A Quote by David Ayer

In the writing phase, normally I try not to envisage any particular actors because I like to let the characters sort of reveal themselves in that process. — © David Ayer
In the writing phase, normally I try not to envisage any particular actors because I like to let the characters sort of reveal themselves in that process.
The characters I didn't have actors in mind for, that was the scary moment. Because in any production, until you find the right person, you're constantly judging your writing or what it is that isn't working here or not clicking here, because you have amazing actors coming to read for it, and if something's not clicking, it can't be them because they're amazing actors. You're sort of completely doubting yourself.
Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.
I love actors, and I love the casting process. It's funny, like, some writers don't like actors because, I think, they are the faces of the show, and so you feel sort of secondary, but I love actors because they elevate the material; they make it better.
Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
Just like how male actors get to play varied characters, I would also like to play characters that people don't normally see female characters portraying on screen.
I never have particular actors planned when I'm in the process of writing.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
The reader has information about the characters that the characters themselves don't have. We all have our secret sides. Even I come to understand things about the characters only through the writing process, as I am going along.
No single discovery from any of these fields denotes proof of evolution, but together they reveal that life evolved in a certain sequence by a particular process.
What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.
In the pre-production process, I am emailing with the actors or jumping on the phone, and we're sort of figuring out who the characters are and trying to build the relationship dynamic and things like that. Then, also, I am outlining.
Science has a culture that is inherently cautious and that is normally not a bad thing. You could even say conservative, because of the peer review process and because the scientific method prizes uncertainty and penalises anyone who goes out on any sort of a limb that is not held in place by abundant and well-documented evidence.
When you're writing a pilot, unless you already have an actor attached to the project, you're writing it with all the voices sort of in your head. Once you actually cast it, the actors become the voices of the characters, and you start to write for them and their strengths.
I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.
I approach writing female characters the same why I approach writing male characters. I never think I'm writing about women, I think I'm writing about one woman, one person. And I try to imagine what she is like, and endow her with a lot of my own thoughts and history.
When you're writing, at least when I'm writing, I don't think about themes and I try not to sermonize with any particular message.
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