Arthur had it both ways: He defended narrow business interests and still the Times lauded his triumphant civic efforts. He wanted me to get married.” And, as Liman knows, he would have wanted his son to do something useful for others, too. He thought I should be a studio executive. I was like, ‘That’s what I want to be when I grow up.’” But, Liman adds, “my father wasn’t comfortable with it. I’d see Spielberg’s people reading scripts. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. “My dad couldn’t connect to my wanting to be a filmmaker. Senate’s Iran/ contra investigation and for the New York State Attica commission.Īrthur might have told his son to try anything, but his own relation to entertainment was through business-he represented Warner Bros., among other companies. He ran a legal clinic for the poor and served as lead counsel for the U.S. He represented America’s largest companies and also worked for the public good.
Liman revered his father, a legendary attorney. “It was like, ‘Go try anything, do anything.’”
“He was the dominant relationship in my life,” Liman says fiercely. There’s a smiling photo of him at Yale and two framed front pages from the Times. In fact, among ice skates, power tools, and dead foliage-there are more deceased plants on the fire escape-I count eleven images of Liman’s father. Just over his head is a colorful oil painting of his late father, one of many images in the loft of Arthur Liman. He’s at work on Jumper, his $75 million movie about kids who teleport, which will be out next month. I find Liman, 42, sitting at a picniclike table he built out of antique pine, the apartment’s only table. “I’m theoretically in the middle of a renovation,” Liman tells me, though he’s lived in this loft eight years. But his cover appears to be that of a fun-loving grad student. Liman grew up a real rich kid on Fifth Avenue, and now is an A-list Hollywood director. The movie Bourne had, briefly, a wealthy businessman’s cover. The walls, which pitch inward, are a dirty white, the windows just dirty. At the other, a porch seat is suspended from the ceiling. At one end, there is a desk and a bunch of power tools. The apartment itself is long, narrow, and mostly empty. The entrance to Bourne J.’s building is cramped and grubby, as is the elevator. As filmgoers recall, Jason Bourne lived in a fancy bourgeois apartment in Paris’s 8th Arrondissement.
The name on the doorbell at director Doug Liman’s Tribeca loft is “Bourne J.,” which stands for Jason Bourne, hero of The Bourne Identity, Liman’s first blockbuster.
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