Charlie Chaplin demanded 342 takes for one three-minute scene in City Lights. Actress Virginia Cherrill played a blind flower girl who mistakes Chaplin for a wealthy man. Her only line was “Flower, sir?”

Chaplin later called Cherrill an “amateur”; he’d hired her as the love interest without even talking to her. Asked why so many takes were necessary, he said, “She’d be doing something which wasn’t right. Lines. A line. A contour hurts me if it’s not right. … I’d know in a minute when she wasn’t there, when she’d be searching, or looking up just too much or too soon … Or she waited a second. I’d know in a minute.”

But it’s also true that Chaplin often worked out a scene on the set, rather than relying on a finished script. “Chaplin rehearsed on film — he’d try out an idea and do it over and over again,” film historian Hooman Mehran, who narrates the segment above, told CNN. “And since he was the director, he couldn’t see his performance, so he had to record it.”

If box-office receipts are adjusted for inflation, Gone With the Wind is still the highest-grossing film of all time, with earnings of $3.4 billion in 2014 dollars.

After the film’s 1939 premiere in Atlanta, playwright Moss Hart wired producer David O. Selznick:

OH, ALL RIGHT, GO AHEAD AND HAVE A VULGAR COMMERCIAL SUCCESS!

Robert Altman’s 1992 film The Player opens with a continuous shot that’s eight minutes long. Altman told one interviewer, “I wanted to make that ridiculously long opening shot because so many people talk about these long opening shots as if they are some achievement in themselves.”

At 1:17, Fred Ward refers to Orson Welles’ 1958 film Touch of Evil, which opens with a three-minute tracking shot of its own (below). Several takes were ruined when the customs man at the end forgot his line, which ruined the entire take. Charlton Heston remembered Welles telling the man, “Look, I don’t care what you say, just move your lips, we can dub it in later. Don’t just put your face in your hands and say, ‘Oh, my God, I’m sorry.'”

A revealing anecdote from Mank, Richard Meryman’s 1978 biography of Herman J. Mankiewicz, co-writer of Citizen Kane:

Herman was a mischievous child. One day after some misdemeanor, Herman was confined to the house by his mother. To keep him there during her absence, she hid the long stockings he needed for his knickers. Herman went to his mother’s room, put on a pair of her stockings, got on his bike, and rode off to the Wilkes-Barre public library, where he loved to browse among the shelves and to read for hours. When he came out, the precious bike was gone — stolen. Herman’s punishment was permanent. His father never bought him another bike. His mother answered Herman’s pleas by telling him it was all his own fault.

Meryman concludes, “Rosebud, the symbol of Herman’s damaging childhood, was not a sled. It was a bicycle.”

In Willy Wonka & the Chocolate Factory (1971), just after Charlie buys a chocolate bar, he discovers a commotion at a newsstand: The finder of the fifth ticket, a “gambler from Paraguay,” has been declared a fraud.

“Can you imagine the nerve of that guy, trying to fool the whole world?” says one man.

“Boy, he really was a crook,” says another.

The man pictured in the newspaper is Martin Bormann, Adolf Hitler’s private secretary.

For his 1991 film Backdraft, director Ron Howard wanted fire to have a “brain,” like the shark in Jaws. So sound designer Gary Rydstrom added animal growls and howls to the sound of the flames. “You don’t hear them as animal sounds, but subconsciously it gives it an intelligence or a complexity it wouldn’t normally have.”

“For the suck in of air we used coyote howls. It wasn’t just a simple wind — it was more intelligent.”

“A lot of the fireball explosions were sweetened with monkey screams and different animal growls. Cougars make a great fire explosion sweetener. There’s a complexity to natural sounds, especially animal sounds, that is really wonderful.”

(From Vincent LoBrutto, Sound-on-Film, 1994.)

Until her death in 2010, film editor Sally Menke edited all of Quentin Tarantino’s films. He called Menke “hands-down my number one collaborator,” saying, “The best collaborations are the director-editor teams, where they can finish each other’s sentences.”

Because these films were edited in rented houses rather than in studio suites, Menke’s work was largely done alone. To keep her from getting lonely, Tarantino invited his cast and crew to address the camera between takes and say, “Hi, Sally!”