David Ayer Quotes
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I'm one of those big believers that the movie comes together in the way it's supposed to be and that movies are fated to become what they become.
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I feel like, as a filmmaker, I'm at my strongest when I write the script and when it comes from me, out of whole cloth. My best work has always been self-generated.
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You can't go back. Once it's done, it's done. I'm sure there will be things that I would love to change, in the future, but each movie is a snapshot of its time and the resources, and you do your best on it.
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I'm a veteran, and I come from a family of veterans and people who served in that war. And the stories that I heard were a hell of a lot different than the movies that I was seeing, so I wanted to make a movie about the people that were really there.
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It's important for me to take very famous, well-known people and not have them play themselves and not have them be seen as themselves.
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Even the scrutiny is good because it lets you know the world cares about your movie, and there is interest in it.
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Actors are insanely competitive and they hold back on each other. They are like magicians and none of them want to show their tricks.
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The movie on the screen is always going to be different from the movie in your head. How it makes you feel is what I'm after, what I'm chasing, and what I'm trying to construct.
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You make a movie and it's like convincing people to go on an expedition with you. You think you know where it's going to end up, and you're hoping and guessing. But, when people trust you and get involved, based on that trust, it's a really nice feeling to be able to have everything pay off.
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You never know what you have until you put it in front of an audience. That's the truth. That's the truth of filmmaking and that's why you make movies, for an audience to, hopefully, enjoy it.
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When you talk to people who have been in combat, there's a sensory overload that happens. The color becomes vivid. Sounds become more pronounced. People talk about how, for them, the war was technicolor and real life was black and white after the war.
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Actors are like kids, they need to play a little bit. And that's the nature of their job, they need to shake off some energy and then you as the director get them back on track. When you do loosen up the reins, you get some amazing things, but you have to wring out the performances for every last good drop.
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When you put a movie together, you're continually screening it for yourself and you're screening it for other people. It's like a video game power meter. When the power bar starts going down, you've gotta look at what's going on.
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I'm not a film-school guy. I was a high-school dropout. I was on a nuclear submarine. I was an electrician. I was a house painter. So if you get in my face, I'm going to fight you.
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Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
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The worst part of directing is always seeing the first assembly. It's devastating. It really is. It's like going into the delivery room and you can't wait to see your baby, and it's a crocodile.
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When I make a movie, it's almost a relief to get shooting 'cause the hell is over, or part of the hell is over.
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I think great acting is about inhabiting a skin and transforming yourself.
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You don't want to get too far ahead of the audience and you don't want the audience to be ahead of you. So, that balance is difficult and it takes a lot of work and tuning in the edit, to get the right balance.
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For me, directing is like writing with meat. I can write live, in real time, and change things and be confident that I'm helping the movie.
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I like to do stuff real and practical and in camera, as much as possible. I like old school filmmaking.
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My mantra is "Better is better".
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The hardest thing, as a director, is that it's never right. Nothing you do is ever right. It's never exactly how you envision it. Making a movie is about making it better.
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Every movie is different. Every movie requires its own sort of photographic voice.
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As a writer, you have to be willing to kill your darlings, and I'm a writer first. As a director, I've got no problem cutting the scenes.
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I'm a Veteran. I was in the Navy, in the submarine corps. I come from a military family. Both of my grandparents were in World War II and retired as officers. One fought in the Pacific and one fought in Europe. The whole family was in the war. I grew up exposed to it and hearing the stories, but the stories I heard weren't kind of the whole "Rah, rah, rah! We saved the world!" They were about the personal price and the emotional price.
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It was a distortion, a mercenary decision to create this parallel history in order to drive the movie for an American audience, Both my grandparents were officers in World War Two, and I would be personally offended if somebody distorted their achieve.
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The worst pressure is the pressure I put on myself.
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The movie has to be going somewhere. Other than that, you want it to be entertaining, but people usually disagree on what entertaining is and everybody has different tastes.
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[If] you want to learn something about somebody, get into a fistfight. You'll learn more in five minutes than you will in five weeks of conversations. It's basic.
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