‘Werewolves’ Director on Creating a Gun-Crazy Werewolf Apocalypse and the Joy of Directing Some of Bruce Willis’ Last Movies

As I delve into the captivating world of director Steven R. Monroe, it’s clear that his journey has been nothing short of a rollercoaster ride. With a career spanning various genres, from action to horror, comedy to drama, it seems as though he’s dabbling his toes in every possible film genre. His ability to switch gears seamlessly is truly remarkable, much like the character Bruce Willis portrayed in one of their collaborations – Die Hard, but with a sense of humor!

Steven C. Miller has directed a movie with a concept that is, simply put, fuckin’ cool.

In the novel “Werewolves,” penned by Matthew Kennedy, we delve into a world where an annual supermoon transforms all those outdoors into colossal, ravenous werewolves, who wreak havoc on anyone unfortunate enough to cross their path. Fortunately, Frank Grillo portrays a muscular scientist on the brink of a cure, but he’s also preoccupied with shielding his family during another supermoon. This nostalgic movie is packed with intense werewolf encounters, heavy weaponry, and copious amounts of gore and violence – making it a perfect fit for a double feature at a drive-in theater.

Miller boasts a wealth of expertise in action and horror genres, having helmed projects such as “Mauraders,” “First Kill,” and “Silent Night,” while collaborating with notable figures like Sylvester Stallone and Nicolas Cage. He recently shared insights with EbMaster on the delight of practical effects, how low-budget filmmaking honed his ability to manage larger productions, and his experiences working alongside Bruce Willis on some of his late-career films.

This movie was so bananas. In the best way, this seems like a movie I would make up with my action figures as a kid.

Your explanation aligns perfectly with my thoughts, as if we’re on the same wavelength. The movie I created was intended to be reminiscent of ’90s style, almost like it was made using action figures. That was the aesthetic I aimed for.

What did you think when you first read the script?

I fell in love with it instantly because I’ve been wanting to make a werewolf movie for a long time, and I’ve had several different scripts that I’ve gone through that didn’t get made. This one hit differently, and I think it was because of the amount of action involved. It felt like the right moment for something like this that I hadn’t seen. Look, I’m a big slow-burn werewolf guy, but seeing the wolves all the time and letting them just be the movie, I don’t know that I’ve seen that in a while. It grabbed me right away.

What are some of the movies that you looked at for inspiration for “Werewolves”?

I found the original “Blade” and “Resident Evil” films to have an incredibly exciting blend of action and horror. Additionally, “Dog Soldiers” is among my favorite werewolf movies. While many prefer “An American Werewolf in London,” “Dog Soldiers” stood out for me due to its unique intensity. These three movies had a significant impact – particularly “Blade” and “Resident Evil” seemed to capture that ’90s Dark Castle aesthetic.

How soon after coming on board did you decide the wolves needed to be practical?

I insisted that the werewolves should be created using practical effects. This was my initial point when discussing with the producers, explaining that I grew up in the ’80s and couldn’t jump into this project relying heavily on CGI. Instead, I wanted to emphasize a focus on practical effects as much as possible.

Was there a particular scene where the practical effects gave you the biggest headache?

In one part of the filming, we had a sequence where seven towering werewolf characters broke into a house by tearing down its fence. To achieve this, each of these seven colossal costumes needed to be worn by an actor dressed as a werewolf. These suits made the actors reach heights of about seven feet, and with their heads added on, they reached over eight feet tall. Since we were filming in Puerto Rico during summer, the heat inside those heavy suits was unbearable. By the time four of them had donned their costumes, the first actor, sweaty and struggling, asked to remove it as it was too heavy and making him feel dizzy. Coordinating all seven of these characters for a smooth, non-awkward entry through the fence took an entire night, creating quite a challenge, but also a fun one.

What is Frank Grillo like as a collaborator?

Frank is an exceptional individual, and I genuinely admire him. From our very first encounter, there was a strong bond between us, a mutual understanding that felt natural from the start. Our initial discussions centered around the film, but what really stood out was our deeper conversations about life. We found common ground in those talks. Then he posed an intriguing question: “How can we make these werewolves appealing?” The term I had been searching for was ‘cool’, and that’s exactly what we aimed to achieve. Sharing a passion for making the cinematic aspects, particularly the werewolves, captivating rather than just focusing on Frank’s on-screen charisma – that’s what drew me to him. His dedication to the project and his concern for every aspect of the film’s quality showed me he was invested in the production. On set, Frank is a true professional. He not only knows his lines but also everyone else’s. I prefer working swiftly, keeping things dynamic, and Frank shares that same energy. We work well together because we both dislike idle moments.

You’re such a prolific filmmaker. What’s the secret to being able to move through projects quickly but still have a great finished product?

