Although opening titles credit “Sandy” the dog as playing himself in the film, official 1981 production notes found in AMPAS library files stated that Sandy was played by Bingo, a six-year-old Otterhound. Production files also indicated that 175 stagehands, Rockettes, and musicians from Radio City Music Hall contributed to the film, but they are not credited onscreen. Four new songs were written for the screen adaptation: “Dumb Dog,” “We’ve Got Annie,” “Let’s Go To The Movies,” and “Sign.”
       The 13-19 May 1977 edition of LA Free Press stated that Thomas Meehan, Charles Strouse, and Martin Charnin, creators of the original stage play, asked $5 million for film rights, and requested an additional $1 million for Mike Nichols to direct. Later that year, a 28 Dec 1977 Var article announced that Columbia Pictures had acquired the property for $9.5 million, reporting that it was the most expensive deal ever made for film rights to a stage musical to date. Columbia expected to begin principal photography in 1980 in order to release the picture in time for the 1981 Christmas holiday. On 7 Oct 1978, DV reported that Herb Ross would direct for producer David Begelman, but a HR news item on 18 Sep 1979 stated that Randal Kleiser was hired to direct based on the success of Grease (1978, see entry). However, Village Voice later revealed on 25 Feb 1980 that the studio chose Kleiser because Ross demanded final cut privileges, giving him authority to determine the final version of the film before its release. Begelman and Kleiser reportedly began considering Carol Burnett for the role of “Miss Hannigan” as early as 5 Oct 1979, according to a DV news item published that day. At that time, Thomas Meehan had been hired to adapt his work for the screen; the $20 million production was scheduled to begin Dec 1980. However, hands changed again when David Begelman took over as president of Metro-Goldwyn-Mayer (M-G-M) and in turn Columbia hired Ray Stark as Annie’s new producer, according to a 13 Dec 1979 HR news item.
       A 7 Mar 1980 DV brief and a 31 Mar 1980 HR item reported that Sean Connery was in negotiations to star as “Daddy Warbucks.” On 4 Apr 1980, HR announced that Randal Kleiser had dropped out of the directorial role and was slated to be replaced by Bob Fosse, but on 9 Apr 1980, HR corrected the story to state that Kleiser was still attached and Stark had instead approached Fosse to play the role of “Rooster.”
       A 23 May 1980 HR news item reported that principal photography was rescheduled to begin May 1981. However, in an article for the 18 Jun 1980 Var, Klesier hinted at “creative differences” between himself and Stark that might cause him to step down. The article also noted that Carol Sobieski was named as the new screenwriter. Despite the 26 Jun 1980 HR report that Francis Ford Coppola was interested in replacing Kleiser and the 7 Jul 1980 DV stating that Herb Ross was once again being considered to direct, DV announced on 23 Jun 1980 that John Huston would direct the picture, and Bette Midler was considering the part of Miss Hannigan. Although DV broke the news of Albert Finney’s casting as Warbucks on 10 Jul 1980, a LAHExam brief on 20 Jul 1980 stated that Cary Grant remained the studio’s top choice. Columbia Pictures’ pre-production notes dated summer 1980 from AMPAS library files stated that the nationwide casting search for “Annie” had been underway since 22 May 1980, with a panel of former child stars acting as advisors. After training finalists at “Annie Academy,” Columbia expected to run screentests and announce the winner by 1 Dec 1980. Filming was set to begin in Mar 1981.
       On 17 Oct 1980, NYT announced that Carol Burnett was officially cast as Miss Hannigan. While various sources including the 3 Sep 1980 Var, the 2 Oct 1980 HR, and the 16 Oct 1980 HR reported that Jack Nicholson, Mickey Rooney, and Mick Jagger, respectively, were all considered to play “Rooster,” an 8 Dec 1980 DV item confirmed that Tim Curry was cast in the role. Dance rehearsals were scheduled to begin 15 Mar 1981 in New York City, while principal photography would take place starting 28 May 1981 in New York City and West Long Branch, NJ.
