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Jarmusch had the first idea about "a very quiet, very centered criminal on some sort of mission" 15 years prior to the release of the movie. <ref name="Telegraph_Interview">{{cite web |last1=Flynn |first1=Bob |title='The Limits of Control': Jim Jarmusch interview |url=https://www.telegraph.co.uk/culture/film/6655089/The-Limits-of-Control-Jim-Jarmusch-interview.html |website=The Telegraph |access-date=3 August 2021 |archive-url=https://web.archive.org/web/20091204153737/https://www.telegraph.co.uk/culture/film/6655089/The-Limits-of-Control-Jim-Jarmusch-interview.html |archive-date=4 December 2009 |date=30 November 2009 |url-status=live}}</ref> Writing started with an idea for an actor, a character and a place and the rest was filled in afterwards. Isaach de Bankolé was to play a quiet centred criminal in the [[Torres Blancas]] apartment tower that Jarmusch himself first visited in the 80s. The filming was started with only what Jarmusch calls 'a minimal map', a 25-page story. The dialogues were filled in the night before each scene was shot. <ref name="NYTimes_Interview">{{cite web |last1=Lim |first1=Dennis |title=A Director Content to Wander On |url=https://www.nytimes.com/2009/04/26/movies/26lim.html |website=The New York Times |access-date=3 August 2021 |archive-url=https://web.archive.org/web/20111007040744/https://www.nytimes.com/2009/04/26/movies/26lim.html |archive-date=7 October 2011 |date=23 April 2009 |url-status=live}}</ref> This was in fact the first of Jarmusch's films that took place entirely outside of the United States<ref name="Telegraph_Interview" /> and there were some plans for the filming locations beginning in Madrid, then taking train south to Seville and finally southeast to desert near the coastal town of Alméria.<ref name="NYTimes_Interview" />
Jarmusch cites novels about a professional criminal called [[Parker_(Stark_novels_character)|Parker]] written by [[Richard_Stark#Pseudonyms|Richard Stark]] as an inspiration and also mentions that he loves [[John Boorman]]’s 1967 film [[Point_Blank_(1967_film)|Point Blank]] which was based on those novels.<ref name="Telegraph_Interview" /> [[Jacques Rivette]]'s films were also used as inspiration for the plot full of disorienting cryptic clues with no clear solution. Name of the films comes from the essay of the same name by [[William S. Burroughs]] while Jarmusch notes that he likes the double sense of it. "Is it the limits to our own self-control? Or is it the limits to which they can control us, 'they' being whoever tries to inject some kind of reality over us?"<ref name="NYTimes_Interview" /> Jarmusch also used [[Oblique Strategies]] by musician [[Brian Eno]] to reassure himself in the creative process, specifically using phrases "Are these sections considered transitions?" "Emphasize repetitions." "Look closely at the most interesting details and amplify them." which were explicitly naming processes that they were doing during the film making.<ref name="Wire_Interview" /> The small details in the movie have personal significance for Jarmusch. He received the 'Le Boxeur' matchboxes as gift, first from the musicologist [[Louis Sarno]], then from Isaach de Bankolé. The black pickup truck with "La Vida No Vale Nada" written on it is modeled on one owned by [[Joe Strummer]] of the Clash, who lived for some time in the south of Spain and also appeared in Jarmusch's [[Mystery_Train_(film)|Mystery Train]].<ref name="NYTimes_Interview" />
The aim of the film according to Jarmusch was to create an "action film with no action"
==Soundtrack==
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