The scene where Roman Polanski slits Jack Nicholson's nose was extremely complex to film, and the two men involved got so tired of explaining how it was done (by using a specially-constructed knife with a short hinge that would be safe as long as it was handled VERY carefully) that they began to claim Nicholson's nose was actually cut.
At one point, Roman Polanski and Jack Nicholson got into such a heated argument that Polanski smashed Nicholson's portable TV with a mop. Nicholson used the TV to watch L.A. Lakers basketball games and kept stalling shooting.
Because this film was the first of a planned trilogy, Jack Nicholson turned down all detective roles he was offered so that the only detective he played would be Jake Gittes.
Roman Polanski eliminated Jake Gittes' voiceover narration, which was written in the script, and filmed the movie so that the audience discovered the clues at the same time Gittes did.
According to Roman Polanski's autobiography, he was outraged when he got the first batch of dailies back from the lab; due to the success of The Godfather, producer Robert Evans had ordered the lab to give this movie a reddish look. Polanski demanded that the film be corrected.
The name of Water and Power engineer Hollis Mulwray is likely a play on the real-life head of the Los Angeles Department of Water and Power, William Mulholland (1855-1935). A man obsessed with an engineering challenge of epic proportions, Mulholland brought the Owens River to Los Angeles-which turned the previously lush Owens Valley into a virtual desert-through a combination of determination and deceit.
The first part of a planned trilogy written by Robert Towne about J.J. Gittes and L.A. The second part, The Two Jakes, was directed by Jack Nicholson in 1990.
Screenwriter Robert Towne based his famous exchange-Evelyn: "What did you do in Chinatown?" Jake:"As little as possible."-on a joke a LAPD officer friend told him. This was because there were so many different Chinese dialects floating around that an Anglo cop would only get himself into trouble by misinterpreting anything said by the Chinese residents.
The role of Evelyn Mulwray was originally intended for the producer's wife, Ali MacGraw, but she lost the role when she divorced him for Steve McQueen.
After several takes that never looked quite right, Faye Dunaway told Jack Nicholson to actually slap her. He did, and the scene made it into the movie.
Writer Robert Towne was originally offered $125,000 to write a screenplay for The Great Gatsby, but Towne felt he couldn't better the F. Scott Fitzgerald novel, and accepted $25,000 to write his own story, "Chinatown," instead.
Jack Nicholson had the name "Jake Gittes" written on the shirts he used in the movie. Though this is not shown, it was done so Nicholson could enter in character more easily.
Phillip Lambro was originally hired to write the film's music score but it was rejected at the last minute by producer Robert Evans, leaving Jerry Goldsmith only ten days to write and record the new score. Extracts from Lambro's score can be heard on the trailer.
Roman Polanski forced Robert Towne to sit and re-write the script with him. Towne was so opposed to this idea that he would argue with Polanski non-stop.
Faye Dunaway's distinctive look was inspired by Roman Polanski's memories of his mother, who in the pre-WWII era would fashionably wear penciled-on eyebrows, and have her lipstick shaped in the form of a Cupid's bow.
This was the first film of a planned trilogy about corruption in the development of Los Angeles. It was set in the 1930s and was about the water department. The second film, The Two Jakes, was set in the 1940s and was about the gas company. The third film of the trilogy was about the building of the massive freeway system and was to be called "Cloverleaf", named after the famous interchange in downtown L.A., but it was never filmed. However, certain elements (like the building of a massive freeway by a corporation called called "Cloverleaf") were eventually incorporated into Who Framed Roger Rabbit, which took a fantasy/comedic view of this material but also functioned as a detective story.
Cinematographer Stanley Cortez was fired soon after production began because his classical style did not match the naturalistic style Polanski wanted for the film and proved too time consuming. Polanski had to find a replacement in only a few days and chose John A. Alonzo. As David Fincher and Robert Towne describe on their DVD commentary, two scenes shot by Cortez are in the film. The orange grove fight with the farmers (but not the following porch scene with Evelyn) and the drive back to Los Angeles at sunset are Cortez's work.
Roman Polanski had been planning to make a film with Jack Nicholson but hadn't found the right property yet. He actively pursued the Chinatown script when he learned about it. As luck would have it, Polanski was also producer Robert Evans's first choice for director as he wanted a European vision of the United States which he felt would be darker and a little more cynical.
Roman Polanski wanted William A. Fraker as his cinematographer, having successfully collaborated with him on Rosemary's Baby. This notion was blocked by producer Robert Evans as he felt that the pairing of the two would create too powerful a bond, making his life as a producer more difficult.
The Chinatown screenplay is now regarded as being one of the most perfect screenplays and is now a main teaching point in screen writing seminars and classes everywhere.
Despite lobbying Robert Evans and Jack Nicholson for the chance to direct the film, when he finally landed the gig Roman Polanski started having second thoughts. The thought of returning to Los Angeles - where his wife Sharon Tate had been brutally murdered four years earlier - was too overwhelming for him.
At the time of filming, Jack Nicholson had just embarked on his longstanding relationship with Anjelica Huston. This made his scenes with her father, John Huston, rather uncomfortable, especially as the only time Anjelica was on set was the day they were filming the scene where Noah Cross interrogates Nicholson's character with "Mr Gittes...do you sleep with my daughter?"
There were many rumors circulating about Faye Dunaway's diva-like behavior during the making of the film. One such was that she refused to flush her own toilet and expected her assistants to do it for her.
Although he liked the idea of doing a cameo in the film as the hood who slits Jack Nicholson's nose, Roman Polanski was less thrilled about having to have his long hair cut off for his brief appearance in the film.
For the first screening, Roman Polanski took his old friend, composer Bronislau Kaper. Producer Robert Evans afterwards asked Kaper what he thought of the picture to which Kaper replied "It's a great film, but you have to change the music."
The Van der Lip Dam disaster is a reference to the collapse of the St Francis Dam in 1928, 40 miles northwest of Los Angeles, which had been designed by self-educated engineer William Mulholland. The consequent flooding killed at least 450 people, a loss of life that remains second only to that from the San Francisco earthquake and fire in California's history.
Roman Polanski said that in staying true to the tradition of Raymond Chandler's detective stories, he shot the whole movie from the perspective of the main character.
The riverbed that's referred to in the movie is now where the Burbank and Pasadena freeway sit, leading into the more original neighborhoods of the town of Burbank.
The trivia items below may give away important plot points.
Robert Towne originally intended to have a happy ending. However, during pre-production Roman Polanski and Towne argued over it, with Polanski insisting on a tragic ending. Polanski won the argument and, when the picture was re-released in 1999, Towne admitted that he had been wrong.
Shortly after Hollis Mulwray's body is recovered, the original script included an omitted scene in which Lt. Escobar reveals to Gittes that he has limited sympathy for the victim, because a cousin of his was killed in the Van Der Lip dam disaster. From Faber and Faber script published UK 1998.
According to Faye Dunaway, Evelyn's eye wound was meant to parallel the story of Oedipus, who blinded himself after realizing his marriage was incestuous. Miss Dunaway had to fight to keep this in the film - when there was a problem getting the makeup/prosthetics, the filmmakers wanted to change where Evelyn would be shot.