Production
The film was shot at a number of locations around Seattle and includes scenes at Gas Works Park, Capitol Hill, Jimi Hendrix's grave at Greenwood Memorial Park in Renton and Pike Place Market. The central coffee shop featured in the film is the now-closed OK Hotel. The apartment building is located on the northwest corner of the intersection of E Thomas St & 19th Ave E. Additional concert footage was shot in the now-defunct RKCNDY bar.
Most of Matt Dillon's wardrobe in the movie actually belonged to Pearl Jam bassist Jeff Ament. During the making of the film Ament produced a list of song titles for the fictional band, Citizen Dick. Chris Cornell took it as a challenge to write songs for the film using those titles, and "Spoonman" was one of them. An early acoustic version of the song was created and can be heard in the background during a scene of the film. Citizen Dick's song name "Touch Me, I'm Dick" is a word play on the song "Touch Me, I'm Sick" by the Seattle band Mudhoney. Also, in the inside cover photo of the soundtrack, there is a Citizen Dick CD with the track listing on the CD itself. One of the songs is called "Louder Than Larry (Steiner)", a wordplay on the Soundgarden album, Louder Than Love. The band name Citizen Dick is a play on the Seattle band Citizen Sane, which itself is a play on the 1941 film, Citizen Kane.
Read more about this topic: Singles (1992 film)
Famous quotes containing the word production:
“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)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)