       A 14 Jan 1981 Columbia press release announced that nine-year-old Aileen Quinn would make her motion picture debut in the title role after competing against over 8,000 other girls in twenty-two U.S. cities and London, England. That same day, Evening Outlook reported Annie producers were secretly negotiating a deal with the Director’s Guild of America (DGA) that would protect the production in the event of a looming strike beginning 1 Jul 1981. A 27 Jan 1981 New Jersey Motion Picture & Television Commission news release stated that filming would begin 4 May 1981 and continue for seven weeks at Monmouth College’s Woodrow Wilson Hall, which was the setting of the Warbucks estate.
       However, the filmmakers remained concerned about the possible strike and principal photography officially began several weeks early on 29 Apr 1981. Rastar reorganized the filming schedule so that all scenes on the East Coast could be shot before the end of Jun 1981; production would then move to Burbank Studios in CA for an additional eight weeks, according to a 29 Apr 1981 HR article. That same day, Var confirmed that filming was underway at Radio City Music Hall in New York City until relocating to Monmouth College, NJ, on 6 May 1981. An article in the 26 Jun 1981 LAT reported that the production had squeezed a week’s worth of New York City filming into three days to avoid the further negative publicity of falling behind schedule. Production files stated that other New York City locations included: Greenwich Village, the Metropolitan Museum of Art, the New York City Public Library, and the Plaza Hotel. The climactic bridge scene filmed with a second unit of stuntmen at the Passaic River in East Newark, NJ. Governor Brendan Byrne visited the set to sign a bill allowing more flexibility for night filming with minors. Props included authentic rare vehicles, including a du Pont and a 1929 Duesenberg J Dual Cowl Phaeton. According to the 1981 UK edition of the “Annie” Official Movie Magazine, Woodrow Wilson Hall was furnished with $80,000 rugs, $20,000 Oriental vases, Louis XV chairs, and props from Hello, Dolly! (1969, see entry), supplied by Burbank Studios and private collectors. A 15 Nov 1981 LAT story reported that budgetary issues arose on the NJ set when producer Ray Stark was forced to hire more Teamster union drivers than anticipated, pushing him $500,000 over the $1 million transportation budget.
       A DV brief on 15 Jul 1981 announced that filming had resumed at Burbank Studios following two weeks’ hiatus for scheduled dance rehearsals. Although various sources listed Robert Kline as Annie’s cinematographer, an article in the 26 Jun 1981 LAT reported that he had been replaced mid-production by Richard Moore, who was to re-shoot a number of exterior scenes and a few possible interiors, including the Radio City Music Hall number, “Let’s Go to the Movies.” All re-shoots were to take place at Burbank Studios. Production notes indicated that production designer Dale Hennesy spent five months constructing a $1 million New York City street on the Burbank Studio lot. However, Hennesy died during filming in Jul 1981; a 28 Aug 1981 LAT story revealed the street was to be kept standing and named “Dale Hennesy Street” in his honor. On 20 Aug 1981, Var reported that newly-hired cinematographer Richard Moore underwent bypass surgery and was replaced by Harry Stradling, Jr., but this report was unconfirmed by other sources and Stradling receives no onscreen credit. The 9 Sep 1981 Var announced that filming was officially completed on 4 Sep 1981, though DV later reported that Carol Burnett, Tim Curry, and Bernadette Peters shot more footage for the “Easy Street” musical number on 4 Nov 1981. On 5 Oct 1981, a HR brief stated that Michelle Della-Save had a role in Annie, but she receives no onscreen credit and her participation remains unknown.
