Here, via the SHARP listserv, is an account of some of the props used in making this film. The information is provided by Dan Franklin of The Two Sisters Press in Belleville Illinois.

Davin Kuntze of the Woodside Press in Brooklyn had this to say on the Letpress list in November 2017:

Earlier this year, I was approached to create a couple props for an upcoming major motion picture. The item in question was a front-page lockup of the Washington Post from 1971 just how they would have created it back then. With a lot of help and advice from a few experts (namely, Frank Romano at the Museum of Printing and John Christensen from Firefly Press), I pretty much managed to it pull it off with as much authenticity as I was able. I cut a few corners, mainly with the banner information, but everything else was done with a sharp eye to making it as true to an original as possible.
The creation of these props led to a three-day shoot here in our shop where we were decked out to look like an early seventies composing room at a major newspaper, smoking pipes and high-waisted pants included. They shot the up-close and personal operation of our Blue Streak Comet and Model 31 as beautifully as I’ve had the pleasure of seeing on film (and they were shooting onto actual film).
While I’m not allowed to share photos of the two front-page lockups I created just yet, the trailer just landed yesterday and, much to my surprise and enjoyment, a number of the inserts from our shop were used. Starting at about the 2-minute mark, you can catch brief glimpses of my hands, John Christensen’s hands, some mats spelling out a dramatic phrase and the distribution mechanism.


Then, Davin posted this terrific story on Jan. 16:

Marc, a good friend of mine who plays one of the Linotype operators in the film, is set up in front of the Comet on the second day so I wasn’t in the background again and to give the illusion of a much larger composing department than we actually have. An hour or two into the shoot, and he’s plonking away like he knows what he’s doing, but we had the sword in the magazine and the plunger disconnected so there wouldn’t be any malfunctions during an otherwise good take.

They set up the next shot, and from the back I hear “Ok. Now we need to have the Linotypes casting for the next scene.”
Marc looks over at me, wide-eyed.
Now, Marc has been around the shop for years and seen the machines in operation, but has never actually RUN a Linotype. I walk over and give him a two-minute crash course. Then I get off screen and give him the thumbs up. So Marc has to run a Linotype for the very first time with Steven Spielberg watching closely on the monitors and Meryl Streep standing behind him with her hand on his shoulder talking to Tom Hanks about newspapers and making history and stuff. He totally pulled it off, much to everyone’s relief. While cleaning up a couple days later, we find line after identical line, like Jack Torrance (from The Shining) had been running one of the machines. I guess Marc just found something he could touch type quickly and stuck to that.
Other people you might catch in the Linotype scenes who some of you may know are John Kristensen (from Firefly Press) and Andy Birsh (the owner of Woodside Press). Behind the scenes, we had Rich Hopkins, who cast the large Bodoni we used as as a stand-in for the handset “Post-doni” headline type. Finally, Frank Romano provided invaluable historical information as well as the two large chases for the front pages, the turtles and some other odds and ends that ended up as set dressing. It probably wouldn’t have happened without Frank’s input and assistance or Rich Hopkin’s beautiful type.

The July 2, 1978 issue of the NYT was the last set on Linotypes.

In 2016, there was a delightful story in the NYT about Rudolph Stocker, who worked at the NYT for 50 years: