The Limey (1999)

Limey
Type Feature Film
MPAA Rating R
Runtime 1hr 29mins.
Genres Drama, Crime, Action, Thriller, Noir
Keywords N/A
Status Released
US Release Date
  
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    By:

    Underqualified, underdressed and increasingly desperate, Erin Brockovich opens the film with her name on it pleading for a skilled job she can sense is not going to be hers. No, she says, she has no actual medical training, but she does have three kids. She's great with people, and a fast learner, too. And she's always been interested in science, to the point of once being "madly in love with geology." Doesn't all that count for anything? Not yet it doesn't, but before "Erin Brockovich" is over those qualities will surface as major players in this irresistible, hugely satisfying feminist fairy tale that turns "Norma Rae" into the protagonist of "A Civil Action" and makes us believe it. Based on the true story of a woman the world didn't take seriously who empowered herself by helping others gain justice, "Erin Brockovich" does more than chronicle the rebirth of a downtrodden individual. It serves as a career milestone for director Steven Soderbergh, writer Susannah Grant and, most of all, star Julia Roberts. With films collectively hitting a worldwide gross of $2 billion, Roberts is arguably the most successful--and certainly most highly paid--of contemporary actresses. Yet there is the sense about "Erin Brockovich" that this is the part Roberts has long been looking for. It's a role that allows the actress, like her character, to use her allure for a good cause, to put her undeniable star qualities, her great gift for humor, empathy, romance and vulnerability, at the service of a character with real texture. Make no mistake, this is very much of an old-fashioned crowd-pleasing diva part, allowing Roberts to laugh and bawl, be sensitive and take no prisoners, but it also makes points about corporate malfeasance, self-esteem and the place of women in society that fluffier scenarios want no part of. Long determined to be taken seriously as an actress, Roberts has kissed a lot of frogs (wouldn't everyone like to forget "Mary Reilly"?) on the way to this satisfying triumph. As to director Soderbergh, who started with the justly celebrated "sex, lies, and videotape" and then went all over the place, his career has been no one-way rocket either. But two years ago, with the exceptional George Clooney-Jennifer Lopez vehicle "Out of Sight," he revealed an unlooked-for talent that's on display here as well. What Soderbergh can do as well as anyone is bring restraint, intelligence and subtlety to mainstream material, and what a difference that makes. To infuse an essential sense of unforced reality into stories that sound formulaic is to walk quite a fine line, and Soderbergh's gift for that, combined with Roberts' stardom, should finally supply the major box-office success that eluded him with "Out of Sight." Uniting that film and this one (and what hampered the clumsily written but well-directed one that came between them, "The Limey") is the presence of a strong and beautifully structured script. Writer Grant (helped by an uncredited polish from Richard LaGravenese) has presented strong women before in "Pocahontas" and "Ever After." But this script has more of a sense of life and it's especially adroit in placing believable and well-timed obstacles in the path of its inevitable resolution. In fact, given that the film's ad line ("She brought a small town to its feet and a huge company to its knees") effectively gives away the entire plot, it's amazing how much drama and pins-and-needles worry the film manages to wring from a foregone conclusion. Helping Soderbergh realize this script's potential are top-of-the-line people on both sides of the camera, including veteran independent film cinematographer Ed Lachman, five-time Oscar-nominated editor Anne V. Coates and costume designer Jeffrey Kurland, who has had enormous fun creating clothes for a character who is not afraid of a little exposure. For though her moral fiber couldn't be more spotless if she were played by Julie Andrews, Erin Brockovich does not dress like a saint. In fact, with her big hair, tiny miniskirts, 3-inch heels and an encyclopedic knowledge of the uses of cleavage, she looks more like a hooker than the character