This is of course all but done now, but there is a way to continue this saga. Find someone ardent enough about the character to give Damon a reason to come back to the series. The 4th movie, if it happens, rests on Damon’s shoulders. He has no need or reason to persist, but the key, for Universal at least, is finding a director that Damon trusts, is familiar with and believes in. So 5 directors who could pull off Bourne are not the Kathryn Bigelow’s of the world (probably not anyhow), they’re either people Damon’s worked with in the past, or auteurs the actor — who says he works with the world’s best because he one day wants to direct — has yet to work with and admires greatly. So the immediate list is almost obvious and two that Variety already wisely speculated about.
1. Tony Gilroy
Gilroy’s split and dissatisfaction with ‘Bourne’ is legendary. And started as far back as “The Bourne Identity” (“Those works were never meant to be filmed,” he said dismissively about the Robert Ludlum books. “They weren’t about human behavior. They were about running to airports”). When he was convinced (wheels greased with more dough) to write a second script for director Paul Greengrass he was notoriously vexed with his soulless treatment of the text (“It was sort of like a crime against the gods of storytelling,” he said). Gilroy was done, but then was paid a king’s ransom to write “Bourne Ultimatum” under the condition that he would never have to speak to Greengrass, pen one draft (indeed, three writers are credited), get paid, and wash his hands of the entire affair. So frustrated with the entire endeavor, Gilroy quickly realized (duh) that the autonomy of filmmaking is in the director’s hands and soon crafted the very exceptional “Michael Clayton” (and then the fluffy, not-so-exceptional, “Duplicity”). It would seem inconceivable on paper that Gilroy could return to the series, but he is the soul and conscience of the character Jason Bourne. He’s really the ideal person for the job (and as shallow as “Duplicity” was, its direction is still razor-sharp) and the reason why the Bourne series connected with thousands of people and why the material elevated beyond a generic, spy film. Hollywood has a short-term memory, especially in times of crisis (and make no mistake, this is at least orange-alert for Universal), so if Gilroy can get over himself and both parties could come to Jesus, this could be the perfect match. The one problem is… Damon. They don’t necessarily have as strong as a relationship as the others and in the Gilroy vs. Greengrass silent war, you can guess which side the loyal actor took.
2. George Nofli
Nolfi’s got a lot going for him. He penned “Ocean’s 12” (Damon obviously co-starred), co-wrote a later draft of “The Bourne Ultimatum” (plus an uncredited re-write on the ending of ‘Bourne Supremacy’) and is just finishing up directing Damon in his directorial debut, the sci-fi film based on a Philip K. Dick novel, “The Adjustment Bureau” (as of December 1 it is still shooting). He of course also wrote the first draft of the 4th Bourne film, but with a second writer hired — ‘Bureau’ took him elsewhere and Universal wanted rewrites — it might not bode so well for him. However, one thing people forget is that Damon himself actually writes and writes well (hello, he won an Academy Award for “Good Will Hunting”) and he’s been known to do uncredited polishes on film’s he worked on, so it’s conceivable the two could join forces and bang something out.
3. Doug Liman
The ‘Bourne’ franchise is actually the baby of director Doug Liman (“Swingers,” “Go”) who dreamed of adapting the books since he was a child. He obviously directed “The Bourne Identity,” but if Gilroy’s split with ‘Bourne’ was mythical, Liman’s was biblical. Liman’s Tribeca doorbell still has the name “Bourne J.” on it, dude was so close to the series — indeed, he brought the property to Universal in the first place, as he secured the rights from Ludlum himself which should have given him plenty of leverage. But the chaotic, expensive, and hyper-indecisive shoot was saddled with numerous reshoots and found Gilroy faxing in rewrites each day on set. It was so messy, that even Damon figured the production would be a bomb and ultimately Liman was fired off the project and was banned from ever coming near the series again (producer Frank Marshall was rumored to finish the film himself). “Universal hated me,” Liman said in 2008. “I had an archenemy in the studio.” But again, desperate times call for desperate measures. Liman understands Bourne innately and as good as Greengrass’ films are, in retrospect, ‘Identity’ seems to be the most coherent and enjoyable. But the studio would pretty much have to beg the producers…
4. Steven Soderbergh
Relationship-wise he may be the most ideal candidate there is. Damon and Soderbergh have an extremely healthy and intuitive working repartee, have made five pictures together so far: (“The Informant!,” three ‘Ocean’s’ pictures and a small role in “Che” part two) and are planning a sixth collaboration in “Liberace.” Throw in Scott Z. Burns (one of the co-writers on “The Bourne Ultimatum” and the scribe behind “The Informant!”) and you could have the perfect mix. Alas, Soderbergh is already set to shoot his own, twisted take on the spy series in the tentatively titled “Knockout” come January, and as a director who doesn’t like to repeat himself (and who doesn’t need the gig) you’d be hard-pressed to come up with reasons to convince him to delay his upcoming projects (“Liberace,” “Cleo”) to even entertain the notion of directing ‘Bourne 4’ regardless if his slate was clean. It’s also helpful to remember that Soderbergh was once offered a James Bond flick but walked away when he wasn’t given the creative control he wanted, and we doubt Universal is going to want to mess with a winning formula (plus he’s looking to make these last few films and either retire or sit-out for a few years and recharge).
