Doug Liman Quotes

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

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.

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.

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.'

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

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

A part of me is a liberal New Yorker involved in politics and certain attitudes about movies. I kind of lost my indie credibility over 'Mr. and Mrs. Smith.' I know I haven't lost it. I just have to go make an independent movie. I just have to do it. Just for me.

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.

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.

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 never want to repeat myself. I can't imagine anything else as upsetting as realizing I'm redoing something I did before. For some reason, when it comes to film, I'm very good at not repeating myself. Even though in the rest of my life, I'm constantly repeating my mistakes.

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

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

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 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.

The more real I got on 'The Bourne Identity,' the more interesting it got. So 'Fair Game' was the chance to go a few more steps in that direction. In fact, I discovered this whole other world that I had ignored in the 'Bourne' franchise, which is the domestic life of a spy, and how you make the two halves of your life coexist.

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