Roberts played in "Pretty Woman." Erin is also in the habit of speaking truth to power, of saying whatever comes into her mind to whoever's in her line of fire. "Twothings aggravate me," she claims in something of an understatement, "being ignored and being lied to." Roberts is especially adept at taking advantage of Erin's gift for devastating one-liners, none of which can be repeated in a family newspaper. One of the themes of "Erin Brockovich" is that appearances can be deceiving, so we know at once that Erin is a woman of sterling qualities. Yes, she's twice-divorced, $17,000 in debt with $74 in the bank, but Roberts' presence makes us implicitly believe it's only a matter of time until the world understands that under those skimpy clothes is a smart, hard-working, self-reliant woman just waiting to be gainfully employed. That employment was looking chancy until Erin came into contact with the majesty of the law as personified by Los Angeles attorney Ed Masry (Albert Finney). He represents her in a personal injury lawsuit that doesn't turn out well, and because Ed's the only potential employer she knows, Erin lays siege to his office until a barely entry-level job is forthcoming. Finney's role is largely that of Roberts' straight man, reacting with looks of horror at her unpredictable shenanigans. Still, the importance of Finney to the film's success shouldn't be underestimated. A well-schooled veteran, he brings integrity, stature and a sense of humor to the role of audience surrogate, never too blasé to be flummoxed by what Erin is up to. The other man in Erin's life is George ("In the Company of Men's" effective Aaron Eckhart), a motorcycle hunk with enough skin art to necessitate a credited Tattoo Designer. George not only lives next door to Erin, he's her masculine don't-trust-your-eyes mirror image, someone who under all that leather has the temperament of a caring nanny eager to watch her children while she attempts to save the world. Early on in her filing work at Ed Masry's office, Erin comes across some pro bono work he's doing involving residents of the Mojave Desert town of Hinkley. They're all getting sick and the mammoth PG&E corporation, the place's biggest employer, suspiciously claims to have nothing to do with it. Intrigued, Erin convinces Ed to let her look into the situation, and soon enough she is using her people skills and interest in science, not to mention her world-class flirting ability, to get at the heart of the problem and convince the townsfolk to let her and the lawyers do something about it. "Erin Brockovich" is helped, as was "Out of Sight," by excellent acting down to its smallest roles. Finely cast by Margery Simkin, the script was strong enough to attract talents like Cherry Jones and Marg Helgenberger to supporting but pivotal roles as townspeople and is obviously much the stronger for it. There are also a pair of amusing cameos, one by the real Erin Brockovich as a waitress who waits, in effect, on herself, and the other by producer Michael Shamberg, convincing as an untrustworthy corporate attorney. Though the publicity material huffs and puffs about Erin being a role model for the new millennium, in fact what's most exciting about this film is how old-fashioned it is at its core. It uses standard Hollywood building blocks like big stars and a Cinderella story line laced with laughter and tears and reminds us why they became standard in the first place. More than anything, it reminds us how much intelligent entertainment value there can be in traditional material, if only someone has the wit to realize it and the skill to get it out. MPAA rating: R, for language. Times guidelin es: Brockovich is a torrent of profanity. 'Erin Brockovich' Julia Roberts: Erin Brockovich Albert Finney: Ed Masry Aaron Eckhart: George Marg Helgenberger: Donna Jensen Cherry Jones: Pamela Duncan Peter Coyote: Kurt Potter Universal Pictures and Columbia Pictures present a Jersey Films production. Director Steven Soderbergh. Producers Danny DeVito, Michael Shamberg, Stacey Sher. Written by Susannah Grant. Executive producers John Hardy, Carla Santos Shamberg. Cinematographer Ed Lachman. Editor Anne V. Coates. Production design Philip Messina. Music Thomas Newman. Costumes Jeffrey Kurland. Art director Christa Munro. Set decorator Kristen Toscano Messina. Running time: 2 hours, 11 minutes.

