Doug Liman Quotes
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On 'Edge of Tomorrow,' we discovered that movie while we were making it.
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It's kind of hard to work with Tom Cruise and not be aware that you're working with one of the biggest movie stars in the world.
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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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When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
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All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.
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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've always been interested in giving the audience a first-person experience in my movies.
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My characters in my movies are all flawed. You'll probably never see Tom Hanks in a Doug Liman film. He plays, you know, very earnest and unflawed.
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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 go into a movie sort of saying what it's not going to be.
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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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I like to keep my options open. I'm known for changing my mind.
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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 make movies for me and posterity. I'm more scared of history than I am of the studio.
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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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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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One thing about pushing yourself outside your comfort zone is that you're going to make mistakes, and you're going to fall flat on your face sometimes.
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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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'Swingers' was always set in another world.
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I thought I was done making CIA movies after 'The Bourne Identity.' I really had used my father's work in Iran-Contra on 'The Bourne Identity.' You get one experience like that in your life where you have personal exposure to something, and you put it in a movie. That's it.
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The one thing about reality is sometimes it gives you material that is wilder than some of your wildest imagination could come up with.
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When I read the script of 'The Wall,' I saw how much different the war looks from the point of view of a soldier fighting it.
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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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We love movies like 'Edge of Tomorrow.' It's why we go to the movies, and it's why we make movies.