According to screenwriter William Goldman, his screenplay originally was entitled "The Sundance Kid and Butch Cassidy." Both Steve McQueen and Paul Newman read the script at approximately the same time, and agreed to do it, with McQueen playing the Sundance Kid. When McQueen dropped out, the names reversed in the title, as Newman was a superstar.
'Butch Cassidy' (Robert Leroy Parker) was so nick-named because he once worked in a butcher's shop whilst 'The Sundance Kid' (Harry Alonzo Longabaugh) was nick-named this because he once was arrested in the Wyoming town of Sundance.
Lula Parker Betenson, sister of the real Butch Cassidy, often visited the set, and her presence was welcome to the cast and crew. During lulls in shooting she would tell stories about her famous brother's escapades, and was amazed at how accurately the script and Paul Newman portrayed him. Before the film was released, the studio found out about her visits and tried to convince her to endorse the movie in a series of ads to be shown in theatres across the country. She said that she would, but only if she saw the film first and truly stood behind it. The studio refused, saying that allowing her to see the film before its release could harm its reputation. Finally, at Robert Redford's suggestion, she agreed to do the endorsements - for a small "fee."
Katharine Ross enjoyed shooting the silent, bicycle riding sequence best, because it was handled by the film crew's second unit rather than the director. She said, "Any day away from George Roy Hill was a good one." (This was after she had been scolded and banned from the set for operating a camera.)
On the first day of shooting, involving the train robbery scenes, Katharine Ross came to the set to watch. There were five cameras and only four operators, so the DP put her on the extra camera. He showed her how to operate it, and how to move it to get her shot. Director George Roy Hill was furious, but said nothing the whole day. At the end of the day, however, he banned her from the set except when she was working.
All the Bolivia scenes were filmed in Mexico, where almost the entire cast and crew, and the director, came down with Montezuma's Revenge (severe diarrhea caused by drinking Mexico's notoriously polluted water). Only Robert Redford, Paul Newman and Katharine Ross were spared, because they refused to drink the water catered on the set and stuck to drinking soda and alcohol for the duration of the shoot.
The more commonly used name for Butch Cassidy and Sundance Kid's gang was The Wild Bunch. However, when the Sam Peckinpah film, The Wild Bunch (1969), was released a few months earlier, the name of the gang was changed to the Hole in the Wall Gang to avoid confusion with Peckinpah's film.
This movie was filmed roughly the same time as Hello, Dolly! (1969), on the sound stage next door. Director George Roy Hill believed that the studio would allow him to film the New York scenes on "Dolly's" sets, since the two films' daily shooting schedules were totally different. After production started, though, the studio informed him that it wanted to keep the sets for "Dolly" a secret and so refused him permission. To work around this, Hill had Robert Redford, Paul Newman and Katharine Ross simply pose on the sets and took photos of them. He then inserted images of the three stars into a series of 300 actual period photos and spliced the two different sets (real and posed) together to form the New York montage.
The river jump was shot at the studio's Century Ranch near Malibu, CA. Paul Newman's and Robert Redford's stuntmen actually jumped off of a construction crane by Century Lake. The crane was obscured by a matte painting of the cliffs. Newman and Redford start the jump in Colorado, but only land on a mattress.
Ted Cassidy's character Harvey Logan, portrayed as a simple-minded thug, was in fact a suave ladies' man and calculating cold-blooded murderer. He is best known for his clever escape from Knoxville (TN) Jail in 1902. Like Butch Cassidy and the Sundance Kid, his officially reported death (in a 1904 Colorado train robbery) was contested by mutually exclusive eyewitness claims which place him simultaneously on several different continents during the following decades.
In order to get the shot of the "super posse" jumping out of the train on their horses, the door on the opposite side of the train car was left open and a ramp placed out of view on that side of the train. In real life, the horses would not have had room in the train car to make such a dramatic leap.
Paul Newman did his own bicycle stunts, after his stunt man was unable to stay on the bike, except for the scene where Butch crashes backwards into the fence, which was performed by cinematographer Conrad L. Hall.
With nine wins it currently holds the record for the British Academy Awards (BAFTAs). It won for picture, actor (Robert Redford), actress (Katharine Ross, direction (George Roy Hill, screenplay, cinematography, film editing, sound and score.
