David Ayer Spills on Brad Pitt Reunion, Suicide Squad Cut, and New Thriller

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For David Ayer, 2024’s The Beekeeper was exactly what the doctor ordered. 

The action-packed movie featuring Jason Statham, directed by Ayer, was a significant success both critically and financially, earning over $160 million while only costing $40 million to produce. This second highest grossing film in Ayer’s career came at an opportune moment as he had faced a series of highs and lows following the release of 2016’s Suicide Squad. As a result, Ayer and Statham promptly renewed their collaboration for the upcoming film, A Working Man, which is an adaptation of Chuck Dixon’s novel, Levon’s Trade, the initial book in a series of twelve.

Initially, Sylvester Stallone wrote the script, then handed it over to his regular partner, Jason Statham. The plot revolves around Levon Cade, a working-class construction worker, who is forced to use his Royal Marines Commando abilities again, this time to rescue his boss’ (Michael Pena) abducted daughter. Following the success of Beekeeper at the box office, Statham felt that Ayer was an ideal choice to revamp the action script for self-direction.

The adaptation involved infusing more family dynamics and warmth, shifting the setting from Tampa, Florida to Chicago. Previously, it was based in Florida, so numerous adjustments were made. Additionally, I adjusted the narrative style and tone to better suit my approach, allowing Sylvester Stallone a good deal of creative freedom to make it uniquely mine.

Last time Ayer talked to THR in early 2024, he had almost lost hope that his director’s cut of Suicide Squad would ever see the light of day. Since then, there has been no word from DC Studios, but as per a previous discussion with co-CEO James Gunn, Ayer understands that Gunn’s new DC universe requires a strong momentum before it can afford to look back.

Ayer believes it’s justified for them to do that. Over time, it might become a more sentimental memory. But for the sake of everyone involved in the 2016 Suicide Squad, he feels it truly deserves recognition. So, I can certainly empathize with James’ actions, and I think he’ll achieve great things in the paths he’s chosen.

At present, Ayer is showing no signs of slowing down, as he prepares to commence filming “Heart of the Beast“, starring Brad Pitt, a renowned actor from one of his highly praised films “Fury” (2014). Written by Cameron Alexander, this movie follows the struggle of an ex-soldier (Pitt) and his military dog to survive after their plane crashes in the Alaskan wilderness. The film will be captured by Mauro Fiore, who previously worked as a cinematographer on “Training Day“, which was penned by Ayer for Antoine Fuqua.

I stumbled upon a fantastic screenplay that I felt compelled to direct. Instantly, Brad Pitt came to mind as the perfect fit for the role. We approached him first, and he immediately grasped the potential in the script. This film is going to be top-notch, offering a grand cinematic experience and a truly captivating production for Paramount.

During a chat with THR last month, Ayer mentioned his willingness to direct a follow-up to “A Working Man,” along with potential collaborations on an “End of Watch” reunion with Michael Peña and David Harbour.

In a recent talk with THR, Ayer expressed interest in taking the helm for a sequel to “A Working Man,” as well as the possibility of teaming up again with Michael Peña and David Harbour on an “End of Watch” project.

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In our previous conversation with The Beekeeper, it was gratifying to learn that your work had received positive reviews and commercial success. Has this recent accomplishment invigorated or refreshed you in any way?

I produced the movie with the aim of catering to the audience and creating a commercially successful film, all while expressing my passion as a filmmaker. The positive response I received was more than affirming; it validated my efforts.

As a fan, I was wondering if “A Working Man” was already in production when “Beekeeper” hit the box office, or if the latter’s success led to a swift collaboration between Jason and the team again.

Our collaboration was definitely swiftly restarted, and I must admit that working alongside Jason was truly enjoyable. His acting talents became evident to me, and I felt he had much more potential, particularly in dramatic roles. To provide him with such opportunities, we introduced family-related aspects and dramatic elements, allowing him to portray a loving father and contribute to this extended adopted family. This setup for the narrative’s action works incredibly well.

Despite the success of your first collaboration, did you both reinvent the process to some degree?

