Doug Liman Quotes
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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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On 'Edge of Tomorrow,' we discovered that movie while we were making it.
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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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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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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 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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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've always been interested in giving the audience a first-person experience in my movies.
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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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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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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 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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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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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'm really interested in real people in extraordinary situations. The detail and reality to that.
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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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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've always had antiheroes in my film.
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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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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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It causes havoc on set anytime a director wants to go backward rather than forward.