       Before cameras even started rolling, Columbia executives initiated pre-emptive marketing and investment deals in Los Angeles, CA, New York City, Chicago, IL, and Dallas, TX, according to a 1 Apr 1981 Var and a 7 Apr 1981 DV, and just before production concluded, Columbia began arranging distribution and major publicity campaigns. According to the 14 Aug 1981 HR, producers planned to screen thirty minutes of footage to exhibitors in twenty-eight states, hoping to persuade them of the film’s blockbuster potential. A 19 Aug 1981 Columbia press release announced a deal to host fundraising premieres in New York City, Los Angeles, Toronto, Canada, and other cities throughout May and Jun 1981 to benefit public television. A second Columbia release on 24 Nov 1981 declared that Annie would have a featured float in the 1981 Macy’s Thanksgiving Day Parade. On 8 Feb 1982, Columbia issued a statement saying that Los Angeles public broadcasting television station (PBS), KCET, would air a behind-the-scenes special called “Lights! Camera! ‘Annie’!: The Making of a Major Hollywood Musical” on 17 and 21 Mar 1982. According to a 2 Mar 1982 DV news item, PBS scheduled charity galas in over 100 cities between 17 May and 17 Jun 1982. The film would then expand to 1,000 more screens on 18 Jun 1982, followed by an additional 1,000 on 16 Jul 1982. For non-charity-related screenings, the Avco Theatre and Mann’s Chinese Theatre in Los Angeles charged $6 per ticket, which, according to the 14 Apr 1982 HR, set the record for the city’s highest-ever movie admission fee to date.
       Although production notes indicated a final budget of over $35 million, the 13 May 1982 LAHExam estimated a cost of $40 million with an extra $9 million for advertising and prints. The 16 May 1982 LAT calculated over $42 million and $10-13 million advertising, declaring Annie one of the most expensive movies ever made at that time. However, a NYT article on 2 May 1982 detailed the film’s numerous merchandise promotions with companies including Crayola, Random House, Marriott hotels, Sears Roebuck & Co., Knickerbocker Toys, Procter & Gamble, and Ken-L-Ration dog food. An advertisement in the 2 Apr 1982 issue of Publishers Weekly announced that Random House would adapt the film and continue the story of orphan Annie in a paperback book series. The 27 May 1982 DV announced Columbia Pictures’ takeover by Coca-Cola, which resulted in additional product tie-ins. On 4 Jun 1982, Columbia released a statement that Annie had grossed $1,743,534 during its first two-week run in fourteen theatres in New York City and Los Angeles, and by 19 Sep 1982, LAT reported that the $50 million box office returns were still shy of a profit. A correction issued in a 3 Apr 1997 HR brief conceded that Annie was not a “commercial disappointment,” since the musical ultimately returned more than twice its cost to Columbia.
       The film received mixed reviews, though dissenting critics were very vocal. On 19 Sep 1982, LAT published a story about Ray Stark’s poor reaction to negative reviews, reporting that Stark attempted to write a newspaper article and a screenplay bashing film critics.
       The film was nominated for two Academy Awards in the categories of Art Direction and Music (Original Song Score and its Adaptation – or – Adapted Score).
       In addition to the preceding comic strip, Broadway musical, and film adaptations, Stark and Huston’s is just one motion picture version of the Annie story in popular culture. A sequel to the 1982 production titled, Annie: A Royal Adventure!, aired on television in 1995. The Wonderful World of Disney [under The Walt Disney Company] released a television movie-musical version of Annie directed by Rob Marshall (ABC, 7 Nov 1999). As of Oct 2013, Sony Pictures Entertainment began principal photography on another film adaptation of Annie, starring Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz, expected to be released in 2014.
      End credits acknowledge Chicago-Tribune New York News Syndicate, Inc. for the comic strip, Little Orphan Annie®, on which the 1977 stage play Annie was based. The Broadway show was “Originally Presented on the New York Stage” by Mike Nichols, produced by Alvin Nederlander Associates, Inc. and the John F. Kennedy Center for the Performing Arts, Inc.; and “Produced on the New York Stage” by Irwin Meyer, Stephen R. Friedman, Lewis Allen, and Icarus Productions, Inc. The film’s producers also include thanks to Monmouth College in West Long Branch, NJ.