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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.

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
People
Hurt
Getting
Fighting
Stunt
Two
Sequence
Persons
Easier
Person
Fight
Going
Risk
Much
Somebody

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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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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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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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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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Sometimes rules are there to save your life.
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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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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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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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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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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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TV is a safe place to develop real characters.
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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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The movie I end up with is the movie I aspired to make.
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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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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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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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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 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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