A Quote by Doug Liman
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.
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To be honest, when I started watching VR content, I was mostly disappointed and thought people could do better - not that different from when I set out to make 'Swingers' and thought, 'There's a better way to make an independent film.' Which is why 'Swingers' ended up being so much less expensive than anything like it.
What I do is rooted in magic - it's got a big foot planted firmly in conjuring, even if the other foot's planted in psychological techniques.
As one of my teachers, Buckminster Fuller, says, we were given a right foot and a left foot, not a right foot and a wrong foot. The point is that, there's always two points of view out there, and we need to increase our ability to allow another point of view. Then we have a better chance for peace.
There are lots of artists in the world. But there's only one you. And the only person who has your point of view is you. If you decide not to make things, all you've done is deprive the world of all the stuff that only you could have brought to it.
I've love to do more movies. Just because I'm interested in the medium very much. I've done a lot of theatre at this point, and I've done a lot of TV. I've done a few independent films, but a lot of them have not seen the light of day. It'd be really nice to be in a film that gets out there.
We loved the line 'I'm a luxury... few can afford.' It still makes me smile. It's a jumper for people with a sense of style and a sense of humor.
I always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
It is a simple fact that you can't steal second base if your foot is firmly planted on first.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.
Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.
Making movies has not only been an incredibly collaborative process but there's three big parts: pre-production, shooting itself and then post-production, which leads into marketing. And if you're passionate about the movie and you believe in it, and it would make sense that you are having done it, then you want to get out and promote it. It makes it a lot easier when the film is good and people are enjoying it.
In high school, I was the best broad jumper on our team, and I kind of thought that when I got to MIT, I'd probably still be the best broad jumper, 'cause why do broad jumpers come to MIT? But it turned out to actually be the other way around. There was another person in my class who could jump about 3 feet further than I could.
When Bruce Lee gets his cameo in 'The Green Hornet' - as one of the drawings in Kato's notebook - it clarifies what the film is: an unrealized sketch. A sketch can afford to allude to a point of view. Moviemakers need to show their point of view, something this shrug of a movie never gets around to doing.
You can't print everything and that's not good for filmmaking, because you wanna have as many options as possible and print as much as you can, but if you're going to shoot a film - an independent movie on film, the only way to really do it is to print your selects.
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