Steven C. Miller has directed a movie with a concept that is, simply put, fuckin’ cool.
“Werewolves,” written by Matthew Kennedy, is about a world where the annual supermoon turns everyone outside into huge, hungry werewolves that rip apart anyone in their path. Luckily, Frank Grillo plays a ripped scientist who is close to a cure, but also has to worry about keeping his family safe during yet another supermoon. There’s tons of in-your-face werewolf action, big guns and lots of blood and guts in this throwback flick that would feel right at home in a drive-in double feature.
Miller has plenty of experience with both action and horror films, directing movies like “Mauraders,” “First Kill” and “Silent Night” and working with big names like Sylvester Stallone and Nicolas Cage. He spoke with Variety about the joy of practical effects, how microbudget filmmaking taught him to wrangle bigger sets and the time he spent working with Bruce Willis on some of his final 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.
You’ve explained it correctly because I feel like the same thing. It was the most ’90s movie I could possibly make with action figures. That’s what I was going 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”?
The original “Blade.” I thought that movie had an insanely cool vibe as far as action and horror. The same with the original “Resident Evil.” I looked at “Dog Soldiers” because it’s one of my favorite werewolf movies. I know everyone goes to “An American Werewolf in London,” but “Dog Soldiers” is one of those movies that just took it to a different level for me. Those three movies hit pretty hard — I think especially “Blade” and “Resident Evil” felt like this ’90s Dark Castle vibe.
How soon after coming on board did you decide the wolves needed to be practical?
“I want these werewolves to be practical effects.” That was the first thing I mentioned when dealing with the producers and everybody. I said, “Look, if we’re gonna do it … I’m an ’80s kid, I can’t come into this going full CGI. I’ve got to lean into practical.” Obviously I knew some CGI was going to help the movie. But when it came to the actual wolves on screen, it was a big deal for me to make sure it was the guys in suits practically and being done with animatronics as much as possible. That was a big deal.
Was there a particular scene where the practical effects gave you the biggest headache?
There’s a scene where werewolves take down the fencing of a house and they’re pouring in. We had to have all seven werewolves in full costume. We had seven built and these guys are seven feet tall in these suits, and the heads add another foot. We’re shooting in Puerto Rico in the summer. These guys in these suits are just blazing hot. By the time I got four of them in the suit and I’m going to get the fifth guy in, the first guy’s like, “Bro, I gotta take this off. This is heavy. I’m lightheaded.” It was getting all of them together to smash through the fence to move correctly so it didn’t feel awkward. That sequence took all night. It was a nightmare, but fun.
What is Frank Grillo like as a collaborator?
Frank’s the man. I love Frank. Me and Frank got along instantaneously. We had an instant connection, a good vibe right off the bat. We had initial talks about the movie, but we really talked about life, and we connected on that. Then he was like, “Well, how are we gonna make these werewolves cool?” And I think that was the word I was looking for. We gotta make them cool. Bonding over making these things look cool rather than just him looking cool onscreen — we’re gonna do that no matter what — but we gotta make the wolves look cool. That was something that gravitated me to Frank because he was invested and wanted the movie to be great. He was worried about every different aspect of the film and making sure it was good. For me, that’s a sign the actor is invested and loves being there. On set, he’s just a total pro. He’s one of those guys that knows not only his lines, but everybody’s lines. I shoot fast. I like to keep moving, and Frank doesn’t like to sit. So we mixed well.
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?
I think passion and having a good grasp on the set and the crew. I know sets tend to get stressful, but my sets are fun and I just try to keep the energy and the vibe up. I feel the energy you put off on set usually filters into the movie, and then into post, so if that energy is fun and cool and you’re having a good time, it really does filter into the movie. I find that my movies are very kinetic for that reason, because my sets keep moving and I try to keep everybody on pace. I think that meshes with my personal life too, where as soon as I’m done shooting, I’m on to the next, trying to figure out how to make the next one. I just wanna keep going and 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 an answer to every question is what it’s all about. If they have a question, if they’re worried about something, the fact that I have an answer ready to go, whether it’s right or not, it’s an answer that allows them to go, “Hey, this guy knows what he’s talking about. He knows what he wants.” I think it’s just that confidence of letting them know, “Hey, you’re good. I got you. You’re safe.” Because that’s 90% of my job is making them feel safe. These guys have been doing it for a long time. They don’t necessarily need me telling them my grand vision for the movie, they just need me to get them through the movie and they need to know that I can do that. I think that’s what comes in handy for me — just being honest and upfront with them.
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 a big comedy guy. It feels like I could dabble my toes in because I love that genre, even if it was sort of mixing action and comedy and getting my “Bad Boys” on. Something like that would be a lot of fun.
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?
Yeah, we had so much fun. We got along beautifully. He was one of those guys that I could call and he would answer, which is wild. He’s just such a great guy. We got to our third film together, “First Kill,” and we had a moment where he was going to have to walk through the town, as he was a sheriff. Originally they had the streets blocked off in this small town in Columbus, Ohio. I just asked him, “Bruce, what do you think if we just surprised everyone and we didn’t block it off and we just walked you through the streets?” He said, “Oh yeah. Let’s go for it.” I was just going to film it — whatever happens, happens. He’s totally game walking down the street. Everybody’s waving, but it looks like they’re saying “Hi” to the local sheriff. They’re so excited, and Bruce is just eating it up, waving back. He’s having a good time. We get to the end. He’s like, “Should we do it again?” And I was like, “Yeah!” It’s just one of those moments where it’s surreal, with a guy that you’ve watched your whole life. Growing up and getting to have a moment with him and see him actually laugh, have a good time and then wanna do it again.
You have a few upcoming projects listed on IMDB — what’s next for you?
I’m finishing up post right now for a movie called “Under Fire.” It stars Dylan Sprouse and Mason Gooding, and it’s basically my “Bad Boys” a little bit. It’s a fun movie with these two characters who got stuck out in the desert, and then there’s a sniper on the ridge, and it’s just basically them versus this sniper and trying to get out. It’s fun and he boys are great in it.
Could we see a “Werewolves” sequel?
They’re hoping this one hits so they can do it, but yeah, there are some great ideas swirling around for the next one. Obviously, this movie’s world lends itself to get bigger and have more fun. So yeah, we’re into it right now.
I’m visualizing an official “Purge” / “Werewolves” crossover. Frank Grillo from one series meets Frank Grillo from the other series.
That would be so killer. Can they meet in a cage match where one Frank Gorilla wolfs out versus the other Frank Grillo? That would be fun.
Steven C. Miller on the set of “Werewolves.”