In a relaxed manner, I believe it’s crucial to have both passion and a strong understanding of the team and the production environment. Even though sets can be tense, I strive to create an enjoyable atmosphere that keeps spirits high. I firmly believe that the energy on set often influences the final product, from filming through post-production. If that energy is positive and lively, it certainly permeates the movie. This is why my films tend to have a dynamic feel, as the continuous activity on set ensures momentum. Furthermore, this fast-paced approach seems to align with my personal life, as I’m always eager to move onto the next project after wrapping up shooting. Essentially, I’m driven by the desire to keep making movies.

You’ve worked with so many legendary badasses. What is the key to keeping yourself the ringleader when you’re on a set full of alphas and you might cast someone like Stallone or Dave Bautista as the lead?

Having the ability to provide solutions to any problem is crucial. When they encounter a difficulty or have a question, knowing that I’m prepared with an answer, whether it’s accurate or not, gives them confidence in my expertise and understanding. This sense of assurance communicates to them, “I’ve got this under control, you’re in good hands, and you’re secure.” A significant part of my role is making them feel safe, as these individuals have been in the industry for quite some time and are more interested in having a smooth process rather than hearing about my grand ideas for the project. I believe it’s my honesty and openness that benefits me most in this situation – simply letting them know what I can deliver without any pretense or exaggeration.

You made your first film, 2006’s “Automaton Transfusion,” for $15,000. What lessons have you taken from the microbudget world to these bigger productions you’re directing?

The biggest lesson I take away from it is to keep going, because when you’re dealing with that micro of a budget, things tend to get difficult and you want to quit because it’s so hard. But I think if you keep that mindset that, “It’s going to work, you’re going to figure it out,” problem-solving is a big thing. I think that’s something that’s transitioned to the bigger sets because they’re not the same problems, but learning to be able to deal with them on the micro level helped me learn how to deal with them on a bigger level, and keep calm on set so no one’s freaking out if we have an issue with camera or this isn’t happening, the set’s not working. You get into a mindset of, “It’s going to be fine. We’re going to work it out. It’ll all be good.” I think that comes from that indie mindset of “I gotta get it done, I gotta sell it, I gotta pay my bills.”

You’re mostly known for action and horror, but are there other genres you’d like to tackle?

I’m quite fond of comedy, and it seems appealing to me to delve into it, especially since I enjoy blending genres such as action and comedy. In essence, I’d love a project where I can embody the spirit of movies like “Bad Boys,” making for an enjoyable experience.

You were fortunate enough to direct Bruce Willis on a few of his final films before he retired. Do you have any fond memories of your time together?

Absolutely! We had an amazing time together, connecting effortlessly. He’s the type of person I can call anytime, and he’d always pick up – quite unusual. He’s just such an outstanding individual. Our collaboration on our third movie, “First Kill,” was particularly memorable. There was a scene where he needed to walk through town as the sheriff. Initially, they had barricaded the streets in this small town in Columbus, Ohio. I suggested we surprise everyone by not blocking it off and simply walking him through the streets. He agreed enthusiastically, saying “Let’s go for it!” I was ready to capture whatever unfolded. As he strolled down the street, people were waving at him, but it looked like they were greeting the local sheriff. They were thrilled, and Bruce was reveling in it, returning their waves. He was clearly enjoying himself. At the end, he asked if we could do it again, to which I happily agreed. It was a magical moment, spending time with someone I’ve admired for years. Getting to see him genuinely laugh, have fun, and then eagerly want to repeat the experience was incredible.

You have a few upcoming projects listed on IMDB — what’s next for you?

Currently wrapping up a review for the film titled “Under Fire”. This action-packed movie features Dylan Sprouse and Mason Gooding. You might say it’s a blend of the spirit of “Bad Boys”, set in the desert landscape. The story revolves around two characters who find themselves in a precarious situation, with a sniper lurking on a ridge. Essentially, it’s about their battle against this sniper and their quest to escape. It’s an entertaining film, and the boys deliver solid performances.

Could we see a “Werewolves” sequel?

They’re eagerly anticipating that this film will succeed so they can move forward with another project, and indeed, there are some fantastic concepts brewing for the sequel. Clearly, the universe of this movie offers opportunities to expand and create more enjoyment. Therefore, we’re quite excited about what’s coming up next.

I’m visualizing an official “Purge” / “Werewolves” crossover. Frank Grillo from one series meets Frank Grillo from the other series.

As a movie enthusiast, I’d absolutely love to see that! Couldn’t we arrange an epic showdown between two Frank characters – perhaps one transforming into a werewolf (Frank Gorilla) and the other displaying his fighting skills (Frank Grillo)? Now wouldn’t that be an exciting spectacle?

2024-12-07 00:17