ComingSoon spoke with Werewolves director Steven C. Miller and star Frank Grillo about the new creature film. The duo discussed the horror film’s practical effects, its potential for a sequel and more. “Werewolves” hits theaters December 6th from Briarcliff Entertainment.

“In Werewolves, a supermoon event has triggered a latent gene in every human on the planet that turns anyone who enters the moonlight into a werewolf for that one night. Chaos ensued and nearly a billion people died. Now, a year later, the supermoon is back…” the summary reads.

Tyler Treese: Frank, you’ve done all kinds of action movies and superhero movies, but how special is it when you can actually interact with a real practical effect, like those awesome werewolves in this movie, instead of having to imagine it with CGI?

Frank Grillo: It’s day and night. I didn’t realize how different it was until we did it. We had these huge, six-foot-tall guys in wolf costumes and the guy opposite me was way better to work with. I think the result (of the practical effects) is that the film looks big. I think it’s because everyone was so conditioned to be practical wolves.

Steven, I wanted to ask you how you set the tone, because that’s always difficult with films like this. Things are heightened naturally because there are werewolves. You have the supernatural element. What’s it like to find that balance where it’s fun, there’s a thrill, but it doesn’t drift into self-parody?

Steven C Miller: Yes. I think that’s important when dealing with these types of films, especially when you have a practical werewolf on set. It can be really bad. I think that’s important when trying to shoot it. We had a great cinematographer, Brandon Cox, who really tried to help me find that tone. It depends on how you shoot them and how you feel like you’re really bringing these monsters to the screen. But I really enjoyed trying to ride that line for myself. It was always in the script, even when we were engaging with Frank and talking about how far we could push that line. We just kept pushing the film forward, trying to keep the tension of the film, trying to keep the film scary without falling into anything cheesy.

Grillo: Yes. There’s an element of fear because there are these guys in costumes. Right now you’re asking yourself, “How do we do this?” It’s like old-school filmmaking. When I saw the finished cut and what these guys did in post, I was blown away.

Müller: Because you have to remember that it’s not just the wolves on set, but also all the animatronics people who deal with all the wolves and how they move and things like that. So it’s all such a complicated dance to try to get them all to work properly. That depends on how that sound works.

Frank, what also helps the story move forward is that you have this real emotional core where you want to protect your brother’s family. You have a sister-in-law. That’s the heart there. Can you speak to this element? Of course we’re there to watch you fight werewolves, but it’s a good thing the family really has everything on the line there.

Grillo: I say this a lot in film: if there is no story behind the plot or the scares, it will fail every time. I did a little movie called Wheelman where I sat in a car for 90 minutes, but the story was about me and my daughter, right? We’ve talked about it, and if we don’t commit to my character and Ilfenesh’s character and the child, my brother’s daughter, then it’s a tussle of righteous deed and wolves and blood. That’s the core of the story, and that’s what makes people invest. We need that. This is what you need. So this element was very important for us.

Müller: That was also something that we liked from the beginning of the script, because that’s what I liked about the film, that it immediately put us in the moment where the stakes are already high. Frank’s characters basically have to board up the house and make it ready for everyone. I feel like such emotional stakes are set so early that the audience is already on board.

Grillo: In the film I really wasn’t a family person. Do you know what I mean? I was a scientist and a soldier, and those are all fish out of water. Now. I take care of my brother’s child, my niece and my sister-in-law. It’s a way of me discovering myself as a man, which is reflected in this werewolf story.

Müller: Yes. He learns to take care of his family.

Steven, I wanted to ask you about that shot near the end of the film. In this film, Frank is seen shirtless. He looks insanely toned, but has this superhero-like appearance with the light shimmering on his abs. It’s hilarious.

Grillo: That was the only time we used CGI (laughs).

Müller: No, no, that’s all Frank. That’s all Frank. To be honest, I think we had this record planned from day one. Even when we talked to Frank and told him we were going to do it, I think he was like, “Okay.” But Frank is exaggerated. I mean, look at the guy. He looks great.

Grillo: I’m old and bloated.

It’s a great recording. It’s very funny out of context, but it definitely works in the film.

Grillo: I paid a little homage to Brad Pitt, who was sitting back. Yes.

Müller: He supported us from Fight Club.

Grillo: And we laughed about it. Obviously it’s in the movie and kind of taken out of context, but somehow it works because of what happens next.

Müller: I think emotionally, because of all the things that are happening, you kind of join in because you’ve also seen these werewolves that have great abs.

Grillo: They do. You have some really good abs. Werewolves are known to have great abs.

Müller: So you just say, “Of course Frank has great abs.”

Grillo: You know, I was single back then. I had to find a girlfriend.

Frank, what was really special about Steven’s approach to acting? Because there are really great scenes here. We see this in the trailer too, but when you sit on the machine gun you just mow down those werewolves.

Grillo: I have to tell you something, he’s as good a director in this genre as anyone I’ve worked with. He really understands the genre. He knows how to deal with his actors, he hires the right actors. I just hope we do more of these because there are more stories to tell. I think I’ve found my Scorsese in Steven Miller.

Müller: Oh, look, man, I can only do my job as well as Frank does his, and Frank’s one of those guys that shows up. He is a professional. He knows exactly what he has to do. He encourages everyone else around him. He’s rallying the troops, so to speak, and that’s exactly what you need in your protagonist, who you’ll be going into battle with for a few months. I love that about Frank. I love that everyone enjoys being around Frank, and for me that was an easy thing to do.

Grillo: Not my ex-wife (laughs).

Müller: Well, I’m not his ex-wife. I love being with Frank and he’s right. We’re going to have a lot of fun. We’ll do more of this. It will be a good time.

Steven, you’ve also put together a really great supporting cast around Frank. What was it like working with Lou Diamond Phillips? He gave a good talk here, and these are tricky parts when you’re dealing with scientific jargon, but he manages it.

Müller: Yes. We were just talking about Lou and how he brings a certain gravitas to the film and also gives it a little bit of nostalgia, which I love. He’s just one of those guys who is honestly so cute. He’s just such a great guy.

Grillo: I mean, he’s Lou Diamond Phillips. He’s a legend, you know, and he gives the film that nostalgic feel. For example, if this had been made in the ’80s, he would have been the star.

Müller: Yes. He just brought something to the role that was different, and it wasn’t such a classic scientist. There was something different about him that I love.

Frank, that reminded me a little of the Purge films. There’s a crazy night with a lot of violence.

Grillo: This time 12 hours. It’s a super moon and werewolves.

Did you notice that while filming?

Grillo: Yeah, I mean, that’s how I described the movie to everyone. I said, “The Purge meets werewolves.”

Müller: Frank called me when he first read it and said, “Dude, this is The Purge.”

Grillo: I mean, it’s really The Purge, especially Anarchy. It reminded me a lot of the structure it reminded me (of the film). Because originally it was called year two. We already knew what happened the year before, so I said, “Wow, we’re going to have to work hard not to make The Purge.”

Müller: That’s correct. We did it. I think we did that. In fact, we made a lot of small changes to make sure it doesn’t feel like that. But it was definitely an easy sell. When you say, “The Purge meets werewolves,” that’s exactly what it was.

Grillo: If there’s an audience out there that likes The Purge, they’ll love this.

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Many thanks to Frank Grillo and Steven C. Miller for taking the time to talk about werewolves.

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