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Raul Gasteazoro On His New Film The Protector, Working With Graham Greene
Image Credit: Vertical Entertainment
The 411 Interview: Raul Gasteazoro
Raul Gasteazoro is a producer, cinematographer, and director that has been making movies, according to his IMDb page, since at least 2008. Gasteazoro has produced such movies as The Narwhal’s Wake (2015), Paris Window (2018), and Moon Manor (2022), and directed such movies as 10,000 A.D.: The Legend of a Black Pearl (2008) and 11/8/16 (2017). Gasteazoro’s latest movie as a director is the post-apocalyptic sci-fi action flick The Protector, starring Marguerite Moreau and Graham Greene and is currently available on all major digital and cable Video On Demand platforms. In this interview, Gasteazoro talks with this writer about making The Protector, working with the cast of The Protector, working in the post-apocalyptic genre, and more.
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Bryan Kristopowitz: Why did you want The Protector to be your next movie as a director?
Raul Gasteazoro : I felt I had to make this film. After years of being a commercial director and running a production company, I had made enough content for causes that didn’t matter or brands selling things that either people don’t need, or could even literally be part of the problem. I wanted to do something meaningful with my life-and tell a story that hadn’t quite been done yet- at least not like this. Not low-budget. Not with a focus on the message, and without the constraints of studios, the bottom line, or concerns of financial return as the driving motivator. Having a female lead became important after we realized we were doing it outside of the studio system, as it became all the more apparent we should take the risks to pass the Bechdel test, to challenge the norms, and do things differently. Key used to be a man- but it felt important to support female empowerment and the idea that “Mother Earth” needs protecting by having a woman lead the way. There was really no choice as to this being my next film- the story was gifted to me over the course of many years via the cosmos, cultural osmosis, and my own existential fears about the health of the planet/our society, and an impending, clearly dire future. This film was my attempt to do something about it- and hopefully inspire a few people to believe that they can, too.
BK: Where did you film The Protector? How many locations were real locations and how many were sets you had to build/create?
RG: We shot ultra-low-budget- and had a total of about 10-12 locations, that we used in multiple ways to get the most bang we could for our buck. We were looking for distressed, destroyed, and dilapidated. We were world building. We dressed most of our locations- but almost all of them were real and or found. The Casa Grande domes in Casa Grande, Arizona were torn down a few months after we filmed. The nuclear missile silos were real Cold War relics. We got some huge favors from Blue Cloud Ranch for a lot of our world building- all of which was shot and executed in one day given budget constraints, and Thunder Studios came in pro bono as an Executive Producer via Helix Wolfson to support the tracking footage on their XR wall. We couldn’t have done it without this support as our budget was very constrained.
BK: How did you decide on the look of The Protector?
RG: There are many references in the film, from Mad Max 2: The Road Warrior (1981) to The Book of Eli (2010) and Children of Men (2006) – but we did all we could to root the film story, imagery, locations, and costumes in reality. This was important to the message of the film and a departure from other movies in the cannon. This is not a movie that takes place in some far flung unknown world or future- it’s 2042. So we wanted a world that looked familiar, but destroyed. Coloring throughout that was devoid of blue, because there was no water. Red was played up because blood was everywhere. The world was dry and dystopic, so it should look unsaturated and lifeless/devoid of most color. This approach of rooting things in reality dictated our costumes be dirty, built literally from rags and goodwill finds, and that every element shown on screen speak to and honor that candid depiction of a reality that could befall us if we don’t act to protect what is left.
BK: How did you cast The Protector?
RG: This entire film was cast with friends. Literally everyone in it was either a dear friend, or a friend of a friend. Many of the actors in the film had not acted before. Marguerite Moreau and Chris Redman have been friends for nearly two decades, and I had been talking to them about the project for over 10 years. They really were the talent rocks I built the rest of the cast around. I trusted everyone to show up as they were, and tried to cast people according to the roles they would be playing- so it wasn’t a grand reach, but familiar territory, just projected into the grim future of the film.
Graham Greene came in to save the day after Wes Studi jacked up ten times his agreed quote to work on the film. I love Wes Studi and his work, and was honored to have him on the bill until the deal changed and we couldn’t afford him. Graham Greene really did show up and give the entire film gravity and a validity we would have been missing otherwise. Edgar Feliciano (Nayati) was the original actor who was going to play the lead of “Key,” and was literally the inspiration for that persona. His tattoo is real- and helped to flush out the larger mystical elements of the movie and its ending. I could not have made the film without his belief in the movie, or his willingness to do whatever I asked of him for it. I believe he is going to be a great star one day and I hope I can have him be the hero of the potential The Protector sequel: The Dirt Jouster.
Mark Lane III came via Matt Fahey- both of whom are fantastic actors, but Mark was only 5 when he auditioned and had never been on the big screen before. He did wonderfully and was a joy to direct (he often just directed me). Mark Lane III’s real parents played his parents in the film. They’re both beautiful and charismatic and were an obvious fit despite never having acted before. Why try to find actors that look like the parents to play the parents if you have able and willing real parents? I think this is a question for filmmakers as well. Real people feel real. Actors often feel like they’re acting for the camera. What world are we building? One that is honest and based in reality or Star Wars? Star Wars often feels poorly acted, but it’s okay because it’s in a “galaxy far far away.” We didn’t have that luxury. And I think all of our actors and non-professional actors did wonderfully.
