Doug Liman Quotes

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.

I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.

That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.

In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.

At the end of the day, it's still a show about guys who ride extremely fast motorcycles for a living.

I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.

The movie I end up with is the movie I aspired to make.

I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.

I think when the United States of America put a man on the moon in 1969, that was one of the greatest accomplishments mankind has ever done.

At the end of the day, I like the spy genre, as opposed to the action movie genre, because spies are smart. The successful spies are the smarter spies.

It turns out that it's easier to do politics in a movie. People really don't want it in their TV.

I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.

It's better to find a stunt person who can act. It's easier to do that than to find an actor who can do a stunt.

TV has no choice, but to rely on character, and everybody knows that. I love working in it. It's such a big canvas where, if you're successful, you go on for years.

TV is a safe place to develop real characters.

It's hard to get a movie made about characters these days. We're in a climate where, unless it's based on a toy or it's a superhero where somewhere it ends in man - like Spider-Man, Superman or Iron Man - it's hard to get it made.

I'm a character-driven director, and I tend to fall in love with the characters in my movies and TV shows.

It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.

Sometimes rules are there to save your life.

When you can come across a piece of material that's totally original and fun and completely satisfying, you jump on it.

If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.

It's much easier to do a fight sequence between two people, if one of the two people in the fight is a stunt person, or you're going to risk somebody getting hurt.

Nothing I've done is like anything else I've done before.

It's almost a work-shopping process to create the characters with the actors.

My own personal process with movies is to develop the characters with the actors and, when I've done that properly, you can't imagine anyone else, but that actor, playing that part.

For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.

I pride myself on doing character-driven movies and, when my movies have worked, it's been because of the right casting and the right character, and it just clicks.

You can find truly original pieces of writing, but they're original because you go, "Who would have even have thought of that?," or, "Why would anyone ever want to go see that?"

I make movies for me and posterity. I'm more scared of history than I am of the studio.

Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.

It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.

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.

If you do something that's really original, you discover why everybody else does it the other way, usually. There's a reason cliches exist, 'cause they work.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

When I'm working on a film, I think about how it will play with a tiny audience of friends whose opinions I respect, basically a 40-bloc radius from my apartment in Manhattan.

I live in New York City, and I'm making huge action movies. The people that make huge action movies live in L.A., and they're surrounded by other people who make huge action movies. I'm surrounded by people making documentaries!

There are actors who just bring an enormous amount of empathy. They just have that"it" that makes you want to follow them and root for them.

What I really found was that the one similarity between Covert Affairs and Fair Game is a deep love and admiration and fascination with the home life of a spy.

The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.

The beating heart of your story that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.

Obviously, anyone who has seen Mr. and Mrs. Smith knows that husband and wife married spies is something that I find particularly interesting.

When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.

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.

In the real world, if you're in a car chase, you're going to hit a million things and your car is going to end up a total wreck by the end.

To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.

I'm very interested in politics, and I feel TV is a more political medium than film.

I go into a movie sort of saying what it's not going to be.

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.