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For instance, when Duke huffs ether, Pecorino describes using a hazy, loose depth of field where everything becomes non-defined. To simulate the effects of the fictional narcotic Adrenochrome, which Thompson made up for the book, Pecorini used a visual effect that made everything get narrow and claustrophobic, move closer with lens. When simulating the symptoms of mescalin, the idea was to have colors melt into each other by using flares with no sources and playing with color temperatures. As for the amyl nitrate Duke and Gonzo snort in the film, Pecorini noted that the perception of light gets very uneven, light levels increase and decrease during the shots. Finally, for the feeling of LSD, Pecorini was sure to film everything extremely wide and create disorienting hallucinations via morphs, shapes, colors, and sound. When it came to filming the desert scenes and the Mint 400 Motorcycle Race in Vegas, Pecorini sought to create an endless vista by erasing the horizon line, which he thought would emphasize A certain kind of unreality outside the characters car, because everything that matters to them is within the Red Shark. Speaking of the desert scene, Gilliam makes a cameo as a reporter wearing a hat and holding a microphone as the racers take off

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Its a fun who's who of young Hollywood in 1999, especially when you see the numerous crossovers these actors have with one another across Kevin Smith movies and the like