Robert De Niro's Cady accent came from an earlier role where he played a southerner. To prepare for the role, De Niro took excerpts of the script and a tape recorder into southern towns and would ask locals to read the lines into the tape.
Steven Spielberg was originally set to direct. He later recommended Martin Scorsese for the job and personally called the director, letting him know that this was a commercial film that had potential to be a hit, which would exercise more power for Scorsese to make his films.
Originally in the scene where Cady puts handcuffs on Lori, she was supposed to start freaking out, Illeana Douglas was the one who came up with the idea of having her character laughing and trying to play along instead.
In the original script, Leigh only met Max Cady at the end. Jessica Lange suggested the scene where they talk outside her house be added to the script, because she felt there should be a meeting between the two before the climax.
Gregory Peck, who starred in Cape Fear (1962), appears as Cady's lawyer. Robert Mitchum played Max Cady in the 1962 version, and appears as Lieutenant Elgart. Martin Balsam played Mark Dutton in the 1962 version and the judge in this version.
Both Robert De Niro and Nick Nolte had to alter their physiques for the film because the 6'0", bulky, Nolte is clearly larger than the 5'9", slimmer De Niro. Nolte slimmed down, losing a good deal of weight, while shooting the film and De Niro bulked up his muscles considerably until De Niro could be seen as Nolte's physical superior. Interestingly the original Sam Bowden (Gregory Peck 6'3" at his peak) was also slightly taller than the original Max Cady (Robert Mitchum 6'1" at his peak).
The climactic scene out in the swamp was filmed in John U. Lloyd State Park, in the middle of a mangrove swamp. A tropical depression set over the set for four days, so the film crew had to wait for the storm to stop so that they could make their own rain.
Martin Scorsese wanted the Bowdens' house surrounded by oak trees, covered by hanging tufts of Spanish moss. He wanted it so it looked like a sunny oasis by day, and isolating by night. Therefore, it would make a perfect dark cover for Cady.
During the opening sequence Max Cady is seen working out in his cell and the camera pans over his jail time reading material. One of the books featured is The Cell Within by Jake Manning. This is not a published work and only exists as part of a Miami Vice (1984) storyline. In Miami Vice: The Cell Within (1989), Tubbs is tormented and imprisoned by the author Jake Manning, an ex-con he helped convict years before.
This was the first film Martin Scorsese shot in the wider 2.39:1 aspect ratio, as opposed to the smaller 1.85:1 ratio in which he had filmed all his previous works (excluding New York, New York (1977), which was shot in 1.66:1).
Former wrestler Dan Spivey's short-lived 1995 WWE gimmick Waylon Mercy was based on Max Cady. Windham Rotunda's WWE gimmick Bray Wyatt has elements of Waylon Mercy and thus is influenced by Max Cady by default.
Lori, talking with Max, says, "Now weren't I the bozo on this bus!" - a reference to the 1971 album by The Firesign Theatre called "I Think We're All Bozos on this Bus". A reference like this may seem against period, but Martin Scorsese, like the Firesign Theatre players, was part of the counter-culture scene of the '60s and early '70s. Considered with other elements in the script, such as the lax attitude toward marijuana, this doesn't seem so out of character.
When Max Cady tells Bowden to "check out the Bible, Councilor, the Book between Esther and Psalms," he's referring to the Book of Job. This is its placement in the Christian Bible. In the original Hebrew Bible, the Book of Job is in between Proverbs and Song of Songs, the latter being the first of the Five Megillot (Scrolls).
The opening of the movie is very similar to the opening of Hitchcock's "Vertigo" both visually (the red/black fade of female face) and musically (Elmer Bernstein emulating Bernard Hermann's original score).
Lori, talking with Max, says, "Now weren't I the bozo on this bus!" This is a reference to a famous LP record album by the Firesign Theatre, released in 1971, and entitled "I Think We're All Bozos on this Bus". A reference like this may seem against period, but Scorsese, like the Firesign Theatre players, was part of the counter-culture scene of the '60s and early '70s. Considered with other elements in the script, such as the lax attitude toward marijuana, this doesn't seem so out of character.