Erich von Stroheim’s notorious production of Greed (mid‑1920s) subjected cast and crew to punishing conditions in the name of authenticity, and William H. Daniels’ testimony captures the physical toll. Daniels recounts that the company spent six weeks shooting in Death Valley in July and August 1925, enduring intense heat and a lack of basic amenities while trying to light and photograph long outdoor sequences. Even more extreme was Stroheim’s insistence on shooting an underground mining sequence in an actual shaft “at a depth [of] 3000 feet (915 meters)” rather than on a safer, shallower set — a decision Daniels found both unnecessary and hazardous. Technically, Daniels described balancing the exposure between natural exteriors and artificially lit interiors (notably a marriage-sequence in San Francisco) as “hell,” revealing how von Stroheim’s obsession with realism created logistical nightmares and real danger for his crews. Daniels’ growing dismay with these extremes contributed to the end of his working relationship with von Stroheim after The Merry Widow in 1925.
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