Editing One, Two, Three (section)

==Production==
[[File:Lichterfelde Hildburghauser Straße Coca-Cola-003.JPG|thumb|Former Coca-Cola headquarters in Hildburghauser Strasse 224, used in the film.]]
{{Quote| We knew that we were going to have a comedy, we [were] not going to be waiting for the laughs. But we had to go with Cagney, because Cagney was the whole picture. He really had the rhythm, and that was very good. It was not funny. But just the speed was funny ... The general idea was, let's make the fastest picture in the world ... And yeah, we did not wait, for once, for the big laughs.|source= —From ''Conversations with Wilder'' (1999, {{ISBN|0-375-40660-3}}) by [[Cameron Crowe]]<ref name="tcm"/>}}

Cagney decided to take the role primarily because it was to be shot in Germany: while growing up in Manhattan's [[Yorkville, Manhattan|Yorkville neighborhood]], he had had fond memories of the area, which was "teeming with [[German American#19th century|German immigrants]]."<ref name="tcm"/>  [[Horst Buchholz]] was a young European actor who had recently finished ''[[The Magnificent Seven]]'' with [[Yul Brynner]], [[Eli Wallach]] and [[Steve McQueen]]; during the production, he became the only actor that Cagney ever openly disliked.<ref name="tcm"/>

{{Quote | It is very interesting that not until the very end of my career did I meet an unco-operative fellow actor. As I review the pictures I’ve been in, I realize that each and every actor I worked with had a part in shaping my summary views on acting. We all worked together rewardingly with what I hope was mutual enrichment. I never had the slightest difficulty with a fellow actor until the making of ''One, Two, Three''. In that picture, Horst Buchholz tried all kinds of scene-stealing didoes, and I had to depend on Billy Wilder to take some steps to correct this kid. If Billy hadn't, I was going to knock Buchholz on his ass, which at several points I would have been very happy to do. |source= —From ''Cagney By Cagney'' (1976, {{ISBN|0-385-04587-5}}) }}

Wilder was filming in Berlin the morning the [[Berlin Wall#Construction|Berlin Wall went up]], forcing the crew to move to [[Munich]].<ref name="time2011"/> During [[principal photography]], Wilder received a call from [[Joan Crawford]], recently appointed to the board of directors of [[Pepsi-Cola]] following her husband [[Alfred Steele]]'s death.  In response to Crawford's protests over the use of the Coca-Cola brand in the film, Wilder scattered some references to Pepsi, including the final scene.<ref>{{cite book| title=Joan Crawford, A Biography| year=1978 | first= Bob |last= Thomas| author-link= Bob Thomas (reporter) | page=212| publisher=[[Simon & Schuster]]}}</ref> Some scenes were shot at [[Bavaria Film Studios]].<ref name="tcm"/><ref>[https://www.ardmediathek.de/video/br-retro/bavaria-filmstudios-1961-aufbau-brandenburger-tor-fuer-billy-wilder-satire/br-fernsehen/Y3JpZDovL2JyLmRlL3ZpZGVvLzI2NDIyOWUxLTVmYzYtNGVkZS04YTRhLTBjNWZhNzRkNWJlMQ remake of the Brandenburger Tor at Bavaria Filmstudios 1961] filmed 21.07.1961 by BR, 4 min. b/w </ref>

The theatrical release poster for the film, with a woman holding three balloons, was designed by [[Saul Bass]]. The Bass designed poster that Wilder originally intended for the film's release featured a United States style flag sticking out of a Coca-Cola-style bottle. The poster had to be replaced, however, when [[Coca-Cola]] threatened legal action against [[United Artists]] for copyright infringement.<ref>Kirkham, Pat & Jennifer Bass (2011) ''Saul Bass: A Life in Film & Design''(p. 158). London: Laurence King</ref>