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What inspired the story for your film and how did you come up with the idea?

Mainly my wife and producer of the project. She sees my humanity more in terms of a wolf's senses and instincts and we've always been fascinated by the parallels between nature and human ambition, and the idea that a wolf's instincts mirror a corporate leader's mindset. The concept developed from observing how successful people often share traits with apex predators focus, resilience, and strategy. I wanted to tell a story that captured that raw, primal drive through a motivational speech that wasn't just words, but a visceral, cinematic experience.

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How do you approach writing a script? Do you have a specific routine or ritual?

I start with a visual or emotional core, something that excites me, then build around that. I tend to map out key moments first, especially action beats or symbolic imagery, then work backwards to construct the story. Music plays a big role in my process; I often create playlists that capture the mood of the film and listen to them while writing.

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What is your directing style? Do you prefer detailed planning or improvisation on set?

I believe in rigorous planning so that there’s room for spontaneity. My background in action and stunt coordination means I love precision, but I also leave space for actors to explore and bring their own instincts into the performance. It’s about setting up the right environment where both structure and organic moments can thrive.

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How do you work with actors to bring your vision to life?

I like to give actors strong visual or emotional references rather than overloading them with exposition. For this film, I encouraged the lead to embody the physicality of a wolf, subtle things like stance, eye contact, and breath control, to make the transformation feel instinctual. Rehearsals were more about energy and rhythm than traditional line readings.

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What challenges did you face in bringing this film from script to screen?

One of the biggest challenges was balancing the abstract, almost dreamlike nature of the speech with the grounded realism of the visuals. We wanted it to feel cinematic, not just like a staged monologue. That meant carefully crafting the lighting, camera movement, and editing to enhance the intensity of the words.

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Can you share a memorable or unexpected moment that happened on set?

What was special about the project was that I also played the lead role. There was a moment when I worked with the wolves for the entire filming period and tried to build an intimate connection, which was an incredible and unforgettable experience for me. You don't get accepted into the wolf pack when you expect it. You have to let the wolves come to you and let them decide to what extent you deserve to be part of their pack. They keep their distance and don't look you in the eye, but they read all your behaviour, your inner energy and your soul. On the last day, the wolf named Lupin was supposed to sit next to me on the sofa. She decided to accept me and brushed against me, making me feel as if I was allowed to stroke her. Our phenomenal animal trainer Miguel said that you could feel the change in the room and that he had rarely seen anything like it. The crew was silent and completely absorbed in the scene. It was one of those rare energies between humans and animals where you know you are experiencing something special.

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What was the most difficult scene to film and how did you overcome it?

The transition shots where we visually connected the businessman to the wolf were tricky. We had to make sure the morphing between his presence and the animal’s instincts felt natural, not forced. We used a mix of practical techniques and subtle VFX to create a seamless, almost subconscious effect.

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Were there any happy accidents or spontaneous changes that made the film better?

Absolutely. One key moment was originally meant to be a quick cutaway to the wolf, but in post, we experimented with letting the shot linger longer. It created a powerful tension—almost like the wolf was staring straight into the audience, challenging them. That decision elevated the entire sequence.

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How did you handle budget constraints while maintaining artistic integrity?

Creative problem-solving is key. Instead of expensive VFX-heavy sequences, we focused on practical lighting and framing tricks to evoke the transformation. We also leaned into sound design—using layered breathing, growls, and environmental textures—to make the audience feel the wolf’s presence without showing too much.

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Did you have any unique experiences working with your crew?

Our amazing team thrives in high-intensity environments, and this film was no exception. We experimented with unconventional lighting setups, camera techniques, and used real atmospheric effects in some scenes to create an original effect. The team was up for anything, and that energy translated to the screen.

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Which filmmakers or films have influenced your work the most?

I draw inspiration from directors who blend raw intensity with strong visual storytelling - Ridley Scott, Christopher Nolan, Edward Zwick and Ron Howard. Films like ‘The Revenant’, ‘White Fang’, ‘War Horse’ and ‘The Last Samurai’ have influenced my approach to the primal themes of this film.

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If you could ask any director, living or dead, to give you feedback on your film, who would it be and why?

Ridley Scott. His ability to create powerful, visually-driven narratives is something I admire. I’d love to hear his take on how we balanced the metaphorical and literal elements in the film.

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Can you tell me about a little-known film that you really enjoyed and want the audience to discover?

The Grey (2011) isn’t exactly unknown, but I feel like it’s often overlooked. It’s a survival thriller on the surface, but underneath, it’s a profound meditation on masculinity, mortality, and instinct. It has a raw energy that resonates with the themes of my film.

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If you weren’t a filmmaker, what other artistic medium would you like to pursue?

Probably photography. I love capturing moments and telling stories through imagery. Composition, lighting, and movement are just as critical in still photography as they are in film.

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What’s next for you? Any future projects we should keep an eye on?

I’m currently developing a modern-day Samurai story set in Thailand, blending action, philosophy, and high-energy chase sequences. It’s a passion project that brings together everything I love cinematic action, deep character work, and visually striking storytelling. Stay tuned!