A Quote by Doug Liman
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.
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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.
More of 'The Bourne Identity's script was taken from the events of the Iran Contra, which my father investigated for the Senate, than what was taken from Robert Ludlum's novel.
I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.
When I was making 'Bourne Identity,' I wasn't making a dumb action movie like they were expecting it to be.
'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.
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.
Right before 'The Bourne Identity' came out, I hadn't been offered a movie in a year.
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.
I have two little kids and I enjoy watching movies with them, and I can't watch every movie with them. Sometimes it's because it's obviously not appropriate to watch The Bourne Identity with your kids, but a lot of times it's because it's torture to watch the movies that they want to watch, as a parent.
I would happily have done any of the 'Bourne Identity' sequels. There are good sequels, but I'm not good at making them.
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 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.
'North by Northwest' was a big influence for 'The Bourne Identity.'
I did a different production with a different director and Bill Pullman. Oleanna - the one you saw - we were doing right after Bourne Identity or right after it came out.
When it comes to identity, that was an issue that plagued me for a lot of my life. It's something that I wanted to tap into. Film can really take you to other places, and sometimes that's necessary to understand your own identity or someone else's identity or just the issue of identity, in general. It takes you. It's borderless. It's boundless. It's universal.
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.
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