Up, Doc?, and decided to cast them as the leads. Screenplay Various changes were made in adapting the book to film. Addie's age was reduced from twelve to nine to accommodate young Tatum, several events from the book were combined for pacing issues, and the last third of the novel, when Moses and Addie graduate to the big leagues as con artists after going into partnership with a fake millionaire, was dropped. The location was also changed from the rural south of the novel–primarily Alabama—to midwestern Kansas and Missouri. Filming locations The film was shot in the small towns of Hays, Kansas; McCracken, Kansas; Wilson, Kansas; and St. Joseph, Missouri. Various shooting locations include the Midland Hotel at Wilson, Kansas; the railway depot at Gorham, Kansas; storefronts and buildings on Main Street in White Cloud, Kansas; Hays, Kansas; sites on both sides of the Missouri River; Rulo Bridge; and St. Joseph, Missouri. Props The car Moses is driving when he agrees to take Addie home is a 1930 Ford Model A convertible; the car Moses buys to impress Miss Trixie is a 1936 Ford V8 De Luxe convertible. The whiskey being sold by the bootlegger shown toward the end of the film is Three Feathers blended whiskey, a label introduced by Oldtyme Distilling Corp. in 1882 and still produced up to the 1980s. The bottle of soda pop Addie drinks is from Nehi Soda, by a company founded as Chero-Cola in 1910, in 1925 renamed Nehi Corporation, which became Royal Crown Company and later Dr Pepper/Seven Up, then Dr Pepper Snapple Group. Title Peter Bogdanovich also decided to change the name of the film from Addie Pray. While selecting music for the film, he heard the song "It's Only a Paper Moon" by Billy Rose, Yip Harburg, and Harold Arlen. Seeking advice from his close friend and mentor Orson Welles, Bogdanovich listed Paper Moon as a possible alternative. Welles responded: "That title is so good, you shouldn't even make the picture, you should just release the title!" Bogdanovich added the scene in which Addie has her picture taken in a paper moon solely, so the studio would allow him to use the title. Cinematography and editing Director of photography László Kovács used a red filter on the camera on Orson Welles's advice. Bogdanovich also used deep focus cinematography and extended takes in the film. Release The film was released in