The working title was Eyes, but, according to an item in the 28 Apr 1978 HR, producer Jon Peters changed the title to The Eyes of Laura Mars as soon as filming wrapped. Although the 7 Jul 1978 HR also refers to the movie’s title as The Eyes of Laura Mars, the final title is simply Eyes of Laura Mars.
       End credits list Raul Julia’s full name but opening credits list him only as R.J.
       The end credits listing “Gallery Photographs by Helmut Newton,” “Special Photographic Consultant Rebecca Blake” and “Eyes of Mars Photographs by Rebecca Blake” were disputed by Rebecca Blake. An article in the 11 Sep 1978 LAHEXam reported Blake’s contention that just two of Newton’s photographs appeared in the opening scene at a gallery, and the rest of the photographs exhibited were Blake’s. Executive producer Jack Harris disagreed and said that approximately six of Newton’s photographs were used in that scene. Harris stated they were legally required to give a credit to Newton, so he received the gallery credit while Blake got the other two credits for her work. Harris also noted that an exhibit in New York of Blake’s photographs was financed as part of the film’s publicity. Blake’s 4 Sep 1978 letter to the editor of Village Voice acknowledged that her collection “Through the Eyes of Rebecca Blake,” which included photographs taken for Eyes of Laura Mars, was exhibited at the opening night party. She chose to pursue legal action, however, because the “misrepresentation of who did what caused her embarrassment both personally and professionally.” An item in the 26 Jul 1980 NYT reported that Blake’s lawsuit against producer Jon Peters and Columbia Pictures had been settled. Blake received financial compensation and acknowledgment that her work was not accurately credited in the film.
       A 26 Jul 1976 HR item reported that, after two years on the project, Jon Peters had finished work with John Carpenter on the screenplay based on Carpenter’s idea. An article in the 15 Feb 1978 LAT reported the there were five writers on Eyes of Laura Mars, including Carpenter and playwright Julian Barry. According to an article in the 26 Aug 1976 LAT, director Michael Miller said he was also working on Carpenter’s script but Miller left the production due to “creative differences” and David Zelag Goodman was hired to work on the script. Final screen credit was attributed as “Screenplay by John Carpenter and David Zelag Goodman” and “Story by John Carpenter.” Irvin Kershner replaced Miller as director.
       According to Army Archerd’s column in the 29 Aug 1977 DV, Faye Dunaway would receive $1 million for starring in the film. A 3 Aug 1977 LAHExam item reported that Faye Dunaway would decide on her leading man, but he would not be another famous actor since this was a starring vehicle for Dunaway. The 13 Apr 1978 LAT noted this would be Dunaway’s first film since receiving an Academy Award for Network. Items in the 5 Oct 1977 HR and the 5 Oct 1977 DV noted that real-life fashion models Lisa Taylor and Darlanne Fleugel would make their screen debuts in the film. A 21 Oct 1977 DV item reported it was also the film debut of Bill Boggs, a NY television celebrity.
       A 26 Jul 1976 HR article noted that the film would be the first in Jon Peters’ three-picture deal with Columbia Pictures. The project was budgeted at approximately $3 million with a planned February start. An article in the 18 Nov 1977 HR reported this was Peters’ first time producing by himself. He had previously shared producing responsibilities with his then girlfriend, Barbra Streisand, on A Star Is Born, which, according to an interview in the 13 Apr 1978 LAT, would have been extremely difficult for any novice producer, let alone someone whose background was in hairdressing. And now Peters was working with another strong-willed actress. The article reported Dunaway was nervous about her first post-Oscar film, was struggling in her marriage to Peter Wolf and had to lose forty pounds for the movie. Peters noted it was a difficult and emotional set, but felt that his nineteen years as a hairdresser made him adept in that type of environment. Additionally, as reported in 17 Oct 1977 People, his hairdressing background also came into play when the hands-on producer flew to New York to color Dunaway’s hair during production.
       Filming began in New York on 17 Oct 1977. According to the 18 Nov 1977 HR, Peters wanted to keep “the provocative visuals, unusual photographic tricks and twist-plot” a surprise. He also insisted on secrecy so that TV networks or low budget producers could not copy the story and rush out inexpensive versions. Indoor sets were closed, but outdoor shooting was not so private, therefore those scenes were set up so that observers would not necessarily understand exactly what was happening. For example, according to production notes from the AMPAS library, a sequence filmed over four days at Columbus Circle in New York City involved a moment where Faye Dunaway seemed unable to finish the scene. Bystanders did not fully understand she was playing a pivotal scene in the movie. Production notes also reported that, unbeknownst to pedestrians, hidden cameras filmed a chase sequence featuring Tommy Lee Jones and Brad Dourif in New York’s “Hell’s Kitchen.” The photography studio was filmed by the Hudson River in a deserted passenger terminal that had plenty of room for the various set requirements, including an overhead walkway, a glassed atrium and an indoor pool. Filming of the “Soho art gallery” exhibition actually took place at the Jersey City Armory. The movie also filmed at Ferncliff Cemetery in Hartsdale, New York. An item in the 11 Jan 1978 Var reported the film shot entirely in New York and New Jersey, and the 56 day shoot ended with a car crash filmed on East 106th Street.
       A 15 Feb 1978 LAT article reported that the secrecy continued throughout the editing process, and Peters allowed only the projectionist and editor, Michael Kahn, in the editing room. Columbia had moved the film’s release from September to July, and editing was due to be finalized in mid-April. The 5 Jul 1978 Var reported the movie would be released on August 2 after a “tri-pronged $6 million pre-sell campaign.” Peters, as head of the J.P. Organization, felt that management of the campaign by his company was critical to its success. Peters’ duplicated his promotional campaign from A Star Is Born by setting up radio spots, pre-selling an Eyes of Laura Mars Bantam paperback book, and releasing the soundtrack album in mid-July. Barbra Streisand did not appear in the film, but a 7 Jul 1978 HR article noted she sang the title song. Streisand’s single, “The Theme from Laura Mars (Prisoner)” would be released before the movie opened because, as noted in the 5 Jul 1978 Var article, Peters’ planned to create a hit song to help build advance interest in the film. As noted in the 7 Jul 1978 HR article, Streisand’s music label, Columbia, was not affiliated with Columbia Pictures, which had its own recording label, Arista.