Author: When Jason Statham’s gritty drama A Working Man debuted as the #1 box office film on its opening weekend, toppling Disney’s Snow White, it marked a significant achievement for action-driven storytelling. The film’s success highlights how pro wrestling’s storytelling DNA – a blend of physicality and narrative – continues to influence Hollywood in unexpected ways.
Written and directed by David Ayer (Training Day, Suicide Squad), co-written by Sylvester Stallone, whose 1978 wrestling-themed film Paradise Alley remains a cult classic, and featuring stunt coordination by lifelong wrestling fan Eddie Fernandez (The Batman, The Hunger Games), the film blends brutal action with wrestling-inspired storytelling to deliver a cinematic knockout.
In this Pro Wrestling Stories exclusive, Evan Ginzburg (Associate Producer of the Oscar-nominated The Wrestler) sits down with Ayer and Fernandez to explore the creative process behind A Working Man. From Ayer’s fascination with morally complex anti-heroes to Fernandez’s ability to craft fight scenes that echo wrestling’s dramatic flair, discover how this film became a box office triumph and why its success resonates with fans of both wrestling and cinema.
How Pro Wrestling Influences Hollywood’s Biggest Action Films
Pro Wrestling Stories explores the rich history and behind-the-scenes narratives of professional wrestling. From the artistry of physical performance to storytelling through combat, wrestling shares a deep connection with other performance disciplines like film.
This connection is at the heart of our conversation with director David Ayer and stunt coordinator and actor Eddie Fernandez about their new release, A Working Man.
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Get My Copy — $0.99Noted Director David Ayer on Pro Wrestling’s Storytelling Power
David Ayer is a triple-threat director, producer, and screenwriter whose impressive career spans over two decades. Known for his gritty, character-driven films like End of Watch, Fury, Suicide Squad, and now A Working Man, Ayer has a deep appreciation for pro wrestling’s unique blend of drama and physicality.
“I grew up on it. You know, I love the artistry of it—the storytelling…good versus evil,” Ayer enthusiastically told Pro Wrestling Stories.
“People we like. People we don’t like. I mean, it’s just the most basic form of drama. You can get ‘em real riled up with a good match. That’s for sure.”
For Ayer, wrestling’s ability to evoke emotion through its larger-than-life characters and dramatic arcs mirrors the essence of great cinema. Whether it’s a showdown in the ring or a high-stakes action sequence on screen, the goal remains the same: to captivate audiences and leave them wanting more.
Sylvester Stallone’s Legacy and His Impact on A Working Man
David Ayer wrote the screenplay for A Working Man with Chuck Dixon and Sylvester Stallone, whose 1978 film Paradise Alley preceded The Wrestler by some thirty years. Paradise Alley featured wrestling legends such as Terry Funk, Red Bastien, Ted DiBiase, Dory Funk, Jr., Don Leo Jonathan, Gene Kiniski, Dick Murdoch, Bob Roop, Ray Stevens, and many other grappling greats.
A young Haku was billed as Tonga Fifita, while territory stars like Jay York of the Alaskans, Tommy Gilbert, Dennis Stamp, Don Kernodle, Larry Lane, Rock Riddle, Reg Parks, Don Slatton, Randy Morse, and Alex Perez also appeared in the film.
Hollywood’s fascination with pro wrestling dates back to the ’70s and even earlier.
When asked about working with Stallone, Ayer expressed deep respect for the legendary actor and filmmaker.
“It was a lot like life coming full circle. I mean, he wrote this great script called Rocky and held on to it until he could get that movie set up the way he wanted. So, he kind of taught me that as a writer.”
Ayer continued, “You can be protective of your work, and you can trust that things will happen the way you want them to happen, which happened to me with Training Day. To come back and have the opportunity to work with him was both really unexpected but also really welcome for me. And he knows how to lay down a good action story, so I couldn’t complain.”
Ayer also addressed Sylvester Stallone’s love of professional wrestling.
“Well, I think it all works together,” Ayer shared. “I mean, it’s all action performance. Right? In the pro wrestling space, in theory, the guys aren’t supposed to be hurting each other. Now we know it happens…right? And we know they’re taking shots and hard falls. So, I think that anyone who works in film really has to acknowledge what [wrestlers] have contributed to entertainment combat. It’s really important – that contribution – and I think we have to acknowledge it.”
