A Quote by Paul Greengrass
What attracts me to Bourne's world is that is a real world, and I think I'm most comfortable there. But I come to a Bourne movie to have fun as a filmmaker, to strut my stuff, and that's part of the fun of franchise filmmaking.
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I see the first 'Bourne' movie as really kind of a fulcrum in changing the modern action film, where things are really gritty and really character-driven. Think about how the entire Bond franchise was completely radicalized by Bourne.
The more real I got on 'The Bourne Identity,' the more interesting it got. So 'Fair Game' was the chance to go a few more steps in that direction. In fact, I discovered this whole other world that I had ignored in the 'Bourne' franchise, which is the domestic life of a spy, and how you make the two halves of your life coexist.
No one person is the author of a Bourne film. The truth is it's a coalition of people who share the same vision for Bourne and his world, and we... its remarkably collaborative and collective.
My dream is to do something like the female Bourne, and do something in that world. To mix that high level of drama with the covert operation, conspiracy theory spy world fascinates me and it's so interesting. It's fun to do it.
I've often found, as I did with 'Bourne,' where I was inspired by the events of Iran-Contra when I designed the CIA for the 'Bourne' franchise, that the reality of how things work is usually more compelling than the superficial, made-up version that Hollywood sometimes does.
Speaking personally as a filmmaker, I think encoded in Bond are a series of values about Britain, about the world, about masculinity, about power, about the empire that I don't share. Quite the reverse. Whereas in Bourne, I think encoded is much more scepticism. There's an us and a them, and Bourne is an us, whereas Bond is working for them.
The 'Bourne' franchise means the world to me. I love that Universal wants to put one out every two years. Because it is a safe investment, I benefit from that on many levels.
I thought I was done making CIA movies after 'The Bourne Identity.' I really had used my father's work in Iran-Contra on 'The Bourne Identity.' You get one experience like that in your life where you have personal exposure to something, and you put it in a movie. That's it.
In 'The Bourne Identity,' I wanted to give the audience the feeling of being in the car with Jason Bourne, not just watching him drive but be in the car with him, and 'The Wall' is the continuation of that immersive filmmaking style. Where you're trapped behind the wall with Aaron Taylor-Johnson - for better or worse, you're trapped there with him.
'XIII' is a spy show. I think the comic book is a little too similar to 'The Bourne Identity.' I tried to take it away from that. I believe there was, many years ago, before the Bourne movies, a lawsuit that made it so they couldn't be published in English.
I'm a massive fan of the 'Bourne' franchise, and I think Damon's brilliant in it, and I love the films. I'm really into it.
I like making movies that have some of the qualities of first-person shooter games. That was very important to me for the 'Bourne' franchise.
When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.
I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
When I think, where did I laugh the most, where did I eat the most, where did I just feel good all the time, I would say making the Bond movie 'Die Another Day.' To be part of such an iconic franchise and to travel to exotic places - that was the most fun I ever had.
And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.
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