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  • 'The Insider' Looking Golden
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  • 'The Limey,' 'Election' Got the Spirit
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    SANTA MONICA, Calif., Jan. 13, 2000 -- Steven Soderbergh's crime-drama "The Limey" and Alexander Payne's high school satire "Election" led the pack of (relatively) low-budget, high-expectation projects as nominations were announced Wednesday for the 15th Annual Independent Spirit Awards, honoring, yes, indie film. "The Limey" and "Election" received a field-best five nominations each. Hollywood blockbusters such as "Toy Story 2" and "The Green Mile" received zippo. (They're not indies.) With the

  • Erin Brockovich Review
    By:

    StoryUnderqualified, underdressed and increasingly desperate, Erin Brockovich opens the film with her name on it pleading for a skilled job she can sense is not going to be hers. No, she says, she has no actual medical training, but she does have three kids. She's great with people, and a fast learner, too. And she's always been interested in science, to the point of once being "madly in love with geology." Doesn't all that count for anything? Not yet it doesn't, but before "Erin Brockovich" is over those qualities will surface as major players in this irresistible, hugely satisfying feminist fairy tale that turns "Norma Rae" into the protagonist of "A Civil Action" and makes us believe it. DirectorBased on the true story of a woman the world didn't take seriously who empowered herself by helping others gain justice, "Erin Brockovich" does more than chronicle the rebirth of a downtrodden individual. It serves as a career milestone for director Steven Soderbergh, writer Susannah Grant and, most of all, star Julia Roberts. With films collectively hitting a worldwide gross of $2 billion, Roberts is arguably the most successful--and certainly most highly paid--of contemporary actresses. Yet there is the sense about "Erin Brockovich" that this is the part Roberts has long been looking for. It's a role that allows the actress, like her character, to use her allure for a good cause, to put her undeniable star qualities, her great gift for humor, empathy, romance and vulnerability, at the service of a character with real texture. Make no mistake, this is very much of an old-fashioned crowd-pleasing diva part, allowing Roberts to laugh and bawl, be sensitive and take no prisoners, but it also makes points about corporate malfeasance, self-esteem and the place of women in society that fluffier scenarios want no part of. Long determined to be taken seriously as an actress, Roberts has kissed a lot of frogs (wouldn't everyone like to forget "Mary Reilly"?) on the way to this satisfying triumph. As to director Soderbergh, who started with the justly celebrated "sex, lies, and videotape" and then went all over the place, his career has been no one-way rocket either. But two years ago, with the exceptional George Clooney-Jennifer Lopez vehicle "Out of Sight," he revealed an unlooked-for talent that's on display here as well. What Soderbergh can do as well as anyone is bring restraint, intelligence and subtlety to mainstream material, and what a difference that makes. To infuse an essential sense of unforced reality into stories that sound formulaic is to walk quite a fine line, and Soderbergh's gift for that, combined with Roberts' stardom, should finally supply the major box-office success that eluded him with "Out of Sight." Uniting that film and this one (and what hampered the clumsily written but well-directed one that came between them, "The Limey") is the presence of a strong and beautifully structured script. Writer Grant (helped by an uncredited polish from Richard LaGravenese) has presented strong women before in "Pocahontas" and "Ever After." But this script has more of a sense of life and it's especially adroit in placing believable and well-timed obstacles in the path of its inevitable resolution. In fact, given that the film's ad line ("She brought a small town to its feet and a huge company to its knees") effectively gives away the entire plot, it's amazing how much drama and