Von Stroheim’s Greed — the obsessive, marathon production that became a byword for silent‑era excess — pushed William Daniels and the camera crew into some of the harshest working conditions imaginable. Daniels recorded that Greed required six weeks of location shooting in Death Valley during July and August 1925, with the entire cast and crew on site enduring heat and a lack of amenities. The photographic nightmare he remembered was not only the desert light but Stroheim’s insistence on absolute realism: Daniels was forced to reconcile stark natural exterior exposures with elaborately illuminated interiors and even agreed to shoot an underground mining sequence in an actual shaft at a depth of 3,000 feet because Stroheim insisted it be literal rather than simulated. Daniels called ‘‘balancing the exposure’’ on those sequences ‘‘hell.’’ The production’s extremes illustrate the period’s appetite for authenticity that could verge on the punitive — and Daniels ended his association with Stroheim soon after, following The Merry Widow in 1925.
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