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[[File:Juan Gris - Le Violion.jpg|alt=Painting of Violin in cubist style by Juan Gris.|left|thumb|Lone Man admires ''Le violon'' by [[Juan Gris]] on his first visit to [[Museo Nacional Centro de Arte Reina Sofía]] right before meeting Violin.]]
In an airport, Lone Man is being instructed on his mission by Creole. The mission itself is left unstated and the instructions are cryptic, including such phrases as "Everything is subjective," "The universe has no center and no edges; reality is arbitrary," and "Use your imagination and your skills." After the meeting
Each meeting has the same pattern: he orders two espressos at a cafe and waits, his contact arrives and in Spanish asks, "You don't speak Spanish, right?" in different ways, to which he responds, "No." The contacts tell him about their individual interests such as molecules, art, or film, then the two of them exchange matchboxes. A code written on a small piece of paper is inside each matchbox, which Lone Man reads and then eats. These coded messages lead him to his next rendezvous.
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Jarmusch had the first idea about "a very quiet, very centered criminal on some sort of mission" fifteen 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 |date=23 April 2009 |title=A Director Content to Wander On |url=https://www.nytimes.com/2009/04/26/movies/26lim.html |url-access=subscription |archive-url=https://archive.nytimes.com/www.nytimes.com/2009/04/26/movies/26lim.html |archive-date=2009-04-26 |access-date=2023-10-08 |website=The New York Times}}</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
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. The title ''The Limits of Control'' comes from an essay of the same name by [[William S. Burroughs]], in which Jarmusch notes that he likes the double sense of: "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 employed the [[Oblique Strategies]] created by musician [[Brian Eno]] to reassure himself in the creative process, specifically the using phrases "Are these sections considered transitions?", "Emphasize repetitions.", and "Look closely at the most interesting details and amplify them," all of which were explicitly naming processes that they were doing during the filmmaking.<ref name="Wire_Interview" />
Many small details in the film have personal significance for Jarmusch. He had received the 'Le Boxeur' matchboxes as a gift, first from musicologist [[Louis Sarno]], then from Isaach de Bankolé. The black pickup truck with the words "La Vida No Vale Nada" written on its back was modeled after a truck owned by [[Joe Strummer]] of the Clash, who had lived for some time in the south of Spain and also appeared in Jarmusch's 1989 film ''[[Mystery Train (film)|Mystery Train]]''.<ref name="NYTimes_Interview" />
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==Soundtrack==
The soundtrack is created out of existing music selected by the director Jim Jarmusch. It includes [[drone-doom]] bands Boris and Sunn O))), [[Tempo#Basic tempo markings|adagio]] classical music as well as [[peteneras]] flamenco. For scenes
{{Tracklist
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