Quote

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
World
Perfect
Edge
Bigs
Edges
Two
Concepts
Stories
Characters
Character
Meet
Canvas
Real
Tomorrow
Explore
Heart
Particular
Worlds
Love
High
Drawn

More quotes by Doug Liman

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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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TV is a safe place to develop real characters.
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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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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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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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I make movies for me and posterity. I'm more scared of history than I am of the studio.
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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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Sometimes rules are there to save your life.
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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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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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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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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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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 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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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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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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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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