Even after Burt Reynolds secured the chance to make The End, the studio tried to reshape the central character into a more commercially recognizable version of the star. Executives objected to Reynolds appearing with a beard and wanted Sonny Lawson’s profession changed from an unscrupulous Los Angeles real-estate promoter to a stock-car racer—an image much closer to the action-oriented persona that had made Reynolds one of the decade’s biggest box-office attractions. Reynolds refused both changes, insisting that the character’s emotional nakedness was essential to the film. He later said Sonny was far closer to his real personality than audiences assumed, particularly in the scenes where the character breaks down in the doctor’s office. The resistance illustrated the Golden Age studio habit that still lingered in 1970s commercial filmmaking: even an established star could be pressured to preserve a marketable screen image when attempting something as bleak and unconventional as a suicide comedy.
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