Brackett and Wilder began filming Sunset Boulevard without the final draft of the script ready. The original scripts carried the title A Can of Beans, chosen so as not to reveal the true nature of the project, which could have led to severe restrictions on the part of the studios, since it was, after all, an expose of the industry they were working in.

The production moved swiftly and without any major problems. The scene with director Cecil B. DeMille was shot on Stage 18 of the Paramount lot, the set of his latest opus, Samson and Delilah. He was seen greeting Norma with a paternalistic affection; this, perhaps, was not even acting, since it was he who gave Gloria Swanson her first leading role during the silent era. When his screen character addresses Norma as "young fellow," audiences were not aware that he was using the fond nickname he often called Swanson when they were doing films together.

How was directing the legendary DeMille handled by Wilder? "I had an agreement with him. I would not tell him how to direct Samson and Delilah. He would not tell me how to direct Sunset Boulevard. He was very professional. I told him what I wanted to do, he said fine, and asked for a fee of $10,000, which I agreed. Later I had to go back to him to ask for an additional close-up. He said, 'Absolutely. That would be another $10,000.'"

Another director was also being handled by Wilder in the film. Erich Von Stroheim, who played Max, was a promising director during the silent era, whose work with Swanson, Queen Kelly, is considered by many to have been the cause of his career's downfall (see section on Gloria Swanson). Von Stroheim, however, made endless suggestions to Wilder. His memory of Hollywood lore contributed to the authenticity of the film. It was Stroheim who suggested that footage from Queen Kelly be used in the film, an ironic choice considering how the film had affected both his and Swanson's careers. Ironic, but apt, making the film even more believable. During filming, Wilder once turned to Von Stroheim, and offered a compliment: "Von, you were always ten years ahead of your time." "Twenty," Von Stroheim corrected.

A major problem for Von Stroheim was the fact that his role would require him to drive the Isotta-Fraschini that Norma owned in the film. He did not know how to drive, and had no sense of coordination. During the scene where Norma makes her return to Paramount Studios, the car was actually being pulled using a rope by several men off-camera. Von Stroheim still managed to hit the gate.

The role was indeed a challenging one for Swanson. That did not stop the people involved from having a little fun on the set. In one scene from the film, Norma impersonates Charlie Chaplin as the Little Tramp. After completing the scene, Swanson saw that the entire cast and crew had all donned Chaplin bowler hats. A publicity shot shows the entire production wearing the hats, with Swanson in the center.

Another little known fact about this production is that although they found the perfect house for Norma's mansion, the house did not have a swimming pool. The pool they constructed had no means of circulating its water, and so after filming, it remained an empty memory from a movie classic. It was used only once more, in a climactic scene of the James Dean starrer, Rebel Without a Cause (1955). The house, built in 1924 for William Jenkins, was part of a divorce settlement for the second Mrs. J. Paul Getty. It was located at 3810 Wilshire Boulevard, and was demolished in 1957. It is currently the site of the 22-story Getty Oil Building.

Schwab's Pharmacy, which was used in the film, was a real Hollywood landmark, where writers and actors often hung out. It is rumored that many a star was discovered at this dive. It was extensively refurbished in the 1950's, after the release of the film, and unfortunately slowly lost its glamour, eventually closing in 1983.

The final scene of the film was truly a memorable shoot for Swanson. She recalled, "The final mad scene raised problems. I had to descend a grand staircase crowded with extras and a few people like Hedda Hopper in a state of derangement, and Billy Wilder wanted me to come down on the side of the stairway where the steps were narrowest. On high heels I would have tripped for sure. I played the scene barefoot. I imagined a steel ramrod in me from head to toe holding me together and descended as if in a trance."

When Wilder yelled, "Cut!," Swanson burst into tears, and the entire set burst into a thunderous applause. They immediately threw a party on the set, to celebrate a truly classic scene that had been captured on film, a scene that would endure for years to come. "We were in a great state of emotion," said Swanson, "Norma Desmond had taken her leave."

Filming was completed on June 18th, 1949.

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