Curtis Hanson’s first feature, Sweet Kill (1973), is as notable for the on-set and financing drama as it is for the film itself. Hanson wrote the script for a $130,000 picture and approached low‑budget titan Roger Corman to produce; Corman originally agreed to underwrite two‑thirds of the budget but reneged, leaving Hanson scrambling. According to Hanson, Corman then insisted on a story change — turning his originally female killer into a man because, in Corman’s view, the film was “a little too different” otherwise — and exerted editorial control that left Hanson feeling stripped of his vision. Desperate to keep the project alive, Hanson convinced his parents to mortgage their home to cover the shortfall. The experience left him scarred: he later described Sweet Kill as a “very unhappy” experience, an early lesson in how producers could commandeer a film’s creative direction and finances in the pre‑independent era.
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