Patton was largely shot across Spain—a choice driven less by scenery than by economics and geopolitics. Under Francoist currency controls, American studios could not repatriate box-office takings in the normal way; shooting films in Spain became a practical method to recoup those blocked earnings. Twinned with the lure of cheap Spanish labor and vast stocks of US World War II surplus equipment, Spain became a magnet for 'runaway productions.' The Patton unit exploited those conditions: interior photography in Seville, Tunisia and Sicily stand-ins in Almería, and French and German doubles in Pamplona and Segovia. The practice had long-term consequences—shaping where epic war films were made, creating economic dependencies with authoritarian regimes, and becoming a routine studio tactic to maximize profit and limit currency risk during the era of international shooting.
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