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In a soft voice Ayer talks about the crack house that opened down the block from him, about avoiding puddles of congealed blood when he walked to school, about administering CPR to a victim shot at a party across the street. The MS 13 gang was expanding its reach, and the violence was getting worse. He grew up in the neighborhood of West Adams in the mid-1980s, when the area was overwhelmingly Mexican and Mexican American, with a growing influx of Salvadoran immigrants. “I’m like, ‘Good, that’s exactly what I was hoping.’ It was horrible, and I know it isn’t going to sound right, but my hopes were that in this process he would encounter some truth and some reality about what’s really going on in L.A.”Īyer needed no such education. His head shaved, he wears cargo shorts and a plaid button-down shirt whose loose fit only manages to make his shoulders look more massive. “Jake called me up that night and he was like, ‘That shit changed me,’ ” says Ayer, who is 42. Over yogurt and granola at a Silver Lake café, Ayer describes how during Gyllenhaal’s first time out, he saw a gunshot victim die on the street. County Sheriff’s Department, LAPD, and Inglewood police squad cars. Instead of the couple of nighttime ride-alongs that have become obligatory research for cop movies, the actors spent weeks in L.A. The King of South Central: How “End of Watch” Keeps It Real.Towards the end I definitely got some good kicks and punches in on those boys.” “And in the beginning it just started with getting the shit beaten out of me by 14- to 20-year-old kids literally every morning.
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“Dave said, ‘I really need you to know what it’s like getting the crap kicked out of you and how to beat the crap out of somebody,’ ” Gyllenhaal says.
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Several days a week Gyllenhaal reported to an Echo Park dojo run by a friend of Ayer’s. To make LAPD officers of Gyllenhaal and his costar Michael Peña, Ayer put them through five months of punishment. Denzel Washington earned a best actor Oscar for his portrayal of a corrupt detective. made so many other movies about the city’s toughest streets seem clichéd. Focusing on the day-to-day, the film offers an even more authentic look at police work than Ayer’s screenplay for the 2001 film Training Day, whose unvarnished vision of L.A. Much of the action for End of Watch was shot with a camcorder that was strapped to Gyllenhaal’s abdomen. When I finished it, the sun was rising, and I consider that a metaphor in many, many ways.”
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“I knew David Ayer, but I had never seen such a big heart in any of his work before-the sense of relationship. “I just blew through it,” Gyllenhaal says.
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Gyllenhaal had recently returned to town from a press tour for the science-fiction movie Source Code, and it was five in the morning when he picked up Ayer’s script about an LAPD officer working on a homemade documentary about the struggles, small victories, and male bonding that he and his partner experience as they patrol South Los Angeles. “I’ve said in the past I’ve wanted to devote myself to a project, but I’ve never done that in a way that I did for this movie.” “I told Dave I was ready to devote my life to this,” Gyllenhaal says. Last spring Jake Gyllenhaal showed up at the Silver Lake offices of writer-director David Ayer to pitch himself for the lead role in End of Watch-a cop movie whose $8 million budget was less than what the actor reportedly took home for starring in the Prince of Persia.