David Ayer Quotes

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.

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.

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.

I've been in the game long enough to know what elements you have to package together to get a movie into production.

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.

My father died when I was really young, on Christmas Day.

Every movie is different. Every movie requires its own sort of photographic voice.

I think a good director can embrace any genre and it's the kind of thing where you always want to do something different. You always want to challenge yourself.

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.

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.

The worst pressure is the pressure I put on myself.

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.

'Sabotage' was a work for hire. It wasn't my original idea or script or anything.

The most terrifying thing in my life is a blank sheet of paper.

I think nothing has been filmed as much as World War II.

'Fury' whetted my appetite for a bigger canvas and this idea of world creation. You can do amazing things as a filmmaker if you have the proper tools, and those are time and money.

That's the world of policing. I've met some bad-ass female cops, who are very cool people.

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.

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.

'Colors' is pretty good. It takes you inside the cop car bit. I like reality myself. I like reality-based kind of movies.

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.

Actors want to act. I think a lot of times what happens is that they're expected to bring it all. Probably because I'm a writer, I'm not telling them what to do. I just provide them with as much as I can.

Both my grandparents were officers in World War Two, and I would be personally offended if somebody distorted their achievements.

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.

Actors are insanely competitive and they hold back on each other. They are like magicians and none of them want to show their tricks.

Genre expectations can kill creativity. If you do something different, it will get hated. The best filmmakers can do everything on the approval list and knock it out of the park. For me, I have a hard time being creative when I have to color in between the lines.

For me, I like to show what guys are like when no one is looking and how we really are, and that we can be emotional and have these emotional lives. I think it would be great to do a film where we see some females and what's going on there when we're not around.

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.

A movie is a certain thing by definition. There's nothing wrong with knocking out a good genre picture.

You hear again and again that audiences want to see movies that are different, and critics say we make the same thing again and again in Hollywood, then you go and make something different, and you get kicked in the gut for it.

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.

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.

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.

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.

'Sabotage' was an opportunity. That was journeyman work, but the irony is I learned more off that movie on what filmmaking is and isn't than everything else combined. A lot of lessons, and it will impact me for the rest of my career.

I'm a big fan of Italian neo-realism and all of that stuff.

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.

[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.

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.

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.

I like to do stuff real and practical and in camera, as much as possible. I like old school filmmaking.