Quotes About Doug Liman

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.'

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.

I don't really analyze my process. I do know that if it's not right, I won't move on. I'm tenacious to a fault about that.

You gotta understand, 'Swingers' was a resume film for me. I never thought anybody would see the movie who I wasn't in the room with showing it to them.

It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.

Ultimately, if you look at the characters in my films, you'll see a lot of similarities going all the way back to 'Swingers' with Vince Vaughn's character.

I don't really make movies with an intention other than asking myself, 'Do I love the character, and do I love the story?'

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 don't think I'm all that twisted in my life. I'm not like some tattooed filmmaker who, you know, hangs out on the Lower East Side and is part of some satanic cult or something.

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.

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.

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.