American - Director | July 24, 1965 -
More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
Doug Liman
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I understand that it's a huge luxury for people to dwell on the problems in Washington. Things have to be pretty tidy in your own life that you have the time to worry about what's going on in Washington. Most of us spend our time worrying about the things that are directly around us: our love lives, our careers, and our banking accounts.
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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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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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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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My older brother took me to Woody Allen double features when I was still teething.
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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.
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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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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.
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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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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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I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.
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