5. Stephen Gaghan Or Several Options
Gaghan, the Oscar-winning writer behind “Traffic” and “Syriana” (which Matt Damon c0-starred in) isn’t actually known for his action films, but that’s what second-unit stunt directors are for (Esquire did an article a few years back on the stunt-directing genius behind Greengrass’ Bourne films). Intelligence and conscience is what separates ‘Bourne’ from most generic action thrillers (and the reason why people like us care). Plus, next for Gaghan? An untitled action thriller. Maybe Universal waves a bundle of cash under his nose to drop said project for Bourne much to Lionsgate’s chagrin?
What auteur has Damon previously worked with or hasn’t worked with that he would love to? Michael Mann could use a hit after “Public Enemies,” no? Peter Berg is far too busy (and isn’t exactly an auteur yet). Surely Tarantino or PTA are directors Damon would one day like to work with, but those two would never do ‘Bourne’ if their life depended on it. Damon has habitual working patterns, teaming up with the same directors often. He loves Coppola (“The Rainmaker” and “Youth Without Youth”) and Gus Van Sant (“Good Will Hunting,” “Gerry,” small role in “Finding Forrester”), but obviously those two don’t fit the bill. In the last few years, Damon has been making an auteurs list and checking them off (Redford, Scorsese, Eastwood — twice now). It would take a mighty unknown figure to pull this off.
Buddy Ben Affleck looks like he’s moving into action territory with “The Town” but is still probably too inexperienced for the job. What about W. Blake Herron? One of the co-writers on ‘Identity’? He directs, but has not done anything of note (“A Texas Funeral” and Skin Art”?) so forget it. How about “Ocean’s 12” and “Rounders” (both films that Damon starred in) writers Brian Koppelman and David Levien? They’ve directed two films together (“Solitary Man,” “Knockaround Guys”), though would Universal green light them? Other cogent guesses? Jose Padihla is attached to another Ludlum adaptation as is David Cronenberg who was attached to Ludlum’s “Matarese Circle” at one point, but neither have a pre-existing relationship with the star (Cronenberg is obviously the bigger name, but has likely never worked with a budget north of $20 million). Phillip Noyce is the working man’s spy-movie maker and a good fall back for the studio, but again, why would Damon make the picture with him? The Jack Ryan/Tom Clancy films were decent for their time, but still a far-cry from the realism of ‘Bourne’ and “Salt” with Angelia Jolie looks positively generic (he might want to find himself a new genre). Martin Campbell invigorated the shit out of the dead and stale ‘Bond’ series with “Casino Royale,” and maybe on that alone could bypass the unfamiliarity, but then again, “The Edge Of Darkness” looks like a straight-to-DVD misfire. Plus “Green Lantern” is next for him and that directly conflicts with the lets-get-it-done asap timetable.
Or you know, they could just leave it alone and let a good thing rest and not embarrass itself… If the studio has its way, they’ll do whatever they can. Thankfully Damon is a quality control actor and as he’s stressed several times now, there’s no reason to make one of these films unless they have a good and compelling story. Or you know… there’s always “Green Zone” which we could all just call the unofficial “Bourne 4” and leave it at that.