A Quote by David Ayer
I'm all about real drama, real performance, and real people, so my twist on this is: I'm creating a family, a brotherhood here. I'm creating a very real chemistry and I have this incredible ensemble of actors led by Will Smith, who are basically playing dimensional characters with lives and souls.
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For me, there's always a huge attraction in playing real people. But with it comes an incredible sense of responsibility because you're playing a real person in a real event.
Actors are the most important. Performance is what matters. Nothing matters more than the actors; they have to perform. No one else can give life to the characters. Audiences must believe the characters as real and the moments as real.
This is real human drama, we're not creating some amusement park ride for the summer. Even though the movie is really exciting to watch, it's got a real pathos behind it.
I prefer to take actors and put them in real settings and real locations and real situations rather than create artificial locations that serve the characters. It's just much easier when you are walking down the street with your actors to do that in a real street that's still open with people on it, rather than to close it off and bring in extras.
The Will Smith that you see in movies is exactly the same as Will Smith in real life. Except for when he plays a superhero, because the real Will Smith can't fly. He can only hover.
In my horror movies, I was always trying to deal with real characters and real character drama played by good actors... Laura Linney, Ethan Hawke, Eric Bana, and Tom Wilkinson, people who don't do horror normally.
I'm writing about real things. Real people. Real characters. You have to believe what I write about is true or you wouldn't pay any attention at all.
If there is love, there is hope that one may have real families, real brotherhood, real equanimity, real peace. If the love within your mind is lost and you see other beings as enemies, then no matter how much knowledge or education or material comfort you have, only suffering and confusion will ensue.
My life is good because I am not passive about it. I invest in what is real. Like real people, to do real things, for the real me.
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.
You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.
I try to watch only real things, which basically amounts to C-Span for me. I like real people in real situations. I learn from that.
To be a performance artist, you have to hate theatre. Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
Real people had real agendas, real demands, real expectations about how other people should behave.
I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.
Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
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