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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
Edges
Two
Concepts
Stories
Characters
Character
Meet
Canvas
Real
Tomorrow
Explore

More quotes by Doug Liman

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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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Sometimes rules are there to save your life.
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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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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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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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The movie I end up with is the movie I aspired to make.
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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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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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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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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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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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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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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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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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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.
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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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To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
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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.
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It's almost a work-shopping process to create the characters with the actors.
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