Doug Liman Quotes
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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 like to keep my options open. I'm known for changing my mind.
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My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'
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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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In 'The Bourne Identity,' I wanted to give the audience the feeling of being in the car with Jason Bourne, not just watching him drive but be in the car with him, and 'The Wall' is the continuation of that immersive filmmaking style. Where you're trapped behind the wall with Aaron Taylor-Johnson - for better or worse, you're trapped there with him.
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People don't talk about how hard it is to make a movie. Nobody does. Ever.
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Antiheroes who are sort of honest to themselves are the ones you root for. Like, Barry Seal isn't trying to be anything other than he is. He isn't fooling anybody per se.
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I don't really analyze my process. I do know that if it's not right, I won't move on. I'm tenacious to a fault about that.
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I'm really interested in real people in extraordinary situations. The detail and reality to that.
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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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I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
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The system did not want me to make 'Go.' And I sort of stood up to the system and made the movie I wanted to make, and the fact that I did that and I'm proud of the movie means I'm really proud of myself when I look back on that.
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I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.
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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 way I see it, the expensive people who get hired when you have money are the fancy people who tell you what you can't do.
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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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On 'Edge of Tomorrow,' we discovered that movie while we were making it.
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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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I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.
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I love 'Bringing Up Baby.' Anything that Katharine Hepburn's in. I'm committed to the Humphrey Bogart, Cary Grant, Katharine Hepburn era of filmmaking.
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With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.
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There would be no Marvel without 'Swingers'; there would be no Jon Favreau directing 'Iron Man,' no Robert Downey Jr. playing Iron Man; no 'Avengers.'
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I've really pushed the limits of what you can get away with at big studios, and I've been extremely well-supported.
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I've always had antiheroes in my film.