Doug Liman Quotes

I like talking about comic book process, and one of the things is that I have plans going ahead for years, and the plans constantly get thrown away and shifted. There's a difference between planning and what actually happens in life, and comics have a life of their own.

I'm a great believer in spontaneity because I think planning is the most destructive thing in the world.

I never finished the 'Large Glass' because, after working on it for eight years, I probably got interested in something else; also, I was tired. It may be that, subconsciously, I never intended to finish it because the word 'finish' implies an acceptance of traditional methods and all the paraphernalia that accompany them.

Outrageous behavior, also known as the lunatic fringe, is the seed bed of innovation and creativity.

I'm not sure there's a method to my madness.

Shooting should not be about delivering something I've prepared; it should be a live process of finding things out. When things happen that you haven't planned, that's when the film comes alive.

Whenever I work on a role, I always allow it to subconsciously take me to a place that is magical and unexpected, rather than consciously driving it to a place.

I don't make outlines or plans because whenever I do, they turn out to be useless. It is as if I am compelled to violate the scope of any outline or plan; it is as if the writing does not want me to know what is about to happen.

It's so important to work with material you can really mold and milk and create and evolve.

I never really tell anyone what I'm writing beforehand because I usually don't know what it will be.

It might look like some incredibly complicated map to get from English period films to American action anti-heroes, but it really is just about not having a plan.

Philosophically, I am very different from normal politicians, and normal consultants found that very hard to deal with.

I actually found not having a routine was inspiration.

I never map things out in advance. It would be better if I did and more economical in terms of time, but I've found that if you work out a plot line from beginning to end, at the beginning it becomes very rational.

There's something so glorious in giving control to the world. I think that's what I'm trying to do in my films - control the world but also let it be chaotic, let there be life.

From a creative perspective, we've been very fortunate in that doing it the 'VGHS' way gave us unlimited freedom. Whatever we wanted to do, however we wanted to do it, we had that.

When you're building a show from the ground up, there are no answers or wrong move, because there's no bible.

I'm always up for collaborating with people who are slightly leftfield.

The thing about the creative process is it's so chaotic.

At heart, I would have to say I'm a pantser. I fully embrace the chaos of letting the unintended happen, on life and on the page.

I didn't come up as a DJ, so I don't play by DJ rules.

I would never pigeon hole myself stylistically because I just don't know what I am going to want to do next.

I never have a clear goal or a theme when it comes to writing an album.

Working with David Lynch, rules go out the door.

You know, we never really know what we're going to write next. Which is part of the excitement when we go in and do a new album. No battle plan, we just go in and do it and what comes out, comes out.