Since angst over abortion is contrary to Hollywood's reflexive thinking, my guess is that it would have taken a persuasive bit of evidence from marketing to nudge them in that direction.
My own sense is that writer-director Joel Hopkins was too small and Dustin Hoffman was too big to be very much bothered by marketing and management people. This wasn't intended to be a big money making venture, but as a smaller project.
And really, studio management and marketing people would probably be more attuned to Hollywood thinking than a writer-director from outside the system.
The point of good art is to illuminate a principle without becoming preachy about it.
I would think films would be more about characters and their lives than principles.
But since Hopkins's earlier film, Jump Tomorrow was pro-life in the sense of being anti-suicide, I don't think your generalizations fit the case.
I was not aware of Hopkins’ background. That may better explain the reference to abortion angst than marketing data. Yet a disparaging remark about abortion seems unlikely to have been tolerated by a studio except for execs recognizing that the balance of public opinion is less and less favorable toward abortion.