Doug Liman Quotes
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I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
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If you look at my movies, they're pretty densely packed, such that they not only hold up to a second viewing, they're oftentimes better the second time you watch them. So I've always thought about crafting stories that could hold up to multiple viewings, and so VR obviously fits right into that.
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I understand that it's a huge luxury for people to dwell on the problems in Washington. Things have to be pretty tidy in your own life that you have the time to worry about what's going on in Washington. Most of us spend our time worrying about the things that are directly around us: our love lives, our careers, and our banking accounts.
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Making 'American Made' really was an adventure.
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Ultimately, if you look at the characters in my films, you'll see a lot of similarities going all the way back to 'Swingers' with Vince Vaughn's character.
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I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.
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I have to have a passionate connection to my films, which I do with 'Justice League Dark.' I have a way into the story that's personal, the way I have a connection to 'The Wall.'
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Normally, the action is just a gratuitous thing. In the case of Bourne, he was going to learn about himself in the action scenes.
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My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
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What happened on 'Mr. & Mrs. Smith,' I was given a big budget and given too many choices, and I made a lot of mistakes and missteps early on until I squandered all that extra money. But then, once my back was up against the wall, I made what I consider a really good movie.
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More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
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You gotta understand, 'Swingers' was a resume film for me. I never thought anybody would see the movie who I wasn't in the room with showing it to them.
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When I set out to make 'Bourne Identity,' my main goal for the franchise was to create something where it feels like you're in the action. You're not just passively watching it from far away. That's something that I have constantly aspired to do - even in 'Swingers,' to feel like you're Jon Favreau; you're not just watching him.
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There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.
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I was a troublemaker. For a long time, I didn't fit in.
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When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.
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With 'Invisible,' I didn't want to create something that requires you to watch it more than once; I don't even expect people to watch it more than once per se. I just wanted you to have the experience and knowing that if you watch it a second time, it would be different because you would see different things.
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I feel like, Barry Seal, he's pure of heart.
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Even more than 'Swingers,' 'Go', for me, defines my career.
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The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.
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The reality is, the movies that were most impactful to me growing up, when I decided I wanted to make movies, I was going to see Woody Allen double features with my brother, back when they had double features.
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I'm really attracted to anti-heroes, and I'm a little bit of a troublemaker myself, and a little bit of a rule-breaker, and I like spies.
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So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.
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Aaron Taylor-Johnson and John Cena, in 'The Wall,' are superheroes. They're very grounded, but the amount of training and stuff that soldiers bring to the field, they're like Iron Man.