A Quote by Doug Liman
When I set out to make 'Bourne Identity,' my main goal for the franchise was to create something where it feels like you're in the action. You're not just passively watching it from far away. That's something that I have constantly aspired to do - even in 'Swingers,' to feel like you're Jon Favreau; you're not just watching him.
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When you're watching a Bond movie, if there's a violent death, there's something about cleverly chosen twists, or what props are used, or some way that he's doing something that feels like an ironic twist, that feels like it gives the audience permission to enjoy watching it and to enjoy watching something that's otherwise just brutality.
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.
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.
I kind of wish people didn’t know who I am, that I could just lie, say I’m a speechwriter for Obama. This is what I said before Twilight. And then Obama came along and picked up all these young writers. I found out this guy, Jon Favreau — who’s not the actor Jon Favreau — is writing for him. And I was like, Wow, I wonder if the people who thought I was bullshitting at the time are like, ‘Oh my god. That guy! That kid who was drunk in some bar actually wrote the health care bill!’
When I create a story, I can make it however funny, sad, or happy I want it to be. And when I read, I feel like I'm in the story, and I get to experience it. It feels like I'm watching someone else do something, but I'm doing the thing that the character is doing as well.
Personally, I don't like to talk too much to the actors about the camera choices because I feel like the way I want them to perform is as if it feels very rooted in the real world and that I'm essentially stepping back and just watching and hoping they feel safe with me watching.
I have grown up watching franchise-based movies like 'Star Wars' and read 'Amar Chitra Katha' and had aspired to do cinema like that.
A franchise gives a sense of security to everyone - the director, producers, exhibitors, and even the audience feels that they are watching something close to the first part.
Something that's good in the mini-culture of 'Happy Endings' is that the goal is to try and make each other laugh. There is a pretty high bar, and you want to make the writers laugh, and you want to elevate what's already great material - and also, we're like, 'Who is even watching this? Let's just go for it.'
I can be surfing the exact same wave and then sometimes something will just set off, even if I'm riding the same board the whole time. Something will just set off and it just feels like you can push just that extra bit harder.
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.
When you're home or you're working, your mind just isn't allowed to just roll on like it does when you're watching the scenery go by. You're hurdling through space but you're not really moving. ...It's that dreaminess, that ability to just get dreamy while you're looking out the window and you see something...and it makes you think of something else, and all of a sudden the words are just flowing out of you.
Every time I watch CNN, it feels like you're assigning me homework. Is Trump a Russian spy? I don't know. You tell me - I'm watching the news. It feels like I'm watching CNN watch the news. Just take an hour, figure out what you want to say, then go on the air.
Just the energy when I was sitting and watching the game, like the seats were shaking, fans were screaming. Just, I feel like I'll be ready to play in something like that when it's my time.
My favorite thing about coaching? Teaching. Being around young people, just watching a player grow and develop. You know, a young man comes in with dreams and goals and ambitions and just helping him reach (them). It's like your dad watching you grow up and like me watching my boys grow.
What I wanted to do was drown something enormous, like a Star Trek or Star Wars kind of space opera-type thing, but actually make it about someone who was just married to the wrong guy, and that guy just happens to be this amazing dictator, and she has to get her kids as far away as possible from this guy. So something that could almost be a TV movie, if you'd ground it and set it in Wisconsin or something like that, but to give it this enormous setting.
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