According to the 9 Feb 1966 Var review, the independent picture was made in the CA desert for $44,000. Modern sources, including the 14 Apr 1995 Atlanta Constitution, noted the original title was Leather Girls, and reported a $67,000 budget, with filming occurring in CA’s Mojave Desert for nearly three weeks. Additional alternate titles were The Mankillers and Pussycat.
       First-time actress, Tura Satana, was recruited by Haji, who had recently completed filming her first feature with Russ Meyer, Motor Psycho (1965, see entry), as reported in Atlanta Constitution. Haji worked with fellow-stripper, Satana, and knew that she had martial arts experience. Satana performed her own stunts onscreen. The 2005 documentary short film, Go, Pussycat, Go! interviewed the film's stars and discussed the making of the cult hit film. Tura Satana states that she and Haji were working as exotic dancers at the Pink Pussycat nightclub in Van Nuys, CA, at the time, and noted that the club served as the location of the opening sequences of Faster, Pussycat! Kill! Kill! where actual customers portrayed the men in the audience.
       The 19 Apr 1966 LAT review for filmmaker Russ Meyer’s Rope of Flesh (a.k.a. Mudhoney, see entry), which was also released in 1965, listed the alternate title, Faster, Pussycat! Wham! Bang! The two features were booked together at multiple theaters. Advertisements for the double-billings were preceded by a warning, following a U.S. Supreme Court ruling, as listed in the 22 Apr 1966 LAT, which read: “Adults: Although these films are of redeeming social importance and artistic merit, they are recommended exclusively for liberal persons over 18. This program is ultra realistic, yet it provides insight into the psychological basis for uncommon pathological behavior. Because of the recent Supreme Court decision on obscenity (‘Eros Mag.’), we are attempting to advertise these films in a manner both honest and in good taste.” An item in the 1 Jun 1966 Var referred to the ruling in the 1965 Ralph Ginzburg, Eros magazine, case which prompted the warnings, stating: “Art work for the first of these [advertisement] efforts was usual lurid stuff, including [a] blackbooted, amply endowed young lady about to twist the arm off a prone man, and ditto young lady (or another shot of same) wielding a whip in the background.”
       Var’s 9 Feb 1966 review for Faster, Pussycat, Kill! Kill! remarked that Russ Meyer’s talent as a director “belongs in bigger and stronger films,” applauding his “visual sense,” polished editing, and strong pacing. His downfall, according to the reviewer, was the “one-note script” and less-than-stellar performers.
       On 14 Sep 1966, Var indicated that the picture was still in release at drive-ins and small independent theaters.
       Various modern sources indicated that director John Waters brought attention to the film in the late 1970s and early 1980s when, as an up-and-coming filmmaker, he deemed Faster, Pussycat, Kill! Kill! "the best picture ever made." Soon after, the film garnered a cult following.