David Ayer, director of “A Working Man,” has had one of the most intriguingly captivating careers in contemporary Hollywood. His initial directing works – “Harsh Times,” “End of Watch,” “Street Kings” – were intense crime dramas set in Los Angeles that bore a strong resemblance to his most renowned script, “Training Day.” These films leveraged his personal understanding of this environment; having moved around the country as a child, Ayer spent a significant portion of his teenage years in South Central L.A., much of it under probation, before joining the Navy. The movies featured actors like Christian Bale, Jake Gyllenhaal, and Keanu Reeves, and while they contained popular elements and a generous serving of action, they also delved deeply into the complexities of modern masculinity, portraying troubled, conflicted characters (often police officers or aspiring cops, and typically ex-military) who pushed each other towards darker, more perilous situations. This was also true of “Fury” (2015), his brutal and grim war drama starring Brad Pitt as a tank commander in the final days of World War II leading a platoon of hardened, traumatized, and broken soldiers.
It’s possible that his version of the 2016 film “Suicide Squad” might have been different, but we never got to see it. The movie received poor reviews and was significantly altered during post-production. Since then, Ayer has focused more on action movies. His intense style in the Jason Statham film “The Beekeeper” seemed perfectly suited for Statham, leading them to work together again on this project. However, Ayer still harbors a desire to share his original vision of “Suicide Squad” and the so-called “Ayer cut.” He also has Los Angeles stories he’d like to tell in future projects.
In a twist of creativity, the vibrant and whimsical setting of A Working Man, with its flamboyant villains in outlandish attire and the towering backdrop of a massive full moon, were indeed my contributions. The gritty realism of Chuck Dixon’s books often depicts Tampa, Florida, but I chose to see it as a fairytale landscape. During production, I sketched gothic keyframes that brought this vision to life, and the moon was a physical set piece we constructed and positioned. It spanned an impressive 45 feet! This heightened, dreamlike aesthetic was something I wanted to immerse Jason in, guiding him through this labyrinthine tale. My experience with Beekeeper allowed me to refine my photographic approach and develop Jason’s visual identity and style. As a director, I’ve learned that experimenting with various styles and genres is part of maturing, enabling me to explore different visual voices and storytelling approaches.
When you mention learning how to film him and capture his visual style, it seems like you’re referring to the process of understanding and capturing the unique way a subject moves in front of a camera to emphasize their presence. Humphrey Bogart is an iconic example of such an interaction with photography. As I began to grasp the technical aspects (like what lenses and angles to use) and his body language while filming Jason, I was able to portray him in a more heroic light.
Over a period, I’ve compiled a list ranking the most unconventional ways Jason Statham meets his demise on screen. This exercise has made me keenly aware of his filming and editing techniques. There’s an unmistakable influence from Buster Keaton, evident in his stoic yet dynamic performances. Despite his stone-faced demeanor, Statham often appears in wide shots, creating a palpable tension between his seemingly invincible visage and the agile, whirlwind-like movements of this relatively short actor.
This unique performance style is deeply ingrained in his identity as an artist. It’s evident in every role he takes on. As a former diver who represented Britain, Statham brings an exceptional understanding of body positioning, kinetics, gravity, and motion to his martial arts and Muay Thai techniques. He seamlessly blends these skills, using them to craft his signature fighting style.
One fascinating insight he shared with me was the importance of body shapes in choreographing fight scenes. We would plan out fights and he’d ask, “What are the poses his body will adopt during these action sequences?” Mastering how to capture him on camera involves grasping his physical language – understanding the fragments of motion we can use to construct these intense fight scenes. It’s a labor-intensive process, but working with Statham is like having the best canvas to paint with.
He is essentially the final torch bearer in the genre of action films of a specific style, and Gerard Butler, though quite distinct as an actor, is also part of this throwback action trend. Together, they evoke the movies that many of us grew up with, which were once abundant and seemingly commonplace. Due to their ubiquity, we tended to overlook them, but this actor can effectively drive such films, carrying the legacy of those cinematic works on his shoulders.
In today’s world, where many people may feel disenfranchised amidst large-scale events and faceless systems, it’s comforting to find characters who stand up against injustice. This primal desire for an avatar or hero resonates deeply with audiences, much like the emergence of average man avenger archetypes in the ’70s during a severe recession and oil crisis, or even in the early ’80s when there was a recurrence of this theme, such as Superman who emerged from the turmoil of the 1930s on the brink of war. These themes seem to reoccur over time, reflecting a universal longing for empowerment and hope amidst adversity.
In the course of your professional journey, you’ve often found unique perspectives when narrating stories. However, there seems to be a shift towards action-oriented tales more recently. Was this transition intentional? Or perhaps a reflection of the industry’s progression? Well, it could be a combination of both factors. My first foray into action was with ‘Harsh Times’, my debut film. The distinction lies in an action movie being its brand, what we’re marketing. For instance, “This isn’t a raw, emotional drama.” I found the transformation of directing my serious dramatic energy into a more entertaining format to be surprisingly enjoyable. Despite having experience with action scenes, making an action movie requires a different approach, such as having a firm grasp on the patient (the story) – a lesson learned from classic films of structure and storytelling from the ’70s, ’80s, and ’90s. A film like ‘First Blood’ is a prime example, demonstrating the art of creating an action movie.
