Madonna was offered the female lead but turned it down because Blake Edwards refused to accommodate her wish to cast then-husband Sean Penn in the film. "I was supposed to have approval of the director and the leading man, but they didn't tell me they'd already hired Bruce Willis. That... just didn't work out," recalled Madonna.
David Bedford's office window looks out onto the unfinished Fox building, which was soon to star as "Nakatomi Plaza" in Die Hard (1988). The structure still lacks windows and some stone façade on the upper stories and at ground level.
Some movie posters featured a fabricated quote preamble from Bruce Willis' character that read: "Do you recognize me? I used to be a respectable citizen. I had a good job and a promising future. I made only one mistake - I went on a blind date. ...Anyone got $10,000 for bail?".
The bouncer at the disco character was originally going to be played by comedian Andrew "Dice" Clay, who turned the role down three times with increased pay amounts made for each subsequent offer. This was thought to be career suicide in the eighties when director Blake Edwards offered you a part in any of his films. However, if Dice had taken the film, he would never have performed for the agent that saw him, and would eventually sign him to play two sold-out shows at Madison Square Garden in 1990. This was the first time in history that had ever been done by a stand-up comedian. The role of the bouncer ended up going to Dick Durock, known to genre fans as playing the title role in Swamp Thing (1982).
This was the first of two movies in about five years where actress Kim Basinger portrayed a character who underwent a dramatic personality change after drinking alcohol. The second film would be in Phil Joanou's Final Analysis (1992).
One of nine theatrical movies that English actor-comedian Graham Stark made with director Blake Edwards. Seven of them were "Pink Panther" films, it was only this movie, and Victor/Victoria (1982), that were not.
The film was released three years after the movie's title had been used in an American-Greek English language sci-fiction thriller which had starred Kirstie Alley and Joseph Bottoms [See: Blind Date (1984)].
The meaning of the movie's Blind Date (1987) title is defined by 'The Free Dictionary' website as "a social engagement between two persons who have not previously met, usually arranged by a mutual acquaintance". In the case of this film, the persons are the characters portrayed by Bruce Willis and Kim Basinger. Their blind date is organized by Willis' brother who sets him up with his wife's cousin who is new in town and wants to go out and socialize, but Willis is warned that if she gets intoxicated, she can lose control and go absolutely wild. Willis only receives one warning from the man who sets him up:"Whatever you do, don't let her drink...".
As with many Blake Edwards projects, there were many familiar faces on the set of Blind Date (1987). The director of photography was Harry Stradling, Jr., who had worked on four other earlier films directed by Edwards.
For multi-Academy Award-winning composer Henry Mancini, Blind Date (1987) was his 24th motion picture collaboration with Edwards. Their association goes back even further, to their television years, when Blake created the popular series Mr. Lucky (1959) and Peter Gunn (1958). At the time of Blind Date (1987), Mancini's music for Edwards' films had resulted in twelve Academy Award nominations, four of which won Oscars.
Second and final Blake Edwards movie to feature music by Billy Vera and The Beaters. They performed on the movie's soundtrack the tracks "Anybody Seen Her?", "Oh, What a Nite", and "Let You Get Away". In Edwards' previous picture A Fine Mess (1986) they had performed "Slow Down".
Several key interiors were filmed at Blake Edwards Entertainment corporate headquarters, Laird Studios in Culver City. Although Edwards had at the time been housed there since 1983 for around four years, Laird, had been renamed the Culver Studios, and was actually one of the oldest and most famous of Hollywood's studios. It was originally built back in the silent screen era by director Thomas H. Ince, the man who introduced William S. Hart, the famous cowboy star, to films. Ince himself shot a number of silent screen classics there. A southerner by birth, he designed his administration building as a replica of an ante-bellum southern mansion. Later, when the Ince studios were acquired by producer David O. Selznick, the building became familiar to millions of moviegoers as the logo on Selznick films. These include the immortal Gone with the Wind (1939) as well as Rebecca (1940), Intermezzo: A Love Story (1939), and "David Copperfield" [David Copperfield (1935)]. After Blind Date (1987), Edwards made a picture called Sunset (1988), a comedy about the fictional adventures of Wyatt Earp and silent screen cowboy actor Tom Mix in Hollywood, which also starred Bruce Willis from Blind Date (1987).
Contributing to the musical background of Blind Date (1987) was Billy Vera, a Los Angeles musician, fronting his group, "Billy and the Beaters" [Billy Vera and The Beaters], whose single "At This Moment" had recently gone to No. #1 on the pop charts. They are heard in a disco sequence performing "Let You Get Away," "Oh, What a Nite", and "Anybody Seen Her?". Moreover, Stanley Jordan, a popular guitarist noted for his unique technique, appears in a recording studio scene early in the film.
Los Angeles and its environs in California, had figured in several recent Blake Edwards movies, as well as in his earlier 10 (1979), and S.O.B. (1981), and again the region provided the setting for Edwards' Blind Date (1987).
On the more upscale side, Blake Edwards made good use of the Los Angeles environs region's luxurious mansions, particularly the one once occupied by Baron Hilton, the founder of the worldwide Hilton Hotel chain. Owned by the Hilton heirs, the huge house and its spacious grounds were the background for some of the most bizarre and hilarious scenes of the film. To protect the house from rampant destruction, special interiors were designed as a buffer zone, and its treasures moved out of harm's way.
A colorful setting in the movie was a gallery for erotic art especially created for the film by artist Robert M. Kalafut. The highly original works provided a witty background for the scenes in which Nadia is reluctantly forced to introduce Walter to David early in the picture.