I do take things away from reading reviews. I think they keep you honest.
'North by Northwest' was a big influence for 'The Bourne Identity.'
I didn't grow up like Quentin Tarantino, watching esoteric art films at the video store. I'd go to the multiplex and see big, mainstream movies, and I'd go, 'I want to make one of those one day.'
I'm really attracted to anti-heroes, and I'm a little bit of a troublemaker myself, and a little bit of a rule-breaker, and I like spies.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
I'm very interested in politics, and I feel TV is a more political medium than film.
It causes havoc on set anytime a director wants to go backward rather than forward.
I don't really make movies with an intention other than asking myself, 'Do I love the character, and do I love the story?'
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.
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.
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
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 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.'
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.
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'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.
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.
Normally, the action is just a gratuitous thing. In the case of Bourne, he was going to learn about himself in the action scenes.
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.
I've made a career of being a contrarian. If I'm going to work with Tom Cruise, it's my instinct to be like, 'Well, I'm going to do the anti-Tom Cruise movie.'
There would be no Marvel without 'Swingers'; there would be no Jon Favreau directing 'Iron Man,' no Robert Downey Jr. playing Iron Man; no 'Avengers.'
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.
Sometimes there are films like 'Mr. and Mrs. Smith' which turned out better than it deserved to be, but in the case of 'Edge of Tomorrow,' there was just such enthusiasm from fans.
To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
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.
I went to USC film school, briefly, which is a very traditional film school.
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.
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.
In hindsight, everything in my life looks a little rosy. But the reality is that with, say, 'Swingers,' when we finished, it was considered a total failure.
My characters in my movies are all flawed. You'll probably never see Tom Hanks in a Doug Liman film. He plays, you know, very earnest and unflawed.
I think that I learned a studio system prefers a sort of professionalism from the director.
I've got a short attention span, so it makes sense that I like movies because, for the most part, they immerse you in lots of action.
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 is so immersive, and when it works, it draws you into the story in a way that is truly unique and powerful.
When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
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.
I'm really anxious not to repeat what I've done before, to keep pushing and learning.
Given the kind of filmmaker I am, the kind of experiences I've been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.
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.
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.
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.
The one thing about reality is sometimes it gives you material that is wilder than some of your wildest imagination could come up with.
A part of me is a liberal New Yorker involved in politics and certain attitudes about movies. I kind of lost my indie credibility over 'Mr. and Mrs. Smith.' I know I haven't lost it. I just have to go make an independent movie. I just have to do it. Just for me.
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.
Being on a commercial airplane is actually one of the safest places you can be on the planet.
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.'