Quotes from Doug Liman

It's almost a work-shopping process to create the characters with the actors.

Casting is everything. I put a huge amount of work into casting, and consistently across my career, I am most proud of my bold choices I made in casting.

I like to keep my options open. I'm known for changing my mind.

The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.

I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.

I make movies for me and posterity. I'm more scared of history than I am of the studio.

I think that I learned a studio system prefers a sort of professionalism from the director.

I'm interested in the kind of anti-establishment ethos that goes with making an independent movie. I like to bring that to studio films - usually to the consternation of the studios.

I've really pushed the limits of what you can get away with at big studios, and I've been extremely well-supported.

I subscribe to the school that there are no dumb questions.

Making 'American Made' really was an adventure.

My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.

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 don't necessarily think that having more money helps make you make a better film. Sometimes having less money is better. You're forced into being more original; you're forced into hearing something versus seeing it.

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.

We love movies like 'Edge of Tomorrow.' It's why we go to the movies, and it's why we make movies.

On 'Edge of Tomorrow,' we discovered that movie while we were making it.

If you look at my movies, they're pretty densely packed, such that they not only hold up to a second viewing, they're oftentimes better the second time you watch them. So I've always thought about crafting stories that could hold up to multiple viewings, and so VR obviously fits right into that.

At the end of the day, the less money you have, the easier it is to make a movie.