When a historian enters into metaphysics he has gone to a far country from whose bourne he will never return a historian.

— Shailer Mathews

Revealing Bourne quotations

Who now travels that dark path from whose bourne they say no one returns.

[Lat., Qui nunc it per iter tenebricosum Illue unde negant redire quemquam.]

Bond is part of the system. He's an imperialist and a misogynist, and he laughs at killing people, and he sits there slugging martinis. It'll never be the same thing as this, because Bourne is a guy who is against the establishment, who is paranoid and on the run. I just think fundamentally they're just very different things.

The undiscovered country from whose bourn no traveler returns.

Bourne concentrated on rest and mobility.

From somewhere in his forgotten past he understood that recovery depended upon both and he applied rigid discipline to both.

People strangely revere dance. They see it as another world, and dancers are somehow mysterious - just because they don't speak.

Look at every action movie in Hollywood.

Every leading man from Spider-Man to Batman to James Bond, 'Bourne Identity', every one of them possesses martial arts skills.

I once went through the dustbin outside David Bowie's house.

But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of?

Right before 'The Bourne Identity' came out, I hadn't been offered a movie in a year.

We can easily become as much slaves to precaution as we can to fear.

The success of any trap lies in its fundamental simplicity.

The reverse trap by the nature of its single complication must be swift and simpler still.

All roads indeed lead to Rome, but theirs also is a more mystical destination, some bourne of which no traveller knows the name, some city, they all seem to hint, even more eternal.

Even with some of the best action films like 'The Bourne Ultimatum,' which is a great action film with a great chase sequence, so much of it is computer-generated. But that doesn't bother me. I think it works. It's fantastic.

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 have two dream roles: One would be a biopic of someone I admire and respect and the other one would be some sort of action drama film similar to a 'Bourne Identity.' I just really want to do an intelligent action drama film.

The Bourne Underneath the growing grass, Underneath the living flowers, Deeper than the sound of showers: There we shall not count the hours By the shadows as they pass. Youth and health will be but vain, Beauty reckoned of no worth: There a very little girth Can hold round what once the earth Seemed too narrow to contain.

We can easily become as much slaves to precaution as we can to fear.

Although we can never rivet our fortune so tight as to make it impregnable, we may by our excessive prudence squeeze out of the life that we are guarding so anxiously all the adventurous quality that makes it worth living.

I mean, we're all trying to find out who the hell we are, aren't we?

Twilight and evening bell, And after that the dark! And may there be no sadness of farewell, When I embark; For though from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crossed the bar.

I have two little kids and I enjoy watching movies with them, and I can't watch every movie with them. Sometimes it's because it's obviously not appropriate to watch The Bourne Identity with your kids, but a lot of times it's because it's torture to watch the movies that they want to watch, as a parent.

I see things and I hear things I do not understand. I'm a skilled, resourceful... vegetable!

Men and women walked casually about as they did on the main floor, every now and then stopping one another, exchanging pleasantries or scraps of relevantly irrelevant information. Gossip.

And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.

CLEOPATRA: If it be love indeed, tell me how much.

ANTONY: There's beggary in the love that can be reckoned. CLEOPATRA: I'll set a bourne how far to be belov'd. ANTONY: Then must thou needs find out new heaven, new earth.

I think what we want to do is - when we choreograph, when we design choreography, we try to take it from a character standpoint first. Obviously you write a script and it's like, a Jason Bourne or a John Wick or something like that, you don't start choreographing double twisting wire moves and backflips, or doing the splits. You try to keep it so it fits the character, or the tone of the film.

Actors can write and produce too. Then when I was working on Jason Bourne­ - having had that experience - instead of going back to my trailer and being separate from everyone else, I would sit behind the monitor and watch Paul Greengrass work and be much more included in the process. That was new for me and really enriching.

I did a different production with a different director and Bill Pullman.

Oleanna­ - the one you saw - we were doing right after Bourne Identity or right after it came out.

The thing with the Bourne movies is that they're so big in scope and the production value is so high and it takes so much organization.

It was nice that there [ in the Bourne Ultimatum ] was a reference to the relationship . It's very subtle - it's actually without dialogue. I do think it's powerful even without words.

I was happy when I read the script [The Bourne Ultimatum ] - the first version they sent me - to see that before, there's some humanity too.

Jason Bourne is supposed to be really sneaky and spry, but as soon as he walks by, everybody pulls out their cell phones and starts recording. That level of fame is wild to see.

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.

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.

I have always had this secret fantasy of being a Bourne girl or Bond girl, and I've never even gotten called in on one of those roles.