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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.

Doug Liman

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Doug Liman
Age: 59
Born: 1965
Born: July 24
Cinematographer
Executive Producer
Film Director
Film Producer
New York City
New York
Douglas Eric Liman
World
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Film
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Jumper
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Jumpers
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More quotes by Doug Liman

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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.
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Obviously, anyone who has seen Mr. and Mrs. Smith knows that husband and wife married spies is something that I find particularly interesting.
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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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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.
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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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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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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.
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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.
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I make movies for me and posterity. I'm more scared of history than I am of the studio.
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TV is a safe place to develop real characters.
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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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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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To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
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It's almost a work-shopping process to create the characters with the actors.
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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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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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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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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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Sometimes rules are there to save your life.
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