Cannon’s austerity did not prevent its biggest star from receiving an extraordinary deal: Charles Bronson was offered $4 million to reprise Paul Kersey, more than half of the film’s entire roughly $5 million budget. His influence extended well beyond salary. Writer Gail Morgan Hickman recalled that Bronson would arrive on set, read the day’s pages, and bluntly declare that the material “sucks,” was “stupid,” or contained lines he hated. Because the crew was already prepared to shoot, the changes often had to be made rapidly in the morning before cameras rolled, with more rewrites discussed between takes for the afternoon scenes. Hickman had already produced several competing versions of the story, including a more introspective plot in which Kersey resisted vigilantism, but Cannon executives Menahem Golan and Yoram Globus wanted what Hickman described as a “mindless movie with nonstop action.” The final film therefore became a heavily star-shaped exploitation picture: a stripped-down production in which the lead actor commanded an enormous portion of the budget and exercised unusually direct control over dialogue and action beats.
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