Doug Liman Quotes
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I never want to repeat myself. I can't imagine anything else as upsetting as realizing I'm redoing something I did before. For some reason, when it comes to film, I'm very good at not repeating myself. Even though in the rest of my life, I'm constantly repeating my mistakes.
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Flying small airplanes is not like being on airlines.
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VR should be more emotionally involving, but that doesn't happen automatically by just taking a VR camera and sticking it onto what would be a traditionally blocked scene for 2D.
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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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I've often found, as I did with 'Bourne,' where I was inspired by the events of Iran-Contra when I designed the CIA for the 'Bourne' franchise, that the reality of how things work is usually more compelling than the superficial, made-up version that Hollywood sometimes does.
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I do take things away from reading reviews. I think they keep you honest.
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I had just come off doing a lot of commercials when I did 'Go,' so a part of the fast pace and efficiency comes from the discipline I had to learn from telling stories in 25-second increments, and that type of discipline is insane.
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I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.
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I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
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When you make a war movie, the other side has to be the enemy. You're making a war movie from the point of view of a soldier fighting it.
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I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
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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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People don't talk about how hard it is to make a movie. Nobody does. Ever.
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My family went to the Hamptons, so I understand what happens when a slice of perfect utopia gets overdeveloped, when one way of living is replaced by another.
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It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
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When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
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I went to USC film school, briefly, which is a very traditional film school.
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Casting is everything. I put a huge amount of work into casting, and consistently across my career, I am most proud of my bold choices I made in casting.
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I didn't grow up like Quentin Tarantino, watching esoteric art films at the video store. I'd go to the multiplex and see big, mainstream movies, and I'd go, 'I want to make one of those one day.'
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'The Wall' doesn't recount a specific soldier's experience in Iraq, but it captures the spirit of many experiences that were shared with me and with Aaron Taylor-Johnson and with John Cena.
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I really love the movies of Katherine Hepburn, movies like 'The African Queen.' I love 'Midnight Run' and I suppose, to pick something out of a different genre, I love 'Aliens.'
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The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.
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My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.
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I've always been interested in giving the audience a first-person experience in my movies.