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Add Us on GoogleCrafting Action: David Ayer on Fight Scenes
Like a professional wrestling match, action sequences in film must engage an audience, look realistic, and keep participants safe. Whether it’s a main-event wrestler or a major film star, the goal is the same: deliver impactful moments without sending anyone to the hospital.
David Ayer reflected on the challenges of filming action sequences.
“It’s tough to get it right. It’s tough to shoot any fight sequence and make the action look good. A lot of it is just having great fight choreography, a lot of rehearsal, being able to do it safely. And just understanding body movement and how people move and what looks good on camera.”
Ayer continued, “I always tell my choreography people, ‘It’s shapes.’ You want to see those shapes, those dramatic shapes. How do you make it look like a graphic novel? How do you sell the action and have it be visual? And that’s always the fight.”
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Eddie Fernandez: The Wrestling Fan Behind A Working Man’s Action
Eddie Fernandez’s expertise as a second unit director and stunt coordinator on A Working Man directly ties into many of the themes explored by Pro Wrestling Stories, including physical performance, storytelling through combat, and the technical artistry of making impacts look devastating while keeping performers safe.
Fernandez, who worked with Dwayne “The Rock” Johnson in the 2019 film Fast & Furious Presents: Hobbs & Shaw, shared his lifelong passion for wrestling and how it influences his approach to action filmmaking.
“First, I’m a lifelong wrestling fan – that’s where I grew up. Jake ‘The Snake’ Roberts, Yukon Moose Cholak, Dick the Bruiser, and the minis like Sky Low Low from my childhood,” Fernandez shared with enthusiasm.
“The way I see it, it’s about storytelling with your partner: how they react to what you dish out and how you receive. Wrestling’s acrobatic nature, those loud floor impacts… they make hits sound vicious.”
Fernandez elaborated on how pro wrestling parallels stunt work.
“With stunts, we use props, visual effects, and coordination to create that visceral feel. It’s an orchestrated dance – heroes and villains know each other’s moves through relentless training. Everyone goes home safe; maybe bruised but proud of the product.”
He also praised Jason Statham’s dedication to performing his own stunts.
“Regular actors: We make them look good with doubles and editing. Jason Statham? Ninety percent of what you see is him – fights, motorcycle scenes, taking hits. He’s an athlete who loves doing it all. David Ayer appreciates those long, uncut sequences. But even Jason needs doubles sometimes; we’re here to make stars shine however they contribute.”
Pro Wrestlers in Film: Hits, Misses, and Iconic Performances
When all is said and done, pro wrestlers in film have delivered a mixed bag of performances.
WWE films often churn out mostly forgettable, low-budget actioners starring D-listers like The Miz that don’t come close to touching the quality of A Working Man.
Ironically, WWE’s best film didn’t go the action route nor make a splash at the box office. Starring the great Ed Harris, That’s What I Am is a touching drama where Randy Orton gives a surprisingly effective performance.
Hulk Hogan may have been the number one wrestler in the world during his prime, but his film career fizzled out. Like his wrestling persona, his roles were over-the-top and cartoonish.
Steve Austin’s body of film work is instantly forgettable.
Even the great Macho Man Randy Savage had only minor roles in major films like Sam Raimi’s Spider-Man.
Johnny Valiant mostly worked as an extra in films like The Wrestler and played a mob bodyguard on The Sopranos. He fared better in little-seen indie films and live theater, where he could stretch his comedic chops. Ultimately, his film career didn’t reach the heights he achieved in pro wrestling.
But there are those brilliant exceptions.
Andre the Giant gave a classic and moving performance in The Princess Bride, a role he was immensely proud of and would show to his wrestling peers time and time again.
And while Predator is no masterpiece, Jesse Ventura was memorable, delivering his iconic line: "I ain’t got time to bleed."
Going back further, Lenny Montana became iconic as Luca Brasi in The Godfather.
