Born to Win opened at the New York Film Festival in October 1971 with an eyebrow-raising billing quirk: Paula Prentiss received top billing even though she appears on screen for roughly three minutes. Director Ivan Passer addressed the curiosity directly at the festival’s press screening, explaining that Prentiss’s agent had demanded the billing — and dryly adding, “After all, what difference does it make?” The episode is a compact example of late-20th-century industry reality: star and agent leverage could (and often did) override on-screen prominence, producing publicity-friendly credits that had less to do with creative importance than with contractual muscle. While not a studio-era morality-clause scandal, the Prentiss billing illustrates how credit manipulation and agent intervention shaped the visible hierarchy of films in the New Hollywood moment and occasionally provoked public snickers or private resentment among casts and crews.
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