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An old Stamp on a new film Steven Soderbergh has made eight films in the 10 years since his debut Sex, Lies and Videotape won the Palme d'Or at the Cannes Film Festival. He was a 26-year-old boy wonder then. The Georgia-born filmmaker is 36 now. And throughout his career, he's retained the ability to keep audiences off-balance with his wide range of interests, which have included a classic noir (The Underneath), a Depression-era memoir (King Of The Hill), an experimental whatsit (Schizopolis) and a kick-ass heist thriller (Out Of Sight). The Limey, his latest, is Soderbergh's eccentric take on a revenge thriller. It's eccentric because the director, collaborating with screenwriter Lem Dobbs, has fashioned a time-slipping narrative incorporating footage from a long-forgotten 1967 English drama. The idea, Soderbergh says, grew out of the notion of casting Terence Stamp as a vengeful British ex-con who comes to America to avenge the suspicious death of his daughter. "He's the closest incarnation of Lee Marvin in Point Blank that we could come up with," says Soderbergh. And since the film was conceived as a meditation on the legacy of the '60s, he asked Dobbs if there were any films they could cannibalize for footage of a young Stamp behaving like the career criminal he plays in The Limey. "Lem said, 'I know exactly the movie, this Ken Loach film, Poor Cow'. Lem had this fifth-generation bootleg of it, and it was perfect," he says. "It was like documentary footage. It looked like someone was just following Terence around with a camera." Another bold choice was to cast Peter Fonda as Stamp's nemesis, an L.A. record producer. "When we decided on Terence, Lem said 'It's got to be Peter. It's got to be somebody who has not only an equal amount of iconic weight but a similar kind of iconic weight’. "Peter and Terence were both guys who had gone their own way and have a certain integrity about them," Soderbergh says. Of course, the same can be said about Soderbergh, who steadfastly charts his own course through Hollywood's powerful currents. "I think people have given up trying to figure out what I'm up to," he says. "It just keeps you from being pigeonholed."
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