Development The idea for a biopic of Grandin originated with its executive producer
Emily Gerson Saines, a successful
talent agent and a co-founder of the nonprofit Autism Coalition for Research and Education (now part of
Autism Speaks). In the mid-1990s, Gerson Saines was a vice-president at the
William Morris Agency when her 2-year-old son was diagnosed with autism. She learned about Grandin soon afterward, when her mother told her about seeing Grandin's book
Thinking in Pictures in a bookstore and, around the same time, her grandmother independently sent her an article about Grandin by
Oliver Sacks. Reading about Grandin renewed Gerson Saines' "energy, motivation and spirit" in coping with her son's condition. "Temple's story brought me hope and (her mother)'s story gave me direction and purpose", Gerson Saines said in a later interview. "Parents of a child with autism everywhere need to hear it, functionally and spiritually. I knew this story had to be told and given my access as a talent representative in the entertainment industry, I felt it was my responsibility to make that happen." Through Grandin's agent, Gerson Saines asked to meet Grandin for lunch. "She came in wearing her cowgirl shirt—in her very Temple way, in her very Temple walk. I realized that there were people staring at her, and in a different lifetime I might have been one of them, but all I could think of was, 'I can't believe how lucky I am to be here. This woman's my hero. Grandin was familiar with Gerson Saines' work with the Autism Coalition and granted her permission to make the film, but the endeavor—first launched in the late 1990s—would take more than ten years to come to fruition.
Variety reported in 2002 that
David O. Russell was attached to direct the film from a screenplay by W. Merritt Johnson (adapting from Grandin's memoirs
Emergence and
Thinking in Pictures). Russell later dropped out and was replaced by
Moisés Kaufman, who also left the project. By 2008,
Mick Jackson had signed on to direct, and Claire Danes was in negotiations to star as Grandin. Johnson's script had been replaced by one from
Christopher Monger (both Johnson and Monger are credited as writers of the finished film). One element Gerson Saines was sure about from the beginning was that she wanted to work with HBO, in part because of her longstanding relationship with the network through her work as an agent. "But I also knew that by going that route, more people will see it", she said. "When you're trying to make a movie like this, it's very rare that it reaches a wide audience." HBO was equally intrigued by the story, and Gerson Saines credits past and present HBO executives with keeping the project alive until it could be properly realized. "I made a commitment to Temple that I was going to make it and make it right...I never pushed to get it made until now, because now we got it right."
Filming Temple Grandin began shooting on 22 October 2008 at
Austin Studios in
Austin, Texas. The film was noted for filming in Texas at a time when TV and film production had grown scarce in the state, and legislators were seeking to expand financial incentives to draw more film crews.
Grandin producer
Scott Ferguson said that Arizona, New Mexico and Canada had all been considered before producers had chosen Texas, in part because different areas of the state could be used to represent the rural West and New England. Ferguson also credited the abundance of trained film crews in the Austin and Dallas regions as a significant benefit to shooting in the area. Cinematographer
Ivan Strasburg shot the film on
Kodak Super 16 mm film stocks with
Arriflex 416 cameras, which were usually operated
hand-held to "create a 'slight' feeling of visual tension". Gerson Saines brought Grandin to observe the last day of shooting, which was a scene involving a
cattle dip tank that Grandin had designed. Although Grandin said that she tried to stay away from Danes to avoid impinging on her performance, she was quite concerned about the proper construction of the tank and about the breed of cattle being used in the scene. "I thought, we can't have a silly thing like that
City Slickers movie, where they had
Holstein cattle out there", Grandin said. "If you know anything about cattle, you'd know that was stupid." She said watching Danes on the monitors was "like going back in a weird time machine to the '60s". ==Release==