Although he is known as a fashion designer, director Tom Ford chose to leave the costuming in the film strictly to the costume designer. Not a single Tom Ford product appears in the film, as Ford "didn't want a commercial."
Aaron Taylor-Johnson was cast as Ray Marcus after Tom Ford had dined with Aaron and his wife and longtime Ford friend Sam Taylor-Johnson. Aaron did not think he'd be suitable for the part at all, but over the course of dinner Ford saw a glimmer of something that he found intriguing in Aaron's facial expressions as he recounted a story at the dinner table.
With Aaron Taylor-Johnson's Golden Globe win for this movie, it marked the first time in more than 40 years that a Golden Globe winner in the Best Supporting Actor category hasn't secured an Oscar nomination (however, Taylor-Johnson's co-star Michael Shannon managed to get the nomination). The last time this happened was with Richard Benjamin's win for The Sunshine Boys (1975). Benjamin's co-star George Burns also received an Oscar nomination for Best Supporting Actor, which he ultimately won.
Art references in the film include; a Jeff Koons 'balloon dog' sculpture, a Richard Misrach photograph, a Mark Bradford piece (custom made for the film), an Aaron Curry sculpture and an Alexander Calder 'mobile' all in Susan's home; a John Currin painting in Susan's gallery office. Much of the work came from the director's private collection.
At the art show opening, when the plus-size nude models are shown lying face-down, the first one lies in a pose reminiscent of "Benefits Supervisor Resting", a famous nude painting of a similar sized woman, by British artist Lucian Freud.
Amy Adams' character has a daughter played by Bobbi Salvör Menuez - coincidentally, in the book-within-the-movie, the fictional version of Adams' character (played by Isla Fisher) has a daughter named India.
The trivia items below may give away important plot points.
The inspiration for some of the events in Edward's book can be seen in the flashback scenes. For example when Susan is criticizing Edward's book and telling him he should give up writing she is on a bright red sofa. In the book when Tony's wife and child are murdered they're dumped on a bright red sofa. Similarly when Susan splits up with Edward the scene ends with him standing alone beside a green Pontiac car, the same car driven by the killers in the book.
Tom Ford has established in interviews that the ending is intended to be interpreted subjectively by the viewer. Edward did not show up, either because he still loves her and it is too painful to see her again, or because she gave him the inspiration and strength that he needed to write his masterpiece and move on. It is up to the audience to decide that.