Quotes from Doug Liman

I'm not really in a rush to grow up.

I had just come off doing a lot of commercials when I did 'Go,' so a part of the fast pace and efficiency comes from the discipline I had to learn from telling stories in 25-second increments, and that type of discipline is insane.

There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.

With 'Invisible,' I didn't want to create something that requires you to watch it more than once; I don't even expect people to watch it more than once per se. I just wanted you to have the experience and knowing that if you watch it a second time, it would be different because you would see different things.

Antiheroes who are sort of honest to themselves are the ones you root for. Like, Barry Seal isn't trying to be anything other than he is. He isn't fooling anybody per se.

So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.

I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.

I have to have a passionate connection to my films, which I do with 'Justice League Dark.' I have a way into the story that's personal, the way I have a connection to 'The Wall.'

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.

My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'

Finding original source material is not easy, but when something special like 'Edge of Tomorrow' comes along, everybody recognized it. I wasn't swimming against the stream. Warner Brothers immediately supported it, Tom Cruise signed on instantly; Emily Blunt, who was our first choice, signed on immediately.

Aaron Taylor-Johnson and John Cena, in 'The Wall,' are superheroes. They're very grounded, but the amount of training and stuff that soldiers bring to the field, they're like Iron Man.

I really love the movies of Katherine Hepburn, movies like 'The African Queen.' I love 'Midnight Run' and I suppose, to pick something out of a different genre, I love 'Aliens.'

I think when the United States of America put a man on the moon in 1969, that was one of the greatest accomplishments mankind has ever done.

For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.

I'm very interested in politics, and I feel TV is a more political medium than film.

To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.

Being on a commercial airplane is actually one of the safest places you can be on the planet.

I live in New York City, and I'm making huge action movies. The people that make huge action movies live in L.A., and they're surrounded by other people who make huge action movies. I'm surrounded by people making documentaries!

Normally in spy movies, the person that the hero deals with is at the centre of power, surrounded by video screens, and they're old and grizzled. I'm no stranger to that dynamic.

The system did not want me to make 'Go.' And I sort of stood up to the system and made the movie I wanted to make, and the fact that I did that and I'm proud of the movie means I'm really proud of myself when I look back on that.

With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.

There's a weird intellectual approach to filmmaking, where I pose a question to myself and use the film to try and answer it.

When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.