Production
The film was largely shot during the summer of 1998 and set in the Italian-American neighborhoods of Country Club, Morris Park and Throggs Neck sections of the Bronx which David Berkowitz terrorized in 1977, with some scenes filmed in Brownsville, Brooklyn. Specifically, Marie's Beauty Lounge, the salon where Vinny works, is a real, still active salon located on Morris Park Avenue, between Williamsbridge Road and Bronxdale Avenue. Most of Berkowitz's killings actually took place in Queens. The real CBGB was used, the band playing on stage, L.E.S. Stitches, is a contemporary punk band operating in Los Angeles.
Adrien Brody's nose was broken during the final climatic fight scene in which his character Richie is brutally beaten by his friends. After they are refused entry into Studio 54, the sex scene between Dionna and Vinny included more explicit shots in the original cut. This scene was edited after the MPAA threatened the film with an "NC-17" rating. Idina Menzel is known to have been in the film as Richie's girlfriend, but her scenes were cut before final release.
The word "fuck" or its derivatives are used 436 times in this 142-minute film, an average of 3.1 times per minute, on which the film is number three (number one being a documentary on the word).
The role of Dionna was originally written with Jennifer Esposito in mind. The role of Ruby was originally offered to Sarah Michelle Gellar. However a cast reshuffle ended with Mira Sorvino as Dionna and Jennifer Esposito as Ruby.
Read more about this topic: Summer Of Sam
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“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
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“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)