pins-and-needles worry the film manages to wring from a foregone conclusion. Helping Soderbergh realize this script's potential are top-of-the-line people on both sides of the camera, including veteran independent film cinematographer Ed Lachman, five-time Oscar-nominated editor Anne V. Coates and costume designer Jeffrey Kurland, who has had enormous fun creating clothes for a character who is not afraid of a little exposure. For though her moral fiber couldn't be more spotless if she were played by Julie Andrews, Erin Brockovich does not dress like a saint. In fact, with her big hair, tiny miniskirts, 3-inch heels and an encyclopedic knowledge of the uses of cleavage, she looks more like a hooker than the character Roberts played in "Pretty Woman." Erin is also in the habit of speaking truth to power, of saying whatever comes into her mind to whoever's in her line of fire. "Twothings aggravate me," she claims in something of an understatement, "being ignored and being lied to." Roberts is especially adept at taking advantage of Erin's gift for devastating one-liners, none of which can be repeated in a family newspaper. One of the themes of "Erin Brockovich" is that appearances can be deceiving, so we know at once that Erin is a woman of sterling qualities. Yes, she's twice-divorced, $17,000 in debt with $74 in the bank, but Roberts' presence makes us implicitly believe it's only a matter of time until the world understands that under those skimpy clothes is a smart, hard-working, self-reliant woman just waiting to be gainfully employed. That employment was looking chancy until Erin came into contact with the majesty of the law as personified by Los Angeles attorney Ed Masry (Albert Finney). He represents her in a personal injury lawsuit that doesn't turn out well, and because Ed's the only potential employer she knows, Erin lays siege to his office until a barely entry-level job is forthcoming. Finney's role is largely that of Roberts' straight man, reacting with looks of horror at her unpredictable shenanigans. Still, the importance of Finney to the film's success shouldn't be underestimated. A well-schooled veteran, he brings integrity, stature and a sense of humor to the role of audience surrogate, never too blasé to be flummoxed by what Erin is up to. The other man in Erin's life is George ("In the Company of Men's" effective Aaron Eckhart), a motorcycle hunk with enough skin art to necessitate a credited Tattoo Designer. George not only lives next door to Erin, he's her masculine don't-trust-your-eyes mirror image, someone who under all that leather has the temperament of a caring nanny eager to watch her children while she attempts to save the world. Early on in her filing work at Ed Masry's office, Erin comes across some pro bono work he's doing involving residents of the Mojave Desert town of Hinkley. They're all getting sick and the mammoth PG&E corporation, the place's biggest employer, suspiciously claims to have nothing to do with it. Intrigued, Erin convinces Ed to let her look into the situation, and soon enough she is using her people skills and interest in science, not to mention her world-class flirting ability, to get at the heart of the problem and convince the townsfolk to let her and the lawyers do something about it. "Erin Brockovich" is helped, as was "Out of Sight," by excellent acting down to its smallest roles. Finely cast by Margery Simkin, the script was strong enough to attract talents like Cherry Jones and Marg Helgenberger to supporting but pivotal roles as townspeople and is obviously much the stronger for it. There are also a pair of amusing cameos, one by the real Erin Brockovich as a waitress who waits, in effect, on herself, and the other by producer Michael Shamberg, convincing as an untrustworthy corporate attorney. Though the publicity material huffs and puffs about Erin being a role model for the new millennium, in fact what's most exciting about this film is how old-fashioned it is at its core. It uses standard Hollywood building blocks like big stars and a Cinderella story line laced with laughter and tears and reminds us why they became standard in the first place. More than anything, it reminds us how much intelligent entertainment value there can be in traditional material, if only someone has the wit to realize it and the skill to get it out. MPAA rating: R, for language. Times guidelines: Brockovich is a torrent of profanity. 