Charles Laughton, who thought that Robert Mitchum was "one of the best actors in the world," wrote in Esquire of the private man he knew to be different than the public image: "All this tough talk is a blind, you know. He's a literate, gracious, kind man, with wonderful manners, and he speaks beautifully - when he wants to. He's a tender man and a very great gentleman. You know, he's really terribly shy." Laughton was usually ill at ease with very macho men yet very comfortable with his star.
Lillian Gish feared that Charles Laughton and Robert Mitchum might be undercutting Powell's evil. Laughton explained to her, half joking, that he didn't want to ruin Mitchum's future career by pushing him to play total evil, although the touches of humor in the character actually serve to play up the preacher's essentially ludicrous and haywire psychology. And Mitchum's borderline buffoonery makes the children's escape and eventual triumph over him more plausible.
Robert Mitchum originally suggested to Charles Laughton that they film The Night of the Hunter in authentic Appalachian locations but the director couldn't afford the budget to do on-location shooting. Besides, he wanted to create the film's unique look on Hollywood sound stages and found what he was looking for at Pathe, Republic studios and the Rowland V. Lee ranch in the San Fernando Valley.
According to writer Lee Server in his biography, "Robert Mitchum: Baby, I Don't Care", Robert Mitchum's "devotion to Charles Laughton and the project had begun to fade by the final week of the thirty-six-day shoot. [Producer Paul] Gregory: "Laughton had a keen thing for Mitchum, and Mitchum said all this sh*t about how he loved Charles, but he was on drugs, drunk, and what have you, and there were times when Charles couldn't get him in front of the camera. He put us through a lot of hell on that. The picture went two hundred thousand dollars over budget." To Gregory, Mitchum at times seemed uncomfortably like the character he was playing. "He was a charmer. An evil son of a bitch with a lot of charm. Mitch sort of scared me, to tell you the truth. I was always on guard. He was often in a state, and you never knew what he would do next. He would be drunk or in a fight with this flunky he kept around, and kicking him all over the place. I came from the world of the theatre and I had never seen anyone quite like this."
According to Philippe Garnier's book included in the blue-ray package,United Artists did not show much consideration to Laughton and Gregory. Moreover a drastic schedule of 35 days of filming, they allowed the beginning of Stanley Kramer's movie :"Not as a Stranger" (in which Robert Mitchum was cast), some days before the end of filming of "The Night Of The Hunter". Some scenes with Mitchum (like his arrestation by police)were missing and had to be shot on sunday which needed budget overspending.
Robert Mitchum tried explaining to Billy Chapin that he needed to better understand his character and his relationship to the preacher. Chapin, who had a reputation for brattiness, replied, "That's probably why I just won the New York Critics Circle prize." Charles Laughton bellowed, "Get that child away from me!" and from then on Mitchum patiently directed the boy in their scenes together.
The trivia items below may give away important plot points.
The underwater shot of Shelley Winters' corpse in the Ford was the last one filmed. It was so convincing to actor Don Beddoe when he saw the finished film that he thought it was Winters holding her breath, not a dummy.