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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.

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
Makes
Root
Empathy
Enormous
Roots
Follow
Amount
Bring
Actors

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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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Sometimes rules are there to save your life.
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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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TV is a safe place to develop real characters.
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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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I make movies for me and posterity. I'm more scared of history than I am of the studio.
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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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The movie I end up with is the movie I aspired to make.
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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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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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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'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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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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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 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 almost a work-shopping process to create the characters with the actors.
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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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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 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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