The location where Sterling Hayden proposes the deal to Kola Kwariani is a mock-up of the 42nd Street Chess and Checker Parlor in New York City. Director Stanley Kubrick was a regular chess player there as was Kola.
Initial test screenings were poor, citing the non-linear structure as the main problem. Stanley Kubrick was forced to go back and edit the film in a linear fashion, actually making the film even more confusing. In the end, it was released in its original form, and is often cited as being a huge influence on other non-linear films like Reservoir Dogs and Pulp Fiction.
Director Stanley Kubrick formed a production company with James B. Harris, Harris-Kubrick Pictures, before making this film. Kubrick and Harris bought the rights to the Lionel White pulp novel "The Snatch" for $10,000, but found out that the Motion Picture Producers and Distributors Association (MPPDA) Code would not allow movies to be made about the kidnapping of children, the premise of White's potboiler. White subsequently swapped the rights to his novel "Clean Break" for "The Snatch" to get them out of the predicament. United Artists had considered buying "Clean Break" as a vehicle for Frank Sinatra. "The Snatch" later was made into The Night of the Following Day in the more permissive 1960s, when the MPPDA Code had been superseded by the ratings system.
Stanley Kubrick and producer James B. Harris first attempted to produce the movie around New York, where they lived, but after failing to find an East Coast racetrack that would allow the crime to be filmed there, they moved it to Bay Meadows, near San Francisco, which closed in 2008. Although named "Lansdowne" for the movie, "Bay Meadows" can be seen above the starting gate at the start of the race early in the film.
The total budget for the film was $320,000 - $200,000 was put up by United Artists, with the rest raised by producer James B. Harris. This was a paltry budget for a feature even by 1950s Hollywood standards.
The narration was added at the studio's insistence. Stanley Kubrick hated the idea and thus makes much of the information that the narrator provides false or mistaken.
This was the first film on which Stanley Kubrick worked with a cinematographer. Lucien Ballard was hired because Kubrick was officially working on a film union production for the first time which prevented him from using himself as the cinematographer, as he had done in the past. The two often did not agree on camera and lighting matters.
Once they had convinced Sterling Hayden to come on board, Stanley Kubrick and his producer James B. Harris were able to approach United Artists about securing the extra financing for the film.