After principal photography ended, Days of Heaven nearly disappeared into its own editing room. Malick struggled for approximately two years to find a coherent flow, and editor Billy Weber recalled that the director eventually discarded large amounts of conventional dialogue. The breakthrough came from 15-year-old Linda Manz, whose role had expanded after Malick was impressed by her streetwise presence. He asked her to improvise narration as Linda, and Manz later described the process bluntly: she watched the film and 'rambled on,' while the filmmakers selected the lines they liked.
The result was not a polished explanation of the plot but a drifting, impressionistic commentary that frequently seems only obliquely connected to the adults' deception, violence, and doomed romance. It became the structural device that allowed Malick to assemble the fragments of his sprawling footage. The production even required additional inserts in Los Angeles after the main shoot: a close-up of Sam Shepard was filmed beneath a freeway overpass, while Richard Gere's underwater fall was shot in a large aquarium in Sissy Spacek's living room. These unusual post-production solutions helped transform a troubled, overlong assembly into the film's now-famous dreamlike form.
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