David Ayer is known for being a very serious filmmaker, but he has a very great sense of humor.
David O. Russell is probably my favorite filmmaker. He's not only a great director, but he's also a great writer.
I screen tested for Training Day many years ago, which was David Ayer's script with Antoine Fuqua directing.
David Ayer was put on my map, at that point, and I always kept note and clocked his career. When he started directing, I saw Harsh Times, I saw Street Kings and I saw End of Watch. I gave my agents a list of directors that I wanted to work with, and at the top of that list was David. I wanted to have that experience.
David Ayer is one of the best directors I've ever worked with. He's a true man's man.
I think that's what makes David Ayer really interesting. He likes to make a tough-y movie, but actually he's a character director. He's fascinated by the actual people who decide to have these jobs and the way it affects their lives.
David Luiz is also a great player. More than anything he's a great guy off the pitch too.
You can imagine what it was like for me to actually be sitting in a room with matching typewriters, working under the tutelage of this guy I so admired, both as a filmmaker and as a man.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
Francis Lawrence is an astonishing filmmaker, an incredibly gifted visual filmmaker. I have great respect for his work.
If David Lynch wants me to audition I will do it. But a young filmmaker, no. I won't.
You have to be able to feel like you can play way outside of the box. If you're with a great filmmaker and someone you can trust, that's encouraged, and Seth was that kind of filmmaker and co-star.
If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.
I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.
I am proud of who you were, David-that hurt person who refused to "die." And I'm more caring, giving, fixing person, the guy with the same sense of humor and that deft, sensitive touch. Good on you, David I love you.
I've worked over four dozen nine-to-five jobs before taking the chance to chase my dream of wanting to become an actor and filmmaker. Growing up in Brooklyn and Harlem, working at jobs like the bus company were great. I had benefits, a great salary, and security. But it wasn't my dream.