Born to Win carries a small but telling piece of credit-room drama from the transitionary business practices of early 1970s filmmaking. Paula Prentiss — who appears on screen for roughly three minutes — nonetheless received top billing on the picture. At the New York Film Festival press screening in October 1971, director Ivan Passer bluntly explained the why: her agent demanded it. The anecdote exposes how agent leverage and negotiated contractual points could override dramatic logic, even on an independent-spirited New Hollywood production. The film itself was the first effort from a new production company founded by star George Segal and producer Jerry Tokofsky; yet even with that independent context, traditional credit bargaining still held sway. Passer’s bemused public response — "After all, what difference does it make?" — has endured as a pointed footnote about billing politics, a reminder that in Hollywood the poster and the contract can be battlegrounds as much as the set.
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