Doug Liman Quotes
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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.
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Nothing I've done is like anything else I've done before.
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I'm very interested in politics, and I feel TV is a more political medium than film.
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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.
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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.
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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!
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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?"
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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.
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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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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 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.
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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.
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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.
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At the end of the day, it's still a show about guys who ride extremely fast motorcycles for a living.
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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.
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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.
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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.
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TV is a safe place to develop real characters.
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I'm a character-driven director, and I tend to fall in love with the characters in my movies and TV shows.
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To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
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It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
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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.
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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.
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The movie I end up with is the movie I aspired to make.
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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.
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I go into a movie sort of saying what it's not going to be.
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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.
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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.
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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.
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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.
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