The bull's name in the film is "Bill". He was flown in from Los Angeles for the bicycle scene, which was shot in Utah. In order to make Bill charge, the filmmakers sprayed a substance on his testicles. Oddly, he didn't seem to mind and endured it through several takes (from The Making of 'Butch Cassidy and the Sundance Kid' (1970)).
Other actors that were under consideration for the role of Sundance were Steve McQueen and Warren Beatty. McQueen withdrew due to billing disagreements, and Beatty declined as he found the film too similar to Bonnie and Clyde (1967).
Before the real Butch Cassidy and Sundance Kid ended up in Bolivia, they spent some time in Patagonia (Argentina), in a town called Cholila. After robbing a bank and fleeing that country, they spent a brief time in Chile, where they befriended miner Percy Seibert, inspiration for the character Percy Garris.
The true identity of the historical person known as "Etta Place" is unknown. Historians have many different theories, a popular one being that she was Fort Worth innkeeper Eunice Gray, who died in a fire in 1962.
Contrary to popular belief, the vocalists on the Burt Bacharach-penned song "South American Getaway" in this film were not The Swingle Singers. It was instead performed by The Ron Hicklin Singers, a group of Los Angeles studio vocalists best known as the real singers behind the background vocals on The Partridge Family recordings.
Two fictional western characters may have been derived from the name Butch Cassidy (1866-1908): Butch Cavendish, the arch rival of The Lone Ranger, and good guy Hopalong Cassidy, film persona of William Boyd.
Marlon Brando was seriously considered to team with Paul Newman for one of the roles. He turned it down due to his commitment to Burn! (1969). He also felt that it was too similar to his role in One-Eyed Jacks (1961).
Paul Newman, who was reluctant to do a comic role, thought he was scaling his performance "a little too high, a little too broad," but Hill got him to do less and find his own level of wry humour that fit the character.
The only major conflict between Paul Newman and George Roy Hill occurred over what became known as "the Bledsoe scene," a break in the extended superposse chase when Butch and Sundance go to visit an old sheriff hoping to get his help enlisting them in the Army to fight in the Spanish-American War. Newman felt the scene should come at the end of the chase and be the motivation for their flight to South America. Hill disagreed strongly. Every day, Newman came on the set with fresh arguments for why it should be done his way and with increasing passion for his opinion. "Paul was becoming almost anal about it," noted Robert Redford, who at one point jokingly suggested they rename the film "The Bledsoe Scene." Ultimately, Hill won the argument.
Robert Redford wanted to do all his own stunts. Paul Newman was especially upset about Redford's desire to jump onto the train roof and run along the tops of the cars as it moved. Redford said Newman told him, "I don't want any heroics around here...I don't want to lose a co-star."
"Butch Cassidy and the Sundance Kid" exterior Utah State location for the Paul Newman bicycle riding sequence, featuring the Burt Bacharach medley "Raindrops Keep Falling On My Head," was filmed 25 miles East of Hurricane, Utah, an abandoned (State designated park), 1900 ghost-town site which had been flooded out. A river flows adjacent to the abandoned town. A few relic buildings remain standing, including a Morman Temple/church, a few houses, a few farm/barn buildings. The film company was based in St. George, Utah. The small Mormon community town was wiped out in a 1900s flood, with the few remaining buildings comprising the ghost town's existence. The film company's production designer Phil Jefferies and his construction department built the cabin set at the center of the ghost town's main street, opposite the small brick Mormon temple/church. The cabin set was built utilizing walls which could be pulled away from the structure, allowing a camera crew to light and film inside the cabin, with windows for capturing Newman riding his bicycle in the main street area. The "studio cabin" was left intact after filming was completed, becoming a curiosity feature of the ghost town's remaining standing structures. After the film was completed, tourists visiting the site have since stripped the area of the post and rail fencing built as part of the town's structure set decorating. In 1981, the original producer Paul Monash and Lawrence Schiller (Special still photographer) joined forces to produce and film "A Child Bride From Shortcreek," for an NBC television movie of the week. With production designer Hub Braden, the three returned to "Shortcreek" evaluating the location for the MOW site filming. The site had been stripped bare except for the shrubs and trees, remaining structures. The location site was revived, adding false structure fronts, set dressing, out houses and fencing.
