Quotes of All Topics . Occasions . Authors
I'm not really in a rush to grow up.
I feel like, Barry Seal, he's pure of heart.
Sometimes rules are there to save your life.
TV is a safe place to develop real characters.
Making 'American Made' really was an adventure.
Flying small airplanes is not like being on airlines.
The movie I end up with is the movie I aspired to make.
Nothing I've done is like anything else I've done before.
I go into a movie sort of saying what it's not going to be.
I subscribe to the school that there are no dumb questions.
I like to keep my options open. I'm known for changing my mind.
'North by Northwest' was a big influence for 'The Bourne Identity.'
Almost anything can be justified as a style of filmmaking if it works.
On 'Edge of Tomorrow,' we discovered that movie while we were making it.
I do take things away from reading reviews. I think they keep you honest.
I went to USC film school, briefly, which is a very traditional film school.
It's almost a work-shopping process to create the characters with the actors.
At the end of the day, the less money you have, the easier it is to make a movie.
I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.
My older brother took me to Woody Allen double features when I was still teething.
It causes havoc on set anytime a director wants to go backward rather than forward.
I'm very interested in politics, and I feel TV is a more political medium than film.
I'm really anxious not to repeat what I've done before, to keep pushing and learning.
I make movies for me and posterity. I'm more scared of history than I am of the studio.
I've always been interested in giving the audience a first-person experience in my movies.
I think that I learned a studio system prefers a sort of professionalism from the director.
Being on a commercial airplane is actually one of the safest places you can be on the planet.
It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
I have a rebellious nature, and being told no is almost the surest way to get me to do something.
I'm really interested in real people in extraordinary situations. The detail and reality to that.
We love movies like 'Edge of Tomorrow.' It's why we go to the movies, and it's why we make movies.
At the end of the day, it's still a show about guys who ride extremely fast motorcycles for a living.
To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
I'm a character-driven director, and I tend to fall in love with the characters in my movies and TV shows.
When I was making 'Bourne Identity,' I wasn't making a dumb action movie like they were expecting it to be.
VR is so immersive, and when it works, it draws you into the story in a way that is truly unique and powerful.
It's better to find a stunt person who can act. It's easier to do that than to find an actor who can do a stunt.
I'm really drawn to adventure, and characters being plucked from normal life and sent on extraordinary adventures.
I've really pushed the limits of what you can get away with at big studios, and I've been extremely well-supported.
When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
I'll just say that there are certain people who continue to be hired in Hollywood, and that leaves me truly shocked.
Artistic mediums go through phases where progress happens really rapidly, and then other moments where it slows down.
When you can come across a piece of material that's totally original and fun and completely satisfying, you jump on it.
Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.
If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.
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 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.
I realize I am contradictory: I have an independent filmmaker's sensibility and a Hollywood director's short-attention span.
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.
There's a weird intellectual approach to filmmaking, where I pose a question to myself and use the film to try and answer it.