There is an image floating around the net, from a deleted scene, showing Shannyn Sossamon sitting on a couch with Ian Somerhalder, while she holds a pink dildo and laughs. It's unknown what this scene was about or how it would fit into the film, though the image has gained minor notoriety.
While both Killing Zoe (1993) and The Rules of Attraction have special edition releases in France (courtesy of Metropolitan Home Video), they don't in Region 1. This is likely due to Roger Avary's personal feud with the head of Lionsgate home video, stemming from the Killing Zoe's bare-bones dvd release at Artisan Entertainment. After Lionsgate bought Artisan, the head of Artisan's home video department transfered over.
According to Roger Avary, Shannyn Sossamon, as an untrained actress, would often burn out after more than three takes. Whenever she had a scene with another character, her parts were shot first since "by the time she's done, the other actor's were just warming up."
When Victor is walking through London in the Europe flashback, a gentleman with a hooded face walks past and you hear the name "Palakon" whispered - a reference to the character Palakon in the Ellis book 'Glamorama', which also features Victor.
For much of filming, production was rushed when it came to do James Van Der Beek's scenes, since he was constantly flying between LA and the North Carolina set of Dawson's Creek (1998). After September 11, all planes were grounded and he was stranded in LA, allowing for a more relaxed shoot.
Casper Van Dien shot two scenes on the phone to James Van Der Beek as Patrick Bateman. They were edited out due to content and film time.
The line "I need you like I need an asshole on my elbow," came from the Roger Avary script Pandemonium Reigns, which served as the basis for The Gold Watch segment of Pulp Fiction (1994). While Quentin Tarantino took the line out of Pulp Fiction, he later used it himself in Kill Bill: Vol. 2 (2004).
Writer/director Roger Avary has this to say on the character of Sean Bateman: "He calls himself a Vampire, but more than that, he's a shark. He dies if he slows down, a consuming machine. He needs to experience moment to moment, second to second or he dies. By the time you reach the mid-point of the film his character is consumed with the idea of being loved and of loving, but he is still the shark, he's still a monster. Then he sees himself through the eyes of his loved one, and it completely transforms him. The shark is hurt, he's contemplative. His is the only character that changes his destiny. What has become of Sean Bateman at the end of the film? Nobody can say for sure. Has he been transformed for the better or for the worse? Where is he headed on the motorcycle on that blizzard of a night? Will he hide from his pain, revisit it upon others, or become the man he had never been?"
Russell Sams's character Dick Jared was meant to be "the anti Bluto Blutarsky from Animal House (1978)" The director says, "he is a living satyr, an imp. When he walks out of the film, you can't help but wonder where is he going and what would that movie be like?"
According to an Aint it Cool News article, Nick Nolte visited the set once. He showed up visibly drunk and intimidated many members of the cast and crew. After striking up a conversation about yoga with a female extra, the extra said she'd be happy to lead Nolte and anyone else interested in some yoga exercises on the lawn. After removing her dress, she proceeded to stretch her legs over her head while wearing nothing but her bra and panties. After a very sizable audience gathered, she lifted her leg over her head and, as the reporter says, "as her leg went up, a lip slipped out." Roger Avary immediately put her on the extras list for the Dressed To Get Screwed Party, and several members of the crew called it the best day of the whole production.
Roger Avary called the Paul Denton character the moral center of the film. "Where is Paul at the end of the film? He's had his heart cleaved in two, but he seems to be a humanist at the end... a realist... Not bitter, but sad. Will he be realistic and not self-deluding in his future pursuits of passion? Do any of us?"
The trailer for the movie bears a striking resemblance to the theatrical trailer for Stanley Kubrick's A Clockwork Orange (1971). Both trailers feature short clips from the movie being intermixed with nouns and adjectives describing the movie (printed as big bold white text on black background), while classical music plays in the background.
Jay Baruchel jokingly said the movie should have been promoted with the tagline "The Star Of Almost Famous (2000) Returns," as that was the only movie anyone knew him from at the time.
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