Watch for what may be an outtake intentionally used in a bank robbery montage for the sequences in Bolivia. Featured with only a Burt Bacharach score to accompany it, Etta and Sundance enter a bank where, immediately, an unctuous bank manager insists on taking them to the basement bank vault to demonstrate its security. He unlocks a cell containing a safe and opens it, whereupon, behind the manager's back, Etta hands Sundance a pistol. The manager is cornered and Etta raids the safe. The manager, his hands up, is locked in the cell, leading to some confusion concerning the keys which is the moment Robert Redford decides to drop his gun into Katherine Ross's purse and suddenly walk off, leaving Katharine Ross to break up with laughter.
In addition to some studio interiors and exteriors, the film was shot on location in various parts of Colorado, Utah, New Mexico, and for the Bolivia scenes, Cuernavaca and Taxco, Mexico. The cast and crew enjoyed the location work. Robert Redford: "We had the best locations possible, to my mind. We had Zion National Park [Utah]; Durango, Colorado...You rode through that, it was a joy."
William Goldman wrote that he couldn't say what the producers' contributions were to the picture because "on a George Roy Hill film, George is the giant ape. Because of his vast talent, his skill at infighting, his personality, he runs the show."
Cinematographer Conrad Hall said he overexposed much of the film because he thought the lightness of the story did not require dramatic lighting and colour, but that Fox and DeLuxe (the colour film processing company) brought back a lot of the richness of tones, as was their trademark style.
Conrad Hall said it was George Roy Hill's decision not to show the posse very clearly and that radios were used to coordinate shooting them from a great distance. He was especially pleased with the fortuitous timing in some of those scenes, such as one shot where Butch and Sundance come over the rocks, just before they leap, and the posse is seen at the last moment, far off in a small clearing.
Conrad Hall was not pleased with the night shots in the film such as the one in which a man is selling bicycles down on the street. He thought they had too much light and shadows and told Maltin he preferred really dark night shots, such as the ones in Bonnie and Clyde (1967).
A scene that was cut had Cassidy, the Kid, and Etta in a Bolivian cinema and seeing a screen re-enactment of their gang, depicting Butch and Sundance as ruthless killers gunned down by the law. As the two men watch incredulously, shouting at the screen that it didn't happen that way, Etta walks off to the station to catch the train that would begin her journey back to America. George Roy Hill thought that the scene was "a little heavy-handed and unnecessary".
The song "Raindrops Keep Fallin' on My Head" was written after the rough cut was completed, and when Robert Redford first saw it in the movie, he thought it was terrible. The agents for singer B.J. Thomas regretted letting him do it, and thought it would ruin his career.
In an on-set interview, Paul Newman discussed his daily routine with columnist Rona Jaffe, including getting up at 5:30 each morning, spending an hour in the pool and sauna, and phoning his wife Joanne Woodward three times a day.
The trivia items below may give away important plot points.
Though Butch Cassidy and the Sundance Kid were reported killed in San Vicente, Bolivia, on November 7, 1908, the location of their grave has been lost. This has resulted in a long-lived conspiracy theory that their deaths were faked, or that two other men were killed and misidentified as them. Until the 1930s, several eyewitness claims reported encountering one or both men, yet the chronology and geography of the claims are often mutually exclusive. A handwriting expert has claimed that Spokane auto mechanic William T. Philips, who died in 1937, wrote in Cassidy's hand, yet other historians insists that Philips' and Cassidy's known whereabouts on a certain date mark them as separate individuals.
Percy Garris is based on Percy Seibert, a Maryland mining engineer for whom Butch Cassidy and the Sundance Kid worked in Antofagasta, Chile. Contrary to Strother Martin's on-screen death, Seibert was alive when the two died, and served as the coroner's witness. In a 1930 interview, Seibert reaffirmed having identified the two dead in 1908, and insisted that the "William T. Philips" theory was "rubbish". Conspiracy theorists have him lying to the coroner so that his friends could be declared legally dead and start a new life.