Doug Liman Quotes
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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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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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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'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.
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On 'Edge of Tomorrow,' we discovered that movie while we were making it.
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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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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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'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
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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'm really interested in real people in extraordinary situations. The detail and reality to that.
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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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I like to keep my options open. I'm known for changing my mind.
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Normally in spy movies, the person that the hero deals with is at the centre of power, surrounded by video screens, and they're old and grizzled. I'm no stranger to that dynamic.
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'The Wall' is a reaction to 'Edge of Tomorrow,' where I was like, 'I don't need time travel and aliens to take a hero and pin them down in an impossible situation. I can do it in a much simpler way.' And that was 'The Wall.'
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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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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'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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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 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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I've been really lucky in terms of the people I've gotten to work 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 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 subscribe to the school that there are no dumb questions.
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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.