The film opens with voice-over narration explaining the quirky behaviour and sexual habits of the residents of Hollywood, CA, where the story takes place.
       End credits include thanks from producers to the following individuals: Rick Benson, Bruce Berman, Gene Blythe, Hank Brown, Jerry Collamer, Joseph Cosco, Jr., Joe Dante, Jon Davison, Miller Drake, Michael Finnell, Susan Gelb, Ted Gershuny, Dennis Glass, Bert Glatstein, Marshall Harvey, Clark Henderson, Kevin Hynes, Marvin Jones, Miles Kreuger, John Landis, Peter Manoogian, Rob and Pamela Pettler, Richard Schulenberg, Craig Simpson, Don Thorin, Jr., and Pat Winters. Producers also “gratefully acknowledge”: Classic Wheels of Hollywood, Jack Daniels Distillery, The Diplomat Restaurant, Drive-A-Dream Division of Budget Rent-A-Car, Panda Hoffman, The Hollywood Press, J&B Scotch, Johnson Yogurt, Kay’s Gourmet Catering, Norma’s La La, One Way Autos, Orange Bang, Ramlosa Water, San Miguel Beer, The Pleasure Chest, E. Waldo Ward, Dr. Barry Washaw, and Betty Whellor. An onscreen statement indicates that hospital sequences were photographed with the cooperation of City of Hope National Medical Center.
       As reported in a 23 Mar 1982 DV article, writer-director-actor Paul Bartel and co-writer Richard Blackburn spent two weeks writing the script for Eating Raoul while serving as jurors in the 1979 Berlin Film Festival. In a 1 Nov 1982 LAT article, Bartel stated that he developed the project with the desire of working with actress Mary Woronov after their collaborations on Hollywood Boulevard (1976, see entry) and Rock ‘n’ Roll High School (1979, see entry). Although Bartel’s original idea featured himself and Woronov as “an updated version of Dashiell Hammett’s urban detectives Nick and Nora Charles” from the 1934 novel, The Thin Man and its ensuing film (1934, see entry), Blackburn suggested that the pair instead portray married murderers. However, when Bartel took the story to Hollywood Boulevard and Rock ‘n’ Roll High School producer Roger Corman, Corman expressed reservations about Bartel playing the lead role. The screenplay was completed in Feb 1979, and despite Bartel’s estimated budget of only $500,000, studios refused to finance the picture. A story in the 26 Apr 1981 LAHExam suggested that United Artists and New Line were among the unwilling potential buyers.
       As a result, Bartel began production independently. Multiple sources, including the 26 Apr 1981 LAHExam, the 23 Mar 1982 DV, and an article in the 25 Oct 1982 LAHExam, reported that Bartel borrowed money and filming equipment from multiple friends in the motion picture industry, who agreed to help as volunteer crewmembers. In addition to the names acknowledged in the end credits, production notes from AMPAS library files suggested that Charles Griffith , Michael Goodwin, Gary Graver, Buck Henry, and Myron Meisel also contributed to the production, although their roles remain undetermined.
       According to DV, principal photography began Nov 1980, when Bartel filmed ten minutes of footage over the span of one weekend. Another ten minutes was shot during the second weekend, at the City of Hope National Medical Center in Duarte, CA. Partway into filming, Bartel learned that the picture’s essential apartment building location was scheduled to be demolished, prompting him to film the remainder of the movie two weeks later, in early 1981, followed by additional pickup shots. On 26 Apr 1981, LAHExam reported that only thirty minutes had been filmed, and that Bartel had spent $10,000 of his own money to assemble the existing material. LAT determined that all of principal photography took place during various weekends and two six-day weeks over the course of eighteen months, which the 25 Oct 1982 LAHExam claimed totaled twenty-two days in Los Angeles, CA. LAT stated that in order to stay within budget, Bartel developed the footage at a local laboratory known for processing pornographic films. As stated in DV, all Screen Actors Guild (SAG) performers and crew members, excluding a select few who participated in the second weekend of filming, had been paid.
       On 17 May 1982, an unnamed source found in AMPAS library production files announced that three weeks prior, Twentieth Century-Fox and Quartet/Films, Inc. had arranged a deal to share joint U.S. distribution rights, and would prepare the film for a fall release that year. The 1 Nov 1982 LAT indicated that the filmed premiered at AFI’s Los Angeles film festival, Filmex, in 1981, and DV reported that Bartel showed the film in late 1981 at University of Southern California (USC), University of California—Los Angeles (UCLA), and the Pacific Film Archives. The film was also positively received at test screenings in Boston, MA, and Austin, TX, in early Mar 1982.
       The 25 Sep 1982 NYT review announced that the picture would open 1 Oct 1982 at the 68th St. Playhouse Theater, following its 25 Sep 1982 and 27 Sep 1982 screenings at the New York Film Festival. The 6 Oct 1982 Var noted that the premiere featured ushers, dressed as dominatrices, and was observed by Bartel and publicist Renee Furst. The 25 Oct 1982 LAHExam claimed that the film was the fourth-highest grossing film after its Los Angeles release the previous weekend. According to the 1 Nov 1982 LAT, the film had earned over $250,000 during its engagements in Los Angeles, New York City, and Toronto, Canada. On 10 Nov 1982, Var reported that Twentieth Century-Fox had been working with the Short Film Showcase since Eating Raoul’s 1 Oct 1982 New York City opening, pairing the feature with a three-and-a-half minute short film titled, Street Scene. The double-bill had opened 5 Nov 1982 in Seattle, WA, Washington, D.C., Orange County, CA, and Los Angeles. A news item in the 26 Jan 1983 Var stated that a captioned print of the film opened that day at the 68th St. Playhouse Theater in New York City.
       A comic book also titled Eating Raoul (1982), adapted by Kim Deitch, was published as a promotional tie-in with the film.
       The 1 Nov 1982 LAT reported intentions for a stage adaptation and possible motion picture sequel, and on 14 Jul 1989, an unidentified publication found in AMPAS library files stated that Bartel and Blackburn had reteamed as co-writers for the film sequel, Bland Ambition. However, ten days prior to the start of principal photography in Apr 1989, production company Vestron withdrew its financial backing. Despite Bartel’s attempts to independently secure necessary finances, as of Nov 2013, no sequel has been produced. In addition, Bartel wrote the book for a New York City musical production of Eating Raoul, which was being produced by Martin Chernin and was expected to open in fall 1989.