A Quote by Doug Liman
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
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I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown-up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me - and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects.
I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.
If I make two movies my entire life, and they're two movies that - whether they make a lot of money or two people go to see them - they speak of me, then I consider them incredibly successful. I don't need to be Steven Spielberg.
The first person to make me realize there was someone behind the film was Steven Spielberg.
I got a note from the stage manager one night that someone wanted to meet me. And it was Steven Spielberg.
When kids like Steven Spielberg were eight and nine and 10, they had little cameras, and that's all they wanted to do. When I was 10, I was in my attic pretending to host my own variety show. Spielberg wasn't. That's why he's a film director, and I'm doing what I'm doing.
You know that you're part of a Spielberg production when you've got some aliens involved, but you really know when you're sitting there at a table read, and they say, 'Steven really wanted it this way.'
Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.
I've always loved action movies. The first films I fell in love with were 'Star Wars' and Steven Spielberg films.
I think one of the reasons that Steven (Spielberg) and I have been as successful as we have is because we like the movies. We like to go to the movies. We enjoy movies and we want to make movies like the ones we enjoy.
When I was a young filmmaker starting out, I was really snobby about all the affirmative action for women filmmakers because I felt it should be about your talent, and I made a film that won awards, and people wanted me.
My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'
The only person who can, with impunity, make the movie he wants to make, has got to be Steven Spielberg.
Steven Spielberg makes Minority Report with the newest digital technology; other directors seem to be trying to make their movies from it.
I love Carpenter, I love Craven - these are all the classics - the Romeros of the world, but I think the biggest influence on me as a storyteller and as a filmmaker is actually Steven Spielberg. I love that even though Steven isn't known for being a horror director, he started out his career making scary movies.
I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird... Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!'
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