Prior to the start of production, filmmakers decided to change the title of the film from The Rear Car to Red Lights, as noted by the 20 Jan 1923 Exhibitor’s Trade Review. The former title derived from Edward E. Rose’s stage play, which writer Carey Wilson used as the basis for the screen adaptation. Items in the Feb 1923 Photodramatist and 24 Feb 1923 Exhibitor’s Trade Review indicated that filming was underway on the Goldwyn lot in Culver City, CA. Four months later, the Jun 1923 Educational Screen announced that the picture was completed. Reviews in the 16 Sep 1923 FD and Nov 1923 Educational Screen enthused about the “thrilling” use of mechanical effects, and predicted that the picture would satisfy audiences. On 20 Sep 1923, Var reported that Red Lights grossed $45,950 in a “terrific week” at the Capitol theater in New York City.
       Articles in the 15 Jan 1923 Var and 27 Jan 1923 Exhibitors Trade Review noted that Red Lights would be the first picture made under Goldwyn’s new “unit system” of production, which would allow directors to put together a staff entirely devoted to the making of a particular film. The studio’s goal was to minimize input from Goldwyn department heads, and give “free rein” to each director’s “individuality and personality.” In addition to the new production system, Goldwyn installed a printing plant, so that release prints could be made on the lot, rather than sent elsewhere for developing and printing. Var and the 15 Dec 1922 FD noted that in addition to Carey Wilson, the “unit” involved in making Red Lights included producer Marshall Neilan, director Clarence G. Badger, production manager Charles Hunt, photographer Rudolf Bergquist, and Frances Marion, who was tasked with writing the subtitles.
       An item in the “Flashes from Frisco” column in the 17 Feb 1923 Camera reported that Goldwyn executive Ray Moore was in San Francisco, CA, the previous week to purchase a private train car from the Pullman company “to be used as a set in ‘The Rear Car.’”