How can we craft something appealing to a wide audience, rather than just a niche segment? Can we create the classic roller coaster ride movie, one that draws people in and resonates with many viewers?
In many ways, business can be compared to the law, as it often doesn’t function in the manner we might expect. It operates based on its own rules, regardless of our personal feelings about it. Navigating the business world has become a necessity, much like learning survival skills – it’s a challenging landscape out there, and I’ll adapt to whatever is needed to stay afloat. However, in the process of creating ‘Beekeeper’, I stumbled upon an exceptional collaboration with Jason. Given this successful partnership, continuing the project was a straightforward decision.
You’ve had a tough time with Suicide Squad, but as a fan of its elements, I’ve always seen it as a clash between your artistic style and the requirements of a comic book film. Looking back, it seems like a pivotal moment in your career, marking a transition from more personal projects to pure action. Was that a significant turning point?
Indeed, it was. It’s all about the highs and lows of Hollywood. After Fury, I had the freedom to work on anything. I wanted to join the cool kids with a comic book movie. I dived in and made what I believed was a deeply human war film. My Suicide Squad was essentially a war film. Fresh from a war movie, I made another one. There were numerous character developments. The initial act of my movie focused on Rick Flag and June Moone’s relationship and their meeting, and the Joker-Harley Quinn backstory was more faithful to the comics, portraying their toxic relationship she had to break free from. Unfortunately, a lot of context, setup, and storylines were cut short. The studio was taken by surprise with Batman v Superman’s release, which didn’t turn out as they anticipated.
They get upset. “This is what we wanted! Why didn’t we see it earlier?” There are imperfections in it, but I believe I made a good film. And I certainly learned a lot about the nature of these projects as social-political constructs. I’ve faced a lot of criticism due to how the film was broken up for distribution. However, that wasn’t what I intended and it’s not what I did. It’s like they didn’t understand my vision.
Experiencing that event was like plunging me into a profound existential crisis as an artist. It made me realize how genuine and brutal the industry can be. That’s when I decided to dive deeper into the business aspects, which took a significant amount of time. Indeed, it served as a pivotal moment for me. In the future, I aspire to return to grand-scale storytelling. Now that I have mastered action movies and gained a wider audience, I can incorporate my personal struggles more subtly, respecting the audience while still creating awe-inspiring films.
Have there been individuals you’ve encountered during your journey who significantly enriched your knowledge?
Indeed, one such person is Wesley Strick, who discovered me when I was a young, aimless construction worker in my twenties. He welcomed me into his sphere, offering me a captivating glimpse into the life of a successful screenwriter. I had the privilege of observing him work on Cape Fear, collaborating with Scorsese and Robert De Niro. He showed me a draft of Scorsese’s script that was adorned with sketches, illustrating how each scene would be filmed. I also assisted Wesley with research tasks. Many are unaware of the depth of craftsmanship involved in this profession. Witnessing his work ethic and success within the industry ultimately inspired me to start writing. My initial script was far from perfect, but it opened doors for me, as people recognized potential in my writing that I myself did not see.
Reflecting on the release of Fury, it seemed destined to be another iconic war film. Yet, unlike many war movies that ultimately glorify conflict, Fury stands apart as a powerful portrayal of the unrelenting horror of war. Interestingly, it’s often regarded highly within military circles. I’ve heard numerous times, “Before our squad was sent off, we all watched Fury before heading into combat.” Perhaps it’s the camaraderie and raw masculinity that resonates with soldiers, or maybe it’s the stripping away of masks and pretenses that war brings. In a tank, these men are left bare, their hierarchy and structure exposed, but also their authentic selves, uncovered by the harsh realities of war.
I’ve had an enduring interest in the final stages of World War II, a period rich with authentic accounts. Recently, I came across an early April 1945 battle report, when the war was essentially concluded. This tank platoon found themselves in a fierce engagement, losing around 13 men in a single day. These soldiers displayed remarkable resilience and determination, fighting relentlessly. With Germany on the brink of surrender, many of them lost their lives. I can’t help but wonder about the thoughts and emotions coursing through these small bands of men, confined within their war machines, that drove them to fight so fiercely?
During World War II, I was surrounded by family who were part of the conflict. Both my grandparents served in the military as career officers, while my uncle was a B17 tail gunner. Raised by this generation of veterans, and later by those from the Vietnam War, I grew up amidst men whose lives bore the weight of war experiences that were seldom discussed.
The portrayal of war in movies always seemed to me like an overly romanticized version, making combat appear almost enjoyable. This discrepancy between reality and representation has been a lingering question for me, fueling my lifelong pursuit of understanding the true nature of war.
