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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.

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
Heart
Particular
Worlds
Love
High
Drawn
World
Perfect
Edge
Bigs
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Two
Concepts
Stories
Characters
Character
Meet
Canvas
Real
Tomorrow
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More quotes by Doug Liman

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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 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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There are actors who just bring an enormous amount of empathy. They just have thatit that makes you want to follow them and root for them.
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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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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 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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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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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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To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
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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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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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The movie I end up with is the movie I aspired to make.
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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 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 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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When you can come across a piece of material that's totally original and fun and completely satisfying, you jump on it.
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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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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.
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