La Soif du mal

Janet Leigh's agent initially rejected her participation in this film due to the low salary offered without even consulting the actress. Orson Welles, anticipating this, sent a personal letter to the actress, telling her how much he looked forward to their working together. Leigh, furious, confronted her agent telling him that getting directed by Welles was more important than any paycheck.

The car that blows up four minutes into the film has the Texas plate AG 3724; 32 minutes into the film, police car number 10 also has the Texas plate AG 3724.

Opening statement (restored version): In 1957, Orson Welles completed principal photography on TOUCH OF EVIL and edited the first cut. Upon screening the film, the Studio felt it could be improved, shot additional scenes and re-edited it. Welles viewed this new version and within hours wrote a passionate 58-page memo requesting editorial changes. This version represents an attempt to honor those requests and make TOUCH OF EVIL the film Orson Welles envisioned it to be. "... I close this memo with a very earnest plea that you consent to this brief visual pattern to which I gave so many long hard days of work." -- Orson Welles

A new version, running 111 minutes, has been restored by Universal and debuted at the Telluride Film Festival in September 1998. This version has been re-edited according to Orson Welles' original vision, as outlined in a 58-page memo that the director wrote to Universal studio head Edward Muhl in 1957, after Muhl took editing out of Welles' hands. The new version has been prepared by editor by Walter Murch, sound recordists Bill Varney, Peter Reale and Murch, and picture restorer Bob O'Neil under the supervision of Rick Schmidlin and film critic Jonathan Rosenbaum. One difference between the two versions is that the famous opening tracking shot is now devoid of credits and Henry Mancini's music, featuring only sound effects.

Edited into American Cinema: Film Noir (1995)