You served in the U.S. Navy, can you share your experiences with me, especially since you were stationed on a fast-attack nuclear submarine in San Diego during the Cold War era?
Speaking of unique experiences, my 67-day underwater sojourn was unlike anything similar to Fury. I can relate to being confined within a machine for extended periods, and it wasn’t just the physical aspect but also the emotional bonding that came with it – relationships formed in such intense conditions run deep. Perhaps this is one reason why I excel as a writer; I have a keen eye for human behavior, especially when all external factors are removed, leaving people raw and authentic. Over the years, I’ve found myself drawn to understanding what makes individuals react differently in various situations – a fascination that has stayed with me throughout my life.
Were you always a writer even before meeting Wesley Strick? Did you pen down stories as a child?
To be honest, I didn’t excel at school or behave well as a kid. However, there was this one thing – every year in English class, I would write a few paragraphs on some topic. It seemed like a routine assessment they did. Despite my poor academic performance, I found peace in those writing sessions and it kept me out of trouble for the rest of the school year. They’d give me a D grade, but everyone was content. So, yes, I knew I could write. But as they say, to be a writer, you need to step into the world, gather experiences, and live life fully. Sitting in an apartment, hidden behind a computer screen, won’t help much in that regard.
It seems that my past experiences, such as a turbulent childhood and frequent changes of schools due to moving around, may have affected my performance as a student. Additionally, I found myself deeply engrossed in movies and reading, often staying up late to pursue these interests, which might have impacted my academic focus during school hours.
Was that prior to your relocation to Los Angeles?
Yes, my family and I lived in various parts of the nation. Sadly, my father passed away when I was only four years old, and after that, things were… well, yes.
Can you share your initial impressions of Los Angeles? For me, it was during the 1984 Olympics. Being in South Central made it an entirely new experience. It was raw and intense – a stark contrast from what I was used to. Being the only white person there, I had to learn quickly how to navigate the area. In many ways, that place feels like home to me now.
Are there still untold Los Angeles tales that you’re eager to bring to life? Any dream project you have in mind? Absolutely! I’ve always admired the film noir genre, particularly from the 1940s and 1950s, with movies like those starring Humphrey Bogart. The challenge is to create a contemporary noir film that captivates an audience, while maintaining the essence of a period piece. L.A.’s history is filled with fascinating stories. It has this intriguing dark past, marked by deed restrictions and territorial conflicts. For instance, the first gang in L.A. was based in Compton, but it was a white group trying to keep African-Americans out of their neighborhood. Conversely, East L.A. emerged because people who weren’t white were barred from buying property on the western side of the Los Angeles River. This led to the formation of diverse communities such as Latinos, Japanese Americans, and Jews, all of whom were excluded from the city center at the time. The history of L.A. is a complex tapestry of struggle between different forces, society, and individuals. There are countless stories waiting to be told in this dynamic city.
There are plenty of pitfalls out there, and it’s easy to steer your ship wrong. L.A. Confidential did a commendable job, but you have to stay alert. You can’t just assume, “It’s a noir film. Look, it’s a modern-day throwback.” It needs to be more than that—it should offer fresh storytelling, awareness, and psychological depth that will captivate today’s audience.
How has your perspective on policing evolved throughout the years? Growing up, I was under probation supervision during my high school years and had to commute to Crenshaw/Exposition to check in with my probation officer. This initially led me to avoid them. However, as time went by, I came to understand police officers better, their culture, and even noticed a significant overlap with the military. Many policemen have served in the armed forces before. Through this experience, I’ve gained an insightful glimpse into the inner workings of the system, its politics, and truths. Over time, I’ve developed a unique perspective that has been well-received by many cops. Movies like End of Watch and Fury are respected because they authentically portray their subculture, which earns them respect in return.
You’ve been unafraid to portray corruption within law enforcement, as seen in films like Street Kings. I suppose it’s understood. The kind of deep-rooted corruption, the pre-Rampart era where officers were stealing from drug dealers and whatnot, all the consents decrees and such – it was different then. Now, with body cameras and everything digital, there’s constant scrutiny. A police car pulls in and it instantly links wirelessly to the station, gathering all video in real time. The corruption has evolved. It’s more about maintaining a positive image, manipulating statistics, and shaping the culture – it’s all about managing the brand now, rather than personal enrichment or violence.
It seems there’s a completed version of the Suicide Squad movie, edited by Lee Smith who worked on The Dark Knight. However, due to internal studio politics and branding considerations, getting it released might require high-level approval for testing in a confidential marketing setting. Essentially, it would take someone at the executive level saying “let’s release this cut.” Since it involves intellectual property management and DC is currently focusing on launching their new universe with James Gunn’s Superman project, they may not want to stir up any negative discussions while building something new. Nevertheless, you mentioned a desire for a screening, which I understand as wanting a private viewing of the film by industry professionals.
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2025-04-03 17:00