According to director Ivan Passer, the production of Born to Win in 1970–71 was unsettled by the mercurial behavior of a young Robert De Niro, who was then a devoted student of Stella Adler and already developing the intensity that would mark his later career. Passer later recounted that De Niro “was nearly fired many times” during shooting because he kept improvising and taking liberties with his small supporting role in ways that threatened to upstage the leads—George Segal and Karen Black. The friction was not the result of drunken on-set brawling or a headline-grabbing scandal but of an actor pushing for definition and emphasis: De Niro employed the Adler techniques he’d been studying to color and enlarge his part, creating tensions with the director’s intentions and the film’s balance. The director ultimately left De Niro in the picture; the anecdote has been retold as an early sign of De Niro’s single-minded craft and the kinds of set clashes that often preceded the great performances he would deliver later in the decade.
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