Funny Lady suffered a sharp creative rupture almost immediately after filming began. Vilmos Zsigmond, one of the most respected cinematographers of the era, was hired as director of photography, but producer Ray Stark dismissed him after fewer than three days because Stark disliked the footage. The disagreement was fundamentally aesthetic. Zsigmond and camera operator Nick McLean later said that Zsigmond had pursued a darker, more naturalistic visual style influenced by films such as Cabaret, while Stark wanted the brighter, more stylized and classically glamorous look associated with Hollywood musicals. Stark considered the early material too dark and realist for the lavish Barbra Streisand vehicle he was producing. Rather than merely adjusting the lighting or photography, he removed the cinematographer almost at once, creating an unusually abrupt and expensive production shake-up. Stark then persuaded the ailing James Wong Howe to come out of semi-retirement and finish the picture. Howe's work earned him an Academy Award nomination, but the changeover became part of the film's behind-the-scenes lore: a major cinematographic talent was sacrificed because producer and cameraman fundamentally disagreed over whether the film should look like a modern realist drama or a grand old-fashioned studio musical.
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