Zitat des Tages von Doug Liman:
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.
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
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 of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
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.
VR should offer an experience that's more exciting than watching in 2D, and we're pretty good at 2D storytelling, so the bar's already pretty high.
VR is so immersive, and when it works, it draws you into the story in a way that is truly unique and powerful.
If you go to a restaurant with Tom Cruise, it's like walking in with Santa Claus. Everybody is in a better mood because he's there.
The 'Bourne' franchise means the world to me. I love that Universal wants to put one out every two years. Because it is a safe investment, I benefit from that on many levels.
I love that Barry Seal is working for the CIA, and he's an awful liar. It just goes to how honest this character is at the end of the day, even as he rips off the country and the world to the tune of becoming one of the wealthiest men in America. There's an innate honesty, a purity to him.
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.
It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
I've been really lucky in terms of the people I've gotten to work with.
The way I see it, the expensive people who get hired when you have money are the fancy people who tell you what you can't do.
VR should be more emotionally involving, but that doesn't happen automatically by just taking a VR camera and sticking it onto what would be a traditionally blocked scene for 2D.
I think that I learned a studio system prefers a sort of professionalism from the director.
I'm really drawn to adventure, and characters being plucked from normal life and sent on extraordinary adventures.
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.
My older brother took me to Woody Allen double features when I was still teething.
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.
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.
I subscribe to the school that there are no dumb questions.
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 always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'
We love movies like 'Edge of Tomorrow.' It's why we go to the movies, and it's why we make movies.
A movie like 'Edge of Tomorrow' is so huge and complex - the spectacle and action is all-consuming - and that on its own is enough of a reason for a lot of people to see it.
The one thing about reality is sometimes it gives you material that is wilder than some of your wildest imagination could come up with.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
The reality is, the movies that were most impactful to me growing up, when I decided I wanted to make movies, I was going to see Woody Allen double features with my brother, back when they had double features.
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.'
The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.
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.
Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.
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.
When you make a war movie, the other side has to be the enemy. You're making a war movie from the point of view of a soldier fighting it.
All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.