Absolutely! I find myself constantly drawn to the action films of the ’80s and ’90s. They’ve got that unique blend of action, drama, and humor that has left an indelible mark on cinema. I often wonder about the magic behind their success – what elements make them timeless? What techniques were used that can be replicated? So, in creating this project, it was crucial for me to give Jason a chance to shine as an actor, to let him fully embody his character. Ensuring he had ample space to express himself was a key aspect of the production process.

Sly Stallone originally penned the screenplay inspired by Chuck Dixon’s book titled “Levon’s Trade”. Can you tell me if there was any sort of transition process when Sly handed over the project to a new writer?

To some extent, he took Chuck’s book as a base and transformed it into a novel format, as novels provide greater scope for storytelling compared to films. Consequently, he effectively divided the narrative into a well-structured three-act framework, which is essentially the main task of any screenplay. For me personally, I focused on incorporating a substantial amount of family dynamics and a warm, inviting atmosphere by relocating the setting from Tampa, Florida to Chicago. Additionally, I made subtle changes and adapted the storytelling style to suit my own voice, allowing Sylvester Stallone to give me creative freedom to make the work uniquely mine.

It’s great to see you and Michael Pena reunited. You certainly shoulder some intense emotional scenes, but it seems he appreciated not having to endure the intense physical challenges like in End of Watch and Fury.

(Chuckles.) Indeed, this was undeniably a weighty emotional undertaking, yet the surroundings were more comfortable than usual for him in my opinion. It’s wonderful to be working with him once more. Many might not realize that Mike possesses an impressive level of technical acumen and intellectual sharpness as an actor. He meticulously dissects roles to fully comprehend them, much like a master class on any character he portrays. His approach consistently serves as a reminder of the immense effort actors must invest in their craft.

In the movie “End of Watch,” David Harbour’s character received a knife in the eye. It makes sense then, given this context, that his character in “A Working Man” is blind.

(Laughs.)

Based on his beard, were you sharing him with Thunderbolts at the same time?

It’s possible that I might have been correct. The beard, undeniably, suited the character of an ex-Special Forces Marine wonderfully. It was entirely fitting for the persona, and he simply radiated authenticity in it. He convincingly portrayed his retired sergeant, Gunny.

Did that End of Watch spinoff series ever get off the ground?

As a gamer, I’ve found myself tangled up in the common loop of game development—it’s a tough gig, especially with the ever-evolving landscape of television today.

For the beekeeper role, you brought back veteran Director of Photography (DP) Gabriel Beristain, whom you had worked with earlier in your career. On the other hand, for the working man character, you opted for a first-time DP, Shawn White, who has been a long-time gaffer and did an admirable job.

Absolutely, this film looks stunning! I’m quite involved in the production process, often more so than many directors, taking care of aspects like lighting setups and visual effects. Having a collaborator who can assist in these areas is invaluable, as it all contributes to storytelling. The way light interacts, the choice of tools, cameras, and lenses—all these elements significantly impact the narrative. Currently, I’m teaming up with Mauro Fiore for the Brad Pitt film, Heart of the Beast. Each project has its unique visual identity, and finding the right crew to bring that vision to life is crucial. [Writer’s Note: DP Mauro Fiore was behind the camera for the Ayer-penned Training Day.]

In the final scene, Levon employs an M14 rifle within a dwelling, which is quite unusual as I’m not accustomed to seeing long weapons utilized so closely. Could it be that this was intended as an unorthodox decision?

Absolutely, you’ve hit the nail on the head. Typically, we all tend to stick to familiar patterns in terms of themes and imagery. The M14 rifle is strongly linked with the Marine Corps, particularly during the War on Terror in Afghanistan, making numerous appearances. In our narrative, it’s implied that this weapon holds significance and carries an emotional weight. To add a twist to the usual narrative, I aimed to stir up reactions among gun enthusiasts, who might either be outraged or supportive. We’ll soon discover which one it is. (Laughs>)

I found it very engaging how Levon and Chidi Ajufo’s Dutch had such a respectful relationship. It’s fascinating when rivals show such high regard for one another.