'Erin Brockovich' Julia Roberts: Erin Brockovich Albert Finney: Ed Masry Aaron Eckhart: George Marg Helgenberger: Donna Jensen Cherry Jones: Pamela Duncan Peter Coyote: Kurt Potter Universal Pictures and Columbia Pictures present a Jersey Films production. Director Steven Soderbergh. Producers Danny DeVito, Michael Shamberg, Stacey Sher. Written by Susannah Grant. Executive producers John Hardy, Carla Santos Shamberg. Cinematographer Ed Lachman. Editor Anne V. Coates. Production design Philip Messina. Music Thomas Newman. Costumes Jeffrey Kurland. Art director Christa Munro. Set decorator Kristen Toscano Messina. Running time: 2 hours, 11 minutes.

Name Credit Credited as Role Id Sort Order
Daisuke Miyake Grip n/a 365 15000005
Gary A Brostrom Key Grip key riggin grip 263 15000004
Thomas Currna Grip n/a 365 15000006
Lionel Portugal Sr. Grip n/a 365 15000007
Craig Aines Grip rigging grip 365 15000009
Robert Clancey Grip rigging grip 365 15000008
Charles John Bukey Key Grip n/a 263 15000003
Richard Hartley Rigging Gaffer n/a 120937 15000002
Ezra Dweck Sound Editor n/a 229 14000022
Mike Chock Sound Editor n/a 229 14000021
John P Sound Editor n/a 229 14000023
Jim Webb Sound Mixer production sound mixer 230 14000024
Jon Salzman Swing Electric 120862 15000001
John DeBlau Gaffer n/a 268 15000010
Paul Threlkeld Dolly Grip n/a 264 15000011
Christie Hayes Stunts n/a 240 19000002
John Robotham Stunt Coordinator n/a 120804 19000001
Jason Rodriguez Stunts n/a 240 19000003
Eddie Matthews Stunts n/a 240 19000004
Kerry Rossall Stunts n/a 240 19000005
Laure Brost Assistant Accountant accounting assistant 120950 16000004
John Hillman Assistant Accountant n/a 120950 16000003
Russell Caldwell Best Boy best boy electric 120885 15000013
Paul Williams Best Boy Grip n/a 265 15000012
Dave Tutokey Best Boy rigging best boy 120885 15000014
Cheryl Kurk Production Accountant n/a 282 16000001
Kelli Gillam Accountant payroll accountant 120802 16000002
Marvin Walowitz Sound Editor n/a 229 14000020
Aaron Glascock Sound Editor all-purpose sound editor 229 14000019
Newell Alexander ADR ADR group 120912 14000001
Suzanne Cranfill Set Costumer n/a 121008 13000010
Elisa Pensler-Gabrielli ADR ADR group 120912 14000002
Mitch Carter ADR ADR group 120912 14000003
Luisa Leschin ADR ADR group 120912 14000004
Raqueli Dahan Makeup Artist n/a 120801 13000009
Ken Chase Makeup Artist n/a 120801 13000008
Bonnie Clevering Hair Stylist key hairstylist 120799 13000004
Robert Gmuer Costumes costumer 120828 13000003
Waldo Sanchez Hair Stylist n/a 120799 13000005
Deborah Mills-Whitlock Hair Stylist n/a 120799 13000006
Rick Sharp Makeup Artist key makeup artist 120801 13000007
David Cowgill ADR ADR group 120912 14000005
Edie Mirman ADR ADR group 120912 14000006
Larry Blake Rerecording re-recording mixer 120995 14000015
Carrie Cashman Foley Recordist n/a 225 14000014
Melissa Hofmann Rerecording re-recording mixer 120995 14000016
Tom Fox Sound utility sound 120816 14000017
Larry Blake Sound Editor n/a 229 14000018
David Betancourt Foley Mixer n/a 224 14000013
Dawn Fintor Foley n/a 120961 14000012
Claudette Wells ADR ADR group 120912 14000008
Iake Eissinmann ADR ADR group 120912 14000007
James Morioka Assistant Sound Editor n/a 222 14000009
Perry Dodgson Boom Operator n/a 215 14000010
Alicia M Stevenson Foley n/a 120961 14000011
Noon Orsatti Stunts n/a 240 19000006
Peter Stader Stunts n/a 240 19000007
Scott P Shordon Other stand-by painter 120795 26000003
Laura Sevier Archival Footage footage clearances provider(Entertainment Clearances) 120984 26000002
Christine Hughen Other shopper 120795 26000004
Frank Endewardt Other electric 120795 26000005
Reg Powell Other electric 120795 26000007
Eric Lopez Other electric 120795 26000006
Cassandra Barbour Archival Footage footage clearances provider(Entertainment Clearances) 120984 26000001
Jeff Lira Driver n/a 273 25000024
Leon Glavin Driver n/a 273 25000020
Chip Robinson Driver n/a 273 25000019
Albert C Rusk Jr. Driver n/a 273 25000021
