Dominick Dunne described the atmosphere surrounding Ash Wednesday with unusual candor, admitting that many people involved in the production were drinking too much—including himself—and that some were also “snorting too much,” again including Dunne. He presented the substance use as part of a wider breakdown involving mounting delays, escalating costs, and frayed professional relationships rather than as a single sensational incident. The production was further complicated by Dunne’s prior knowledge of screenwriter Jean-Claude Tramont: when Dunne had worked as a stage manager in 1950s New York, he had known Tramont under the name Jack Schwartz, when Schwartz was a pageboy. Dunne said that this history created additional complications on top of the film’s already serious scheduling and budget problems. Despite the disorder, Taylor’s performance earned a Golden Globe nomination, giving the troubled production a measure of critical legitimacy after its chaotic shoot.
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