The Paper - Production

Production

Screenwriter Stephen Koepp, a senior editor at Time magazine, collaborated on the screenplay with his brother David and together they initially came up with "A Day in the Life of a Paper" as their premise. David said, "We wanted a regular day, though this is far from regular." They also wanted to “look at the financial pressures of a paper to get on the street and still tell the truth.” After writing the character of a pregnant reporter married to the metro editor (that Marisa Tomei ended up playing in the film), both of the Koepps' wives became pregnant. Around this time, Universal Pictures greenlighted the project.

For his next project, Ron Howard was looking to do something on the newspaper industry. Steven Spielberg recommended that he get in touch with David Koepp. Howard intended to pitch an idea to the writer who instead wanted to talk about how much he loved the script for Parenthood. The filmmaker remembers, “I found that pretty flattering, of course, so I asked about the subject of his work-in-progress. The answer was music to my ears: 24 hours at a tabloid newspaper." Howard read their script and remembers, “I liked the fact that it dealt with the behind-the-scenes of headlines. But I also connected with the characters trying to cope during this 24-hour period, desperately trying to find this balance in their personal lives, past and present.”

To prepare for the film, Howard made several visits to the New York Post and Daily News (which would provide the inspiration for the fictional newspaper in the film). He remembers, “You'd hear stuff from columnists and reporters about some jerk they'd worked with ... I heard about the scorned female reporter who wound up throwing hot coffee in some guy's crotch when she found out he was fooling around with someone else." It was these kinds of stories that inspired Howard to change the gender of the managing editor that Glenn Close would later play. Howard felt the Koepps' script featured a newsroom that was too male-dominated. The writers agreed and changed the character's name from Alan to Alicia but keep the dialogue the same. According to David Koepp, "Anything else would be trying to figure out, 'How would a woman in power behave?' And it shouldn't be about that. It should be about how a person in power behaves, and since that behavior is judged one way when it's a man, why should it be judged differently if it's a woman?"

Howard met with some of the top newspapermen in New York, including former Post editor Pete Hamill and columnists Jimmy Breslin and Mike McAlary (who inspired Randy Quaid’s character in the movie). They told the filmmaker how some reporters bypass traffic jams by putting emergency police lights on their cars (a trick used in the movie). Hamill and McAlary also can be seen in cameos.

Howard wanted to examine the nature of tabloid journalism. "I kept asking, 'Are you embarrassed to be working at the New York Post? Would you rather be working at the Washington Post or the New York Times?' They kept saying they loved the environment, the style of journalism.” The model for Keaton’s character was the Daily News' metro editor Richie Esposito. Howard said, “He was well-dressed but rumpled, mid-to-late 30s, overworked, very articulate and fast-talking. And very, very smart. When I saw him, I thought, that's Henry Hackett. As written."

The director also was intrigued by the unsavory aspect of these papers. "They were interested in celebrities who were under investigation or had humiliated themselves in some way. I could see they would gleefully glom onto a story that would be very humiliating for someone. They didn't care about that. If they believed their source, they would go with it happily.”

In addition to being influenced by Ben Hecht and Charles MacArthur’s famous stage play The Front Page, Howard studied old newspaper movies from the 1930s and 1940s. Howard said, “Every studio made them, and then they kind of vanished. One of the reasons I thought it would make a good movie today is that it feels fresh and different.”

One of Howard’s goals was to cram in as much information about a 24-hour day in the newspaper business as humanly possible. He said, “I'm gonna get as many little details right as possible: a guy having to rewrite a story and it bugs the hell out of him, another guy talking to a reporter on the phone and saying, 'Well, it's not Watergate for God's sake.' Little, tiny - you can't even call them subplots - that most people on the first screening won't even notice, probably. It's just sort of newsroom background.’”