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I do take things away from reading reviews. I think they keep you honest.
Doug Liman -
It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
Doug Liman
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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.'
Doug Liman -
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.'
Doug Liman -
I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.
Doug Liman -
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.
Doug Liman -
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.
Doug Liman -
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.
Doug Liman
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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.
Doug Liman -
People don't talk about how hard it is to make a movie. Nobody does. Ever.
Doug Liman -
I'm really interested in real people in extraordinary situations. The detail and reality to that.
Doug Liman -
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.
Doug Liman -
I've really pushed the limits of what you can get away with at big studios, and I've been extremely well-supported.
Doug Liman -
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.'
Doug Liman
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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.'
Doug Liman -
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.'
Doug Liman -
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.
Doug Liman -
On 'Edge of Tomorrow,' we discovered that movie while we were making it.
Doug Liman -
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.
Doug Liman -
I've always had antiheroes in my film.
Doug Liman
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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.
Doug Liman -
I subscribe to the school that there are no dumb questions.
Doug Liman -
'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.'
Doug Liman -
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.
Doug Liman