Wrestler-turned-actor Mike Mazurki enjoyed a long and successful acting career with 142 roles to his name. His standout performances include Moose Malloy in Murder, My Sweet, Splitface in Dick Tracy, Yusuf in Sinbad the Sailor, and most notably as “The Strangler” in 1950’s Night and the City. This great Film Noir deserves a spot on the Mount Rushmore of "wrestling films." Interestingly, Night and the City was later remade as a Robert De Niro boxing film—perhaps because capturing wrestling’s gritty essence on screen is no easy task.
Pat Roach, another wrestler-turned-actor, also left an indelible mark on Hollywood. Known for his roles in classics like A Clockwork Orange, Barry Lyndon, and the Indiana Jones trilogy, Roach seamlessly transitioned from grappling in the ring to battling iconic heroes on screen. His ability to bring physicality and presence to his roles, combined with his wrestling background, made him a standout in films like Conan the Destroyer and Clash of the Titans. Roach’s career is a testament to how wrestlers can successfully bridge the gap between sports entertainment and cinema.
Finally, no list of wrestlers in film or "wrestling movies" would be complete without Darren Aronofsky’s deeply moving 2008 film The Wrestler, which I served as an Associate Producer on and acted alongside Mickey Rourke. Mickey rightfully won The Golden Globe for Best Actor that year but lost his Oscar-nominated role to Sean Penn in Milk. Mickey did much of his own ring work and was even injured during training. I held half a dozen casting calls to bring wrestlers like Ron Killings, Romeo Roselli, Necro Butcher, and many others into the film to lend authenticity. I chronicle this behind-the-scenes experience in my book, Wrestling Rings, Blackboards, and Movie Sets.
And then there’s Roddy Piper in John Carpenter’s brilliant They Live, featuring one of the greatest fight sequences in history, where Piper’s wrestling roots shine through. Ironically, despite The Rock and John Cena starring in countless action films, none have delivered a fight scene as impactful as Piper’s five-and-a-half-minute street brawl with Keith David.
Carpenter once recalled to Empire Magazine:
“It was an incredibly brutal and funny fight, along the lines of the slugfest between John Wayne and Victor McLaglen in The Quiet Man.”
Indeed, wrestlers can "leave it all in the ring" while making their mark on the silver screen.
A Working Man: An Honest Review of Jason Statham’s Latest Hit
We were honored to be invited to an early screening of the film A Working Man.
You’ve probably seen a thousand variations on this film type: the hero’s friend is kidnapped, said killing machine goes in search of their lost friend, and legions of villains meet their dramatic demise along the way.
Nobody tries to reinvent the wheel in A Working Man, but this isn’t your typical damsel-in-distress story. The boss’s kidnapped daughter is a trained human weapon herself, adding a refreshing twist to the familiar formula.
While we’ve seen both better and far worse action films, David Ayer’s A Working Man is undeniably that popcorn movie crowd-pleaser you can’t help but enjoy.
The villains are really, really bad.
Statham is a man of few words but many punches, kicks, and bullets.
The fight sequences are brutal yet artfully choreographed, showcasing Ayer’s attention to detail and Eddie Fernandez’s expertise in stunt coordination.
And most importantly, you care about the characters and savor every moment of them dishing out justice.
In short, A Working Man works. Action lovers won’t go wrong with this one.
Why The Wrestling-Film Connection is Stronger Than Ever
When A-list talents like David Ayer and Eddie Fernandez, who love and respect pro wrestling, create their art, there’s no denying the influence wrestling has on their work. And when superstar grapplers make the jump from the ring to film, that connection only grows stronger.
To close our conversation with two of Hollywood’s brightest, we asked:
“Many wrestlers have made the jump from the ring to film. Let’s reverse it: who do you think from film would be a natural fit in wrestling?”
David Ayer didn’t hesitate to name Jason Statham.
“I mean, honestly, I think it would be great for him if he took that on, and it would make a lot of sense considering this guy does his own stunts and fighting. He would kind of be perfect for pro wrestling because he does it all.”
With more and more quality films incorporating pro wrestling, like The Wrestler, The Iron Claw, The Peanut Butter Falcon, and the recently released Queen of the Ring, and stars like Dave Bautista showcasing their acting chops in non-action films like the poignant The Last Starlet, the walls between wrestling and cinema continue to crumble.
The wrestling-film connection isn’t just a trend; it’s here to stay.
