Top 1200 Bourne Identity Quotes & Sayings

Each human being has his or her own sexual identity and should be able to exercise that identity without guilt as long as they do not force that sexual identity on others.

Look at every action movie in Hollywood. Every leading man from Spider-Man to Batman to James Bond, 'Bourne Identity', every one of them possesses martial arts skills.

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.

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.

The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.

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.

The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.

That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.

I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.

I was examining what religious identity meant in Africa. Along the edge of the Islamic world, what patterns were shaping identity? And the truth is, when I looked at the rise of violent forms of religion, no single identity was prevalent. It's central to note that in Nigeria, that tree is rooted primarily in Christianity. It's not just Islamic militants in the Middle Belt.

I chose 'Mr. & Mrs. Smith' specifically 'cause I had just made 'The Bourne Identity' and made a film that glamorized being an action hero, and I wanted to make the exact opposite. I wanted to make a movie that glamorized maintaining a marriage, and that made the action hero part seem easy and made the marriage part seem hard.

When I was making 'Bourne Identity,' I wasn't making a dumb action movie like they were expecting it to be.

Identity is very personal...identity is political. My identity is what is and it is what it's gonna be. And I don't think that any information will change that profoundly...I [already] know that I am a Black woman, and a Black woman who has mixed some heritage, like most African Americans.

With motocross I've found that passion becomes your identity and that identity breaks all barriers.

The 'Bourne' films totally reimagined and elevated the action genre.

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.

You create identity, you're not given identity per se. What became more and more interesting to me wasn't the I, it was text because it's text that create identity. That's how I got interested in plagiarism.

I'll never be, at least in my mind, as cool as Jason Bourne.

If I thought it was my identity to be a spiritual teacher, that would be a delusion. It's not an identity. It's simply a function in this world.

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.

Society imposes an identity on you because of the way you look. Your struggle as a self has to do with an identity being imposed on you that you know is not your identity.

I don't doubt that straight white men have identity issues and identity complexes and struggle with defining themselves.

Casino Royale' was fabulous and I saw 'Bourne Identity' over and over again.

Right before 'The Bourne Identity' came out, I hadn't been offered a movie in a year.

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.

'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 whole point is to take from our native culture and from contemporary culture without using one art form to mimic the other, so that our native identity remains the native identity, the contemporary identity remains the contemporary identity, and the mixing of these two musical identities creates a third musical identity.

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.

I would happily have done any of the 'Bourne Identity' sequels. There are good sequels, but I'm not good at making them.

Identity is the history that has gone into bone and blood and reshaped the flesh. Identity is not what we were but what we have become what we are at this moment.

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.

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.

If you embrace a project that will require time and patience, then you need something to work on. So the first step of the project is to create an identity. If you don't have an identity, then today you want this player and tomorrow another one. If you have an idea and a shape, then this is how you develop an identity.

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 have two dream roles: One would be a biopic of someone I admire and respect and the other one would be some sort of action drama film similar to a 'Bourne Identity.' I just really want to do an intelligent action drama film.

All forms of violence are quests for identity. When you live on the frontier, you have no identity. You're a nobody.

Why would one's identity be a matter of feelings? I think that that's a misuse of terms, philosophically. Identity is mind independent. It's something that is objective, regardless of how you feel. So, the term gender identity seems to me to be something of an oxymoron. It's not really about one's identity. It's rather a matter of one's self-perception or one's feelings about oneself.

My being Muslim is only one part of my identity. But particularly in India and the world over, a concerted effort is being made to diminish all other aspects of identity and only take your religious identity as who you are.

If a man has a sense of identity that does not depend on being shored up by someone else, it cannot be eroded by someone else. If a woman has a sense of identity that does not depend on finding that identity in someone else, she cannot lose her identity in someone else. And so we return to the central fact: it is necessary to be.

Our identity was bestowed upon us by God and when humanity rebelled against God, we were divorced from the source of our identity. In this vacuum, work can wrongfully become the source of our identity wreaking havoc on our lives and work. Work was never meant to carry the weight of our identity.

Having an identity is one thing. Being born into an identity is quite a different matter.

I'd say that my identity is really a culinary identity, so the way I relate to my national heritage is through its cuisine.

I didn't have an identity. It was manufactured. My identity now? It was written on the wall by ancient forces.

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.

'North by Northwest' was a big influence for 'The Bourne Identity.'

I was originally set to star in 'The Bourne Identity,' but I found it too difficult to even pretend to forget who I was.

We are undermining a generation's happiness by depriving them of national identity, religious identity, and gender identity

I see fashion as a proclamation or manifestation of identity, so, as long as identities are important, fashion will continue to be important. The link between fashion and identity begins to get real interesting, however, in the case of people who don't fall clearly into a culturally-recognized identity.

He wasn't smart enough to see it, said Jason Bourne. He couldn't think geometrically.

Daniel Craig is brilliant as Bond: there is no question about that. But it's a different Bond. It's the cross pollination of 'The Bourne Identity' and 'James Bond;' that kind of style of filmmaking.

I would have happily done 'Bourne Legacy,' but a lot of decisions are made for you.

Your ethnic or sexual identity, what region of the country you're from, what your class is - those aspects of your identity are not the same as your aesthetic identity.

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.

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.

All third world literature is about nation, that identity is the fundamental literary problem in the third world. The writer's identity is insecure because the nation's identity is not secure. The nation doesn't provide the third world writer with a secure identity, because the nation is colonized, it's oppressed, it's part of somebody else's empire.

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.

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 had a family. They can be a nuisance in identity but there is no doubt no shadow of doubt that that identity the family identity we can do without.

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.

All over the world today people have a very strong desire to find a sense of identity, and at the same time that's coupled with the rise of absolutely absurd wars that relate to ethnic identity. Perhaps there is something deeply ingrained in people that relates to a sense of belonging, and without that, identity doesn't seem as real as it should.