The 9 Apr 1962 DV reported that producer Ely Landau was considering director David Miller for the project. Location filming was planned for FL, as stated in the 12 Apr 1962 issue. Months later, the 19 Dec 1962 Var noted that the $3 – 4 million production would be filmed in Los Angeles, CA.
       Beginning 23 Jan 1963, Landau placed a series of classified advertisements in Var soliciting child actors, especially for the lead role of “George Mellish,” described as a “Huckleberry Finn type.”
       A news item in the 20 Feb 1963 LAT stated that movie-industry veteran Irving Asher had been hired as “co-ordinator” of the Landau Company, with The Fool Killer as his first assignment. Three months later, the 20 May 1963 LAT announced Anthony Perkins for the title role, with Jose Quintero as director. The 17 Apr 1963 NYT reported that the film would mark the screen debut for stage actor Hal Holbrook. He was later replaced by Henry Hull. Meanwhile, Perkins and Quintero were scouting locations in Knoxville, TN, according to the 24 Apr 1963 NYT. That same day’s Var noted that art director Rudy Stenard arrived soon after, accompanied by “continuity artist” Joe O’Malley and “set construction expert” Bud Pine, to prepare locations for the start of filming. The 4 Sep 1963 Var identified the Chillhowee Park auditorium as “the main studio,” and Knoxville resident Flemming Reeder as assistant associate producer. Also employed on location was Sam Orleans of Knoxville-based Sam Orleans Film Productions, Inc., as stated in the 15 Jul 1964 Var.
       In her 27 Apr 1963 LAT column, Hedda Hopper claimed that 100 boys auditioned for the film, although she recommended child star Ron Howard. The role ultimately went to first-time actor Edward Albert, son of actors Eddie Albert and Margo. The boy was housed in a motel with his mother and sister during production, according to the 20 Jun 1963 LAT. The 15 May 1963 Var reported that actress Salome Jens was rehearsing for the picture during the day while appearing in Desire Under the Elms in New York City.
       Principal photography began 30 May 1963, as stated in the 12 Jun 1963 Var. Jose Quintero was to be paid $25,000 and two percent of gross receipts. One week after filming began, the 8 Jun 1963 NYT announced that Quintero had resigned as director, siting “artistic differences” with Landau and his “producer on location,” Servando González. The remaining six weeks of shooting were expected to continue uninterrupted, under the direction of González.
       An article in the 4 Sep 1963 DV mentioned that Landau paid company members for seven days of work while on location, regardless of whether or not they had Sundays off, adding approximately $200,000 to production costs. After stating his intention to discontinue the practice, a letter appeared in the 16 Oct 1963 Var from reader Paul Caster, who accused González and director of photography Alex Phillips, Jr., of wasting the company’s time and Landau’s money by wandering the countryside in search of locations while the cast and crew waited to resume work.
       Photography was completed in early Aug 1963, as noted in the 12 Aug 1963 LAT and 14 Aug 1963 Var. A production chart in the 1 Nov 1963 DV stated that filming resumed on 7 Oct 1963, although this may be a misprint.
       The 10 Dec 1963 NYT reported that Jerome Moross was hired to write the musical score. He was later replaced by Gustavo César Carrión. Rerecording was underway on 21 Feb 1964, when Edward Albert arrived at Paramount Studios in Los Angeles to loop portions of dialogue. A news item in the 3 Jun 1964 Var stated that González would finish editing the picture during a ten-day visit to New York City. Seven months later, the 9 Jan 1965 NYT announced the upcoming release by Allied Artists (AA).
       The Fool Killer was scheduled to premiere in Knoxville on 28 Apr 1965, according to the 21 Apr 1965 Var. The event coincided with the dedication of the newly-completed James Agee Film Studio. Among those in attendance were Anthony Perkins, Ely Landau, AA president Claude Giroux, Servando González, Henry Hull, Salome Jens, and Edward Albert, accompanied by his parents. A positive review in the 28 Apr 1965 DV advised that the film could be a commercial success with the right marketing campaign.
       On 17 Nov 1965, Var reported that Landau and his new business partner, Oliver A. Unger, ended their distribution agreement with AA, but expected to continue with the company if a new deal was not forthcoming. Five weeks later, the 22 Dec 1965 Var announced American International Pictures (AIP) as the Landau-Unger Company’s new U.S. distributor. The 22 Jul 1966 DV listed the film under its new title, A Violent Journey, among releases scheduled for Oct 1966.
       An article in the 18 Jun 1969 Var revealed that no release date was ever confirmed. Landau’s former partner, Jack J. Dreyfus, Jr., acquired all theatrical rights and twenty percent of television rights to the film in 1966. Commonwealth United purchased the Landau-Unger Company in 1967.
       The 2 Oct 1963 Var stated that a “film edition” of Helen Eustis’s 1954 novel was to be published by Popular Library. Rights for the musical score were acquired by Aaron Schroeder Music, as noted in the 15 Apr 1964 Var.
       Some sources state that Jack Dreyfus, Jr., reedited the film and rereleased it in 1969. Sources conflict in crediting film editor.