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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.

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
Ends
Real
Wreck
Going
Wrecks
Things
Chase
World
Total
Million
Car
Millions

More quotes by Doug Liman

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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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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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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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It's almost a work-shopping process to create the characters with the actors.
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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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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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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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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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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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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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At the end of the day, I like the spy genre, as opposed to the action movie genre, because spies are smart. The successful spies are the smarter spies.
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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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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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The movie I end up with is the movie I aspired to make.
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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 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.
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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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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.
Doug Liman