efficiency. Daly was permitted to read the drafts of the script developed by Riesner and had significant leeway in the development of her character, although after seeing the film at the premiere, was horrified by the extent of the violence. Regarding Callahan's relationship with Moore, Eastwood stated: Filming When production began, the working title of the film was Dirty Harry III, in keeping with other sequels of the time. Eastwood felt that the film needed a title of its own, and in the middle of production came up with The Enforcer. After his disputes with Ted Post on the set of the previous Dirty Harry installment, Eastwood fully intended to direct The Enforcer himself. Eastwood's replacement of Philip Kaufman on The Outlaw Josey Wales (and the consequent need to handle post-production on that film) left him without enough time to prepare himself to direct The Enforcer. As a result, Eastwood gave the director's chair to James Fargo, his longtime assistant director, who made his debut as a full director on this film. Eastwood had the final say on all the critical decisions, but since the two men were far more familiar with each other's working styles than Eastwood had been with Ted Post, they rarely butted heads during production. Filming commenced in the San Francisco Bay area in the summer of 1976. Eastwood was initially still dubious about the quantity of his lines and preferred a less talkative approach, something perhaps embedded in him by Sergio Leone. The film ended up considerably shorter than the previous Dirty Harry films, and was cut to 95 minutes for its final running time. The music score for The Enforcer was written by Jerry Fielding, making The Enforcer the only Dirty Harry film without a score by Lalo Schifrin. The film was originally intended to be the last Dirty Harry film of a trilogy. A poll conducted by Warner Bros. in 1983 led to the development of a fourth film, Sudden Impact, and the resurrection of the film series. Eastwood never intended to make more Dirty Harry films, but private agreements with the studio allowed him to do more "personal" films in exchange for doing the subsequent sequels. Reception Critical response Richard Eder of The New York Times was negative, stating, "Money, the big name of Clint Eastwood, a lot of gore and howling sirens and the urge to rail at various liberal notions