Editing Midnight Run (section)

==Production==
After completing ''[[The Untouchables (1987 film)|The Untouchables]]'', De Niro wanted to try something different and decided to appear in a comedy.<ref name= "Parker, John">{{cite news| last = Parker| first = John| title = De Niro| publisher = Victor Gollancz| date = 1995}}</ref> He pursued the lead role in [[Penny Marshall]]'s film ''[[Big (film)|Big]]''.<ref name= "Parker, John" /> Marshall was interested, but the studio was not, so the role went to [[Tom Hanks]]. [[Martin Brest]], who had directed ''[[Beverly Hills Cop]]'', had developed a script with [[George Gallo]] that blended elements of comedy and action.<ref name= "Parker, John" />

Gallo says that he based the relationship between Jack and the Duke on his own parents. "I don't think they ever realized how funny they were when they were arguing about something," he said. "My father was very emotional whereas my mother was far more calculating. She would let him talk and lead him down alleys and then strike like a cat."<ref name="gallo"/>

Gallo paid tribute to Martin Brest, saying, "Marty was highly focused, where I was a bit more all over the place. I'm not a person who suffers from not having ideas. If anything, I have too many ideas. Marty helped rein me in to stay focused on the main story. This has helped me a great deal since my collaboration with him."<ref name="gallo"/>

[[Paramount Pictures]] was originally interested in backing ''Midnight Run'', but they wanted a big name star opposite De Niro to improve the film's chances at the box office.<ref name= "Parker, John" /> Their production executives suggested that the Mardukas character be changed to a woman, and wanted [[Cher]] for the role in the hope that she would provide some "sexual overtones".<ref name= "Parker, John" /> When Brest rejected the idea, Paramount suggested teaming De Niro with [[Robin Williams]], who became eager to get the role and offered to audition for Brest.<ref name= "Parker, John" /> There was a time when [[Bruce Willis]] was mentioned as a possible co-star.<ref>{{Cite news|title=Casting snags postpone 'Caddyshack' sequel|author=Beck, Marilyn.|date=September 24, 1987|work=Chicago Tribune|page=13C}}</ref>

Brest was impressed by Grodin's audition with De Niro, however, feeling that there was a real chemistry between the two actors. As a result, Paramount backed out, and their [[United International Pictures]] partner [[Universal Pictures]] became interested in the project.<ref name= "Parker, John"/> Paramount president [[Ned Tanen]] claimed that the budget became too high and he decided that "it wasn't worth it".<ref name= "StPete">{{cite news| title = De Niro is Making the Publicity Rounds| work = St. Petersburg Times| pages = 3D| date = May 23, 1988}}</ref> Universal executive [[Casey Silver]] had worked with Brest on ''Beverly Hills Cop'', and he was integral in setting up the project at Universal.<ref>{{Cite news|title=A big deal in Hollywood: Universal's new boss gets down to business|author=Thompson, Anne.|date=November 5, 1987|work=Chicago Tribune|page=D9}}</ref>

To research his role, De Niro worked with real-life bounty hunters and police officers.<ref name= "Regan">{{cite news| last = O'Regan| first = Michael| title = The Private De Niro| work = Sunday Mail| date = July 17, 1988}}</ref> As Walsh uncuffs Mardukas on the train, the latter says, "Thanks, 'cause they're starting to cut into my wrists.'" In fact, Grodin had permanent scars resulting from the handcuffs that he had to wear for most of the film.<ref name= "Grodin, Charles">{{cite news| last = Grodin| first = Charles| title = It Would Be So Nice If You Weren't Here| publisher = William & Morrow & Company, Inc.| date = 1989}}</ref> The scene in which Mardukas falls off of a cliff was shot on location in the [[Salt River Canyon Wilderness|Salt River Canyon]] in the [[White Mountains (Arizona)|White Mountains]] of Arizona. The conclusion, which takes place in river rapids, was shot in New Zealand because the water was "too cold in Arizona".<ref name= "Gelder">{{cite news| last = van Gelder| first = Laurence| title = Off a Cliff, Across an Ocean: Splash!| work = [[The New York Times]]| pages = 19| date = July 21, 1988}}</ref>

"I trusted Marty would choose the material that was most suited for the scene," said De Niro. "He's aware of everything in Chuck's style, in my style. He had to balance all that, and I think he did it very well."<ref>{{cite magazine|url=https://www.rollingstone.com/movies/news/a-rare-talk-with-robert-de-niro-19880825#ixzz427MOZTxq|title=A Rare Talk With Robert De Niro|magazine=Rolling Stone|date=August 25, 1988}}</ref>

[[Yaphet Kotto]] remembered the film as being a difficult shoot.
<blockquote>De Niro is very spontaneous and it always helps to work with an artist like that. But Marty Brest! "Herr Director" shot so many takes of the scenes that I lost all joy in doing the film. It became hard and tedious work. Then he stopped eating during the shoot and became thinner and thinner each day, until he looked like a ghost behind the camera. When I met Marty at the Universal studio with De Niro, he looked healthy and strong, but as filming went on, he began to turn into someone you'd see in [[Dachau concentration camp|Dachau]]. It was weird. I got sick and for the whole of the film I had a fever and was under the weather for most of it ... I was shocked when it came off so funny ... It sure wasn't funny making it.<ref>"Yaphet Kotto" at ''Cult Film Freak''</ref></blockquote>
Universal invested $15 million in a print and television advertising campaign.<ref name= "StPete" />