In a heartbeat, it could’ve been me walking in their shoes, given the same circumstances. We share a bond from our shared past, a brotherhood that transcends the respect earned from our shared world. I’ve encountered many individuals who seemed one way but were quite another, and vice versa. This duality is something I delve into through my art, reminding myself and others that people aren’t always defined by their situations or labels.

Does the film wrap up nicely with room for more stories, sparking curiosity about potential follow-ups? Since I’ve never worked on a sequel before, would you be interested if I returned to explore more of Levon’s universe?

Indeed, that’s correct. Charles authored twelve intriguing books. His character is quite fascinating. I have a feeling we managed to decipher the essence of Jason and bring it into play in Charles’ novels. There are certainly some loose ends in the plot, and it seems ripe for continuation – a sequel, perhaps. Given my affection for the character, I could easily return to this world.

In our previous conversation, you told me there had been no updates about your director’s cut of Suicide Squad. Has it remained silent regarding this matter at the Burbank studio?

Absolutely! During my conversation with James Gunn, he emphasized the importance of establishing a foundation first. Given DC’s rich history and legacy, it’s understandable that they are putting effort into rebuilding their intellectual property and setting it on the course they envision. It’s entirely reasonable for them to approach things in this manner.

It’s a clever strategy, but the former administration may have underestimated the situation. They probably thought that unveiling Zack Snyder’s Justice League would appease fans enough to focus on their fresh content. However, it seems this move only fueled fan interest further, stirring up a hunger for more of the Snyderverse (and even the Ayer cut).

Certainly!

“Indeed, as time goes by, it might become more nostalgic for many people. However, given all the effort put into the 2016 Suicide Squad movie by the entire team, I truly believe it deserves recognition. I take great pride in my contributions to that project. Nonetheless, it’s not my intellectual property or studio, so I understand James’ decisions and I think he will achieve significant success with the paths he’s chosen.”

This version maintains the original message while using more natural and easy-to-read language.

It seemed to me that the competition, referred to as the “bake-off,” involved both your edit and the studio’s edit of Suicide Squad. I was surprised to learn that your edit, specifically, wasn’t actually tested during the process. How could this be, I wonder?

Many crucial aspects were rejected initially, leaving the final project as a compromise between our visions. Essentially, my interpretation became what they had discarded, while theirs remained their own. Although my interpretation prevailed to a significant extent, the final product was far from the film I originally intended to create.

In our previous chat, we were talking about reconnecting with my old buddy, Brad Pitt, for a new project called “Heart of the Beast”. I’m curious to know how this collaboration came to be.

I stumbled upon an exceptional screenplay that left me thinking, “I must be the one to bring this to life as a director.” Moreover, there was no other actor in my mind besides Brad Pitt who could embody the role perfectly. We immediately reached out to him with the script written by Cameron Alexander, and he instantly recognized its potential too. As we inch closer to filming, I’m thrilled about collaborating with him again. However, it’s also daunting because Brad is at the pinnacle of his career for a reason. This project promises to be an A-list movie, delivering a grand cinematic experience and a captivating masterpiece for Paramount Pictures.

Is it basically a man and dog survival story? 

It’s essentially straightforward, but it’s packed with depth and emotion. In essence, it appears to be quite simple, yet it proves to be intricate.

In our previous conversation, I asked some challenging questions, but it’s delightful to know that the upcoming interview will bring us together with J.K. Simmons once more.

Or:

Following our last exchange where I posed tough questions, I’m happy to announce that we will be reuniting with J.K. Simmons in this next interview.

Or:

In the last conversation, I threw some difficult questions your way, but now I’m thrilled because it includes a reunion with J.K. Simmons.

All three sentences convey the same meaning and are easy to read.

Absolutely! It’s great to have the opportunity to work alongside him once more, as he’s truly a remarkable performer. His strength is undeniable, and I can’t wait to see how his talents will blend with Brad’s during their collaboration. It promises to be an extraordinary experience.

Lastly, is Heart of the Beast the reason why you’re not helming The Beekeeper 2?

Yeah, my card is full.

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A Working Man opens in theaters on March 28.

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2025-03-26 01:55