Movie |
Revenge | Prison
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Best Performance by an Actor in a Motion Picture Drama | 2000 | Terence
Best Male Lead | 2000 | Terence
Best Feature | 2000 | Scott
Best Director | 2000 | Steven
Best Supporting Male | 2000 | Luis
Best Screenplay | 2000 | Lem
Best Actor | 2000 | Terence
Best Director | 1999 | Steven
Budget 10,000,000 USD
Box Office Collection 3,204,663 USD
Footage from the 1967 film Poor Cow (1967) (Ken Loach's directorial debut) is featured as flashbacks of Wilson (Terence Stamp) with his baby daughter and wife.
During filming, Steven Soderbergh was unsure exactly which scenes from Poor Cow (1967) he wanted to use. So he asked Warner Bros. for permission to use the entire film so that he could choose the scenes later. But Warner Bros. refused. Soderbergh told the head of Warner Bros. that he would never make a film for him again. The executive relented and allowed Soderbergh to use any scenes from the film that he wished.
The first song heard in The Limey (1999) is "The Seeker" by The Who. During the 1960s one of The Who's two managers was Christopher Stamp, Terence Stamp's brother.
Ann-Margret shot scenes with Peter Fonda, as his ex-wife. These scenes were not used in the completed film, as the director felt he had already established Fonda's creepiness adequately.
The original screenplay envisioned the main character would be played by Michael Caine.
"Wilson: How you doin' then? All right, are you? Now look, squire, you're the guv'nor here, I can see that. I'm in your manor now. So there's no need to get your knickers in a twist. Whatever this bollocks is that's going down between you and that slag Valentine, it's got nothing to do with me. I couldn't care less. Alright, mate? Let me explain. When I was in prison - second time - uh, no, telling a lie, third stretch, yeah, third, third - there was this screw what really had it in for me, and that geezer was top of my list. Two years after I got sprung, I sees him in Holland Park. He's sittin' on a bench feedin' bloody pigeons. There was no-one about, I could've gone up behind him and snapped his fuckin' neck, *wallop!* But I left it. I could've knobbled him, but I didn't. 'Cause what I thought I wanted wasn't what I wanted. What I thought I was thinkin' about was something else. I didn't give a toss. It didn't matter, see? This berk on the bench wasn't worth my time. It meant sod-all in the end, 'cause you gotta make a choice: when to do something, and when to let it go. When it matters, and when it don't. Bide your time. That's what prison teaches you, if nothing else. Bide your time, and everything becomes clear, and you can act accordingly."
"Wilson: You tell him, you tell him I'm coming. Tell him I'm fucking coming!"