David Goodman Driver n/a 273 25000022
Bruce Shanahan Driver n/a 273 25000023
Roman Jakobi Other electric 120795 26000008
Kevin Brown Other electric 120795 26000009
David Sabee Other contractor(music) 120795 26000018
Pat Stoltz Other Vine Street Studios engineering 120795 26000017
Reed Ruddy Other recorder(Studio X--Seattle) 120795 26000019
Ken Loach Special Thanks n/a 120874 26000020
Quinn Donoghue Unit Publicist n/a 231 29000001
Eric Flickinger Other Vine Street Studios recordist 120795 26000016
Dr. Ferguson Reid Other aid 120795 26000015
Julian Del Valle Other light balloon technician 120795 26000011
Keith Hartley Other rigging electric 120795 26000010
Colin J O'Hara Other production secretary 120795 26000012
Richard Bennetti Other picture car coordinator 120795 26000013
Keri Littledeer Other aid 120795 26000014
Diane Glavin Driver n/a 273 25000018
Chance Robertson Driver n/a 273 25000017
Alberto Lombardo Assistant Property Master n/a 120969 24000001
Scott Garcia Special Effects Assistant n/a 514 23000003
Peter Bankins Property Master n/a 120805 24000002
Caitlin Maloney Assistant (to Steven Soderberg, John Hardy & Scott Kramer) 120820 25000001
Allissa Juillet Production Assistant (Monterey) 275 25000002
Kevin Hannigan Special Effects Coordinator n/a 241 23000002
Eric Rylander Special Effects Foreman n/a 250 23000001
Brian J Williams Stunts n/a 240 19000009
Jeff Ramsey Stunts n/a 240 19000008
Ronald E Hairston Craft Service n/a 120903 22000001
Charles Drake Craft Service n/a 120903 22000002
Antoine Mascaro Catering (Gourmet on Location) 120954 22000003
Shane Greedy Transportation Captain n/a 272 25000003
Jon Carpenter Transportation Coordinator n/a 271 25000004
Douglas G Miller Driver n/a 273 25000013
Gary Cheek Driver n/a 273 25000012
Emil Gergov Driver n/a 273 25000014
John Quittner Driver n/a 273 25000015
Dave Glavin Driver n/a 273 25000016
Brita McCollough Driver n/a 273 25000011
Loren Bess Driver n/a 273 25000010
Allan Bragg Stand-In n/a 121015 25000006
Colin J O'Hara Post-Production Assistant n/a 120882 25000005
Lauren Moore Stand-In n/a 121015 25000007
Michael LaCorte Set Production Assistant n/a 371 25000008
Lynn Struiksma Set Production Assistant n/a 371 25000009
Joyce Kogut Costume Supervisor n/a 120895 13000002
Louise Frogley Costume Designer n/a 169 13000001
Frederic W Brost Unit Production Manager n/a 182 5000001
Lem Dobbs Screenplay n/a 120778 4000001
Pat Chapman Unit Production Manager n/a 182 5000002
Gregory Jacobs Assistant Director n/a 163 5000003
Lisa Joi Bloch Assistant Director 2nd assistant director 163 5000005
Dave Hallinan Assistant Director n/a 163 5000004
Scott Kramer Producer n/a 3 3000002
John Hardy Producer n/a 3 3000001
Johnny Sanchez Actor Valet 1 1000031
Mark Gerschwin Actor Party Guy No 2 1 1000030
Brook Marie Bridges Actor Child Actress 1 1000032
George Clooney Actor (cameo appearance) 1 1000033
Steven Soderbergh Director n/a 2 2000001
Vincent Gonzales Assistant Director n/a 163 5000006
Caitlin Maloney Post-Production Supervisor n/a 120796 5000007
Stacy De La Motte Camera camera loader 120798 6000003
Ray De La Motte Camera Operator n/a 239 6000002
Robert Morgenroth Video video supervisor(E=mc2) 120800 6000004
Brett Cody Video video coordinator(E=mc2) 120800 6000005
Bob Marshak Photography still photographer 120835 6000006
Edmund J Lachmann Director of Photography n/a 120780 6000001
Phyllis Decker Assistant Location Manager (Monterey) 194 5000013
Annie Welles Script Supervisor n/a 191 5000009
Ken Lavet Location Manager n/a 193 5000008
David Conley Production Coordinator production office coordinator 162 5000010
Nancy Reid Assistant Production Coordinator n/a 192 5000011
Jane E Graves Assistant Location Manager n/a 194 5000012
Jim Jenkins Actor Party Guy 1 1000029
Brandon Keener Actor Excited Guy 1 1000028
William Lucking Actor Warehouse Foreman 1 1000010
Melissa George Actor Jennifer 1 1000009
Matthew Kimbrough Actor Tom 1 1000011
John Robotham Actor Rick 1 1000012
Steve Heinze Actor Larry 1 1000013
Amelia Heinle Actor Adhara 1 1000008
Peter Fonda Actor Valentine 1 1000007
Luis Guzman Actor Ed 1 1000003
Lesley Ann Warren Actor Elaine 1 1000002
Barry Newman Actor Avery 1 1000004
Joe Dallesandro Actor Uncle John 1 1000005
