A Quote by Doug Liman

It's very hard for a studio to take a chance on a piece of original material. They used to have the fall-back of DVD sales. They had ways in which they could safely make an investment in a piece of original material, and those opportunities aren't necessarily there anymore.
When you can come across a piece of material that's totally original and fun and completely satisfying, you jump on it.
It's hard to hand a script to a director, there's no question about it. You've lived with these characters, you've started with a blank page, especially when it's an original work and something not based on a preexisting piece of material. But if you don't like it, write a novel.
It's hard for me to fall in love with a piece of material enough to want to direct it.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
I think the Chainsaw remake is very good and captures the spirit of the original film. It's true to the tone of the original, to the point that it's almost a companion piece.
I think the Chainsaw remake is very good and captures the spirit of the original film. It's true to the tone of the original, to the point that it's almost a companion piece
When I'm talking to somebody, I'll put a piece of paper on the table and I'll write what I call a conversation summary - notes about the conversation on the piece of paper. At the end of the conversation, I'll take a picture on my phone and give the other person the original piece of paper.
As a director you already have a script, you have actors... you have collaborators when you're a director. When you're writing there's no one to collaborate with, there's no material to look at. I haven't adapted something yet, so, I'm sure that would be helpful. When you're writing an original piece you have nothing.
Everything has been for the [President] election for the last couple of months. Since the Democratic National Convention, it's been a dead run to get out as much content as possible and do as much as possible. Then, I go back to writing the screenplay I was working on, which is an original piece - a period piece that I will hopefully finish a couple of months after that, and hopefully I can convince some unsuspecting fool studio to buy.
You never want to have a movie be derivative, because that's the worst if you ask me. I always want to be in original material, or an original idea, or an original vision, rather than a rehash of some other movie.
I've never written an original piece for film; all the original things I've done are for the stage.
Over the years, Yes actually made 20 albums of original studio material.
The goal of the work is always for it to come across as original material, as transformative material.
Earth is the material with the most potential because it is the original source material.
We must remember that everything depends on how we use a material, not on the material itself... New materials are not necessarily superior. Each material is only what we make it.
A piece of material has a life. You must never upset it if you want the material to speak.
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