Although a Twentieth Century-Fox picture, this is one of the few Hollywood-made films in which one studio (Fox) acknowledges and names the existence of another (Warner Bros.) and credits them with the introduction of talking pictures. Don Ameche is shown watching a scene from Warner's The Jazz Singer (1927), probably the only instance in Hollywood history where one studio shows another studio's work within a film. (Additionally, many other studios are mentioned in the dialogue, including Pathe, Vitagraph, Famous Players [later Paramount], Metro [later MGM] and United Artists.) Another rarity is that the head of the studio (J. Edward Bromberg) is openly portrayed as being Jewish. In later years, Bromberg was blacklisted and sadly died from a heart attack while performing in a stage play in London, where he sought to restart his career. Fans of W.C. Fields will recognize Russell Hicks who plays the stone-hearted money-man Roberts in this film--as fast-talking con man J. Frothingham Waterbury, who sold Fields shares in the Beefstake Mine in the classic comedy The Bank Dick (1940).
The scene in which Michael Connors steals the partially completed negative of Molly Adair's latest movie to prevent the studio from finishing it without her is based on a real-life incident involving Mickey (1918), Mack Sennett's 1918 feature-length production starring Mabel Normand. The director of the film, F. Richard Jones, was having a pay dispute with Sennett and stole the negative, refusing to give it back until he got the extra money he wanted. Sennett paid him, Jones finished the film, and it was one of the silent era's biggest hits.
One of many films which combined black-and-white and color film stocks.
"Whispering" (music and lyrics by John Schonberger, Richard Coburn and Vincent Rose), sung by Alice Faye, was deleted from the film.