What began as a high-profile Blake Edwards–Julie Andrews vehicle turned into a paradigmatic studio-versus-director debacle. Edwards signed a four-picture deal with Paramount in 1967 that included Darling Lili; Julie Andrews was hired at a then-enormous $1.1 million plus a promised 10% of profits. From the outset Paramount executives imposed creative and logistical demands that ballooned the production: Edwards wanted to shoot aerial dogfights in South Carolina but the studio forced the production to use the expensive Irish replica fleet (extras left over from The Blue Max), costing roughly $70,000 a day for second-unit aerial work. Political unrest in Europe after the May 1968 protests pushed planned Paris shooting into Brussels, then much of principal photography wound up in Belgium at an equally ruinous $50,000 a day. What Paramount budgeted at single-digit millions became, through mandated locations and expansive second-unit aerial work, a runaway production that finished with a final cost reported around $25 million—making it one of Paramount’s priciest musicals.
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