Best 40 quotes of Doug Liman on MyQuotes

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.

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

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.

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.

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 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.

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.

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.

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.

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!

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

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

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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