Nicky Katt Actor Stacy 1 1000006
Nancy Lenehan Actor Lady on Plane 1 1000014
Wayne Pe're' Actor Pool Hall Creep 1 1000015
Rainbow Borden Actor Warehouse Sweeper 1 1000024
Lincoln Simmons Actor Warehouse Thug 1 1000023
Michaela Gallo Actor Young Jennifer 1 1000025
Jose Perez Actor Teen Gun Dealer 1 1000026
Alex Perez Actor Teen Gun Dealer 1 1000027
George Marshall Ruge Actor Warehouse Thug 1 1000022
Carl Ciarfalio Actor Warehouse Thug 1 1000021
Ousaun Elam Actor DEA Guy 1 1000017
John Cothran Jr. Actor DEA Guy 1 1000016
Dwayne McGee Actor DEA Guy 1 1000018
Brian Bennett Actor DEA Guy 1 1000019
Allan Graf Actor Gordon 1 1000020
Dana Ross Color Timer n/a 120921 6000007
Mike Hall Camera Assistant "A" camera 1st assistant 120867 6000008
Harry Garfield Song Performer ("Flosso Bosso") 120788 8000029
Steppenwolf Song Performer ("Magic Carpet Ride") 120788 8000028
The Byrds Song Performer ("It Happens Each Day") 120788 8000030
Doobie Brothers Song Performer ("China Grove") 120788 8000031
Gary Frutkoff Production Designer n/a 164 9000001
Terence Stamp Song Performer ("Colours") 120788 8000032
Boston Song Performer ("Smokin'") 120788 8000027
Tower of Power Song Performer ("Squib Cakes") 120788 8000026
Donovan Leitch Song ("Colours") 120859 8000022
Tom Johnston Song ("China Grove") 120859 8000021
The Who Song Performer ("The Seeker") 120788 8000023
The Hollies Song Performer ("King Midas in Reverse") 120788 8000024
Danny Saber Song Performer ("Spy" "Limey Vibes" "Moog Song" "Move" "Sitar Song") 120788 8000025
Kathryn Peters Set Decorator n/a 165 9000002
Jon J Bush Set Dresser n/a 197 9000003
Andrea Brody Art Assistant art department assistant 120974 9000012
Blair Huizingh Art Department Coordinator n/a 195 9000011
Debra Zane Casting n/a 179 10000001
Terri Taylor Casting Associate casting assistant 160 10000002
Rich King Extras Casting (Axium Casting) 120851 10000003
David C Potter Lead Person leadman 120957 9000010
Chris T Patterson Set Dresser on-set dresser 197 9000009
R Patrick McGee Set Dresser n/a 197 9000005
Harry Frierson Set Dresser n/a 197 9000004
Michael Koellner Set Dresser n/a 197 9000006
Kris Fuller Set Dresser n/a 197 9000007
David Elton Set Dresser on-set dresser 197 9000008
David Crosby Song ("It Happens Each Day") 120859 8000020
Harry Garfield Song n/a 120859 8000019
Cliff Martinez Composer music composer 120836 8000001
Angie Luckey Assistant Editor n/a 203 7000004
Buck Damon Music music consultant 120781 8000002
Leanne Ungar Music music recorder & mixer 120781 8000003
David Piltch Music bass 120781 8000004
Anne Sawyer Assistant Editor n/a 203 7000003
Carol Ellison Fleming Assistant Editor n/a 203 7000002
Katie Santore Camera Assistant "A" camera 2nd assistant 120867 6000010
Gary Dunham Camera Assistant "B" camera 1st assistant 120867 6000009
Tammy Fouts Camera Assistant "B" camera 2nd assistant 120867 6000011
Marta E Weiss Camera Assistant "B" camera 2nd assistant 120867 6000012
Sarah Flack Editor n/a 172 7000001
Jack Smalley Music Arranger strings arranger & conductor 121019 8000005
Amanda Scheer-Demme Music Supervisor n/a 120872 8000006
Tom Scholz Song ("Smokin'") 120859 8000015
Chester Thompson Song ("Squib Cakes") 120859 8000014
Bradley Delp Song ("Smokin'") 120859 8000016
John Kay Song ("Magic Carpet Ride") 120859 8000017
Rushton Moreve Song ("Magic Carpet Ride") 120859 8000018
Danny Saber Song n/a 120859 8000013
Nash Song ("King Midas in Reverse") 120859 8000012
SeattleMusic Performer n/a 120819 8000008
Michael Williams Performer piano 120819 8000007
Pete Townshend Song ("The Seeker") 120859 8000009
Clarke Song ("King Midas in Reverse") 120859 8000010
Hicks Song ("King Midas in Reverse") 120859 8000011
Terence Stamp Actor Wilson 1 1000001
Synopsis
Wilson, a tough English ex-con who travels to Los Angeles to avenge his daughter's death. Upon arrival, Wilson goes to task battling an army of L.A.'s toughest criminals in the hopes of piecing together the events leading to her murder. As he survives a near-deadly beating, getting thrown out of a building and being chased down a dangerous mountain road, Wilson retaliates by doling out some bodily harm of his own. Before his trip is over, all of Los Angeles will know The Limey is in town.