April Lee had never acted before, but I adore her and she’s a genius. I knew she could do it. It would be a bit of stretch, but as a mother, she’d get it and give Sona depth. Aryeh-Or is an old roommate, burning man camp co-founder, and brother from another mother. Plus he’s dead handsome. Casting Gael was a tough one as I really wanted a BIG name, but, to be honest, we either couldn’t find, or afford, anyone big. It’s almost impossible to get to any real “MG” actors in Hollywood without a ton of cash, and a personal connection. One or the other won’t cut it and agents/managers have no interest in passion led, mission based projects. No bottom line win, no deal. We spent two years trying to find a solid, marketable cast and came up empty handed with a variety of casting agents and tons of outreach and offers. This is the most broken and problematic part of the Hollywood machine. Nothing gets made or distributed without a bunch of leaches getting a suck of the talent and films life blood, and it’s time the industry takes a real deep look at what this is doing to cinema, and how unsustainable it is for the business. Happy to have a larger conversation about this- but the truth is, acting is about finding a role that resonates, forgetting you have a face, and trusting in the vision and the lines enough so you get comfortable to play a different self.
BK: Describe your working relationship with Marguerite Moreau, who plays Key.
RG: She’s wonderful. Committed. Hard working. This role was way outside of her comfort zone and she did it all with composure and grace and, in my eyes, really showed what a true acting talent and a lifetime in the industry can help cultivate in the art form. I am still super impressed with how well she pulled off such a truly difficult character.
BK: Describe your working relationship with Graham Greene, who plays Brand.
RG: He’s a badass. He showed up on set ready to work. Knew exactly what he wanted to wear, say, and be. I asked him if he wanted to rehearse. He said, “That’s for amateurs scared of the camera.” And about his lines “You’ve written some shit I’d never say, so I’m not gonna say it”. When I asked him what he’d like to do instead, “You’ll find out” was the reply. But it wasn’t rude. It was just to the point and honest, and I think we both trusted each other as a result. I know I put my trust in him and he delivered, in 60 mile-per-hour winds, with no time, against the elements and comforts of Hollywood. He showed up to work. No BS. No comforts. He’s a real life hero and army vet and you can tell. Tough and true.
BK: How long did it take to make The Protector, from completing the script to finishing post-production?
RG: I finished the script in 2019, and made a “proof-of-concept” that was 10 minutes for 10 k in one day. Then I hit a tree snowboarding and almost died. Got a titanium pelvis and learned how to walk again while in re-writes. We shot May 2022- and were done July 2024- but didn’t get released until May 2025. I couldn’t have done it without the committed assistance of James Cooney, who was really a champion of the film and held the faith when I faltered. He helped me edit, shoot, and revise throughout the entire process.
BK: What was the hardest part of making The Protector for you, as a director? What was the easiest?
RG: Doing so much of it alone. Writing is one thing, producing is another. Editing is tough; some include others, some are truly solo. I always find it’s best to include others as I definitely don’t always know what is right, but I do trust my vision and can hold that while others share their own perspectives or often great ideas. I love directing, and acting, and producing, casting and wardrobe and finding locations. I was involved in every part because it creates the holistic vision, and I’m a control freak. The film needed that given the budget and what we were trying to do with our world building. The hardest part was raising the funds. I had to mortgage my home to finance physical production, and then once we had a cool trailer and a rough, unfinished cut I had to go out to every dear friend, family member, and trusted ally to cobble together enough to finish it. I couldn’t have done it without the support of my Executive Producers. But none of them were in it for the money, or actually even traditional EPs. They believed in me and the message of the film, and their trust kept me driving forward despite the adversity and how long it took to finish.
BK: Where did the idea for “dirt jousting” come from? What sort of car is the dirt jouster that we see Key use throughout the movie?
RG: My oldest buddy, William H Frey III (Billy) and I came up with the idea on a rooftop in NYC six years ago. He really was the genesis of the thought and I ran with it. He’s a great mind and cinephile. The dirt jouster barely ran most of the time, suicide doors almost never opened, we had to push it literally 50% of the time, but somehow it always worked on camera when we needed it to. Marguerite Moreau was great at revving the engine and peeling out. It’s a 1964 Buick Riviera completely customized and even more ridiculous in person than on camera.
BK: How was making The Protector similar to making your previous post-apocalypse movie 10,000 A.D.: The Legend of a Black Pearl (2008)? How was it different?
RG: It was the same in that I had no money, very little “help” on the up front, and was brutally against the odds. 10,000 A.D. was insane. Most of that film was 3 people: the actor, myself (another actor), the camera op and maybe a second. Literally a 4 person crew including talent. Almost every day. All of the world. Living out of an RV (same). Eating whatever we could find (Same). Non actors as key talent (Same). No money for special effects and tons of real risks (Same). Epic stuntmen and women willing to come out for next to nothing (same). Green crew (and extras) showing up as a favor (same). A message based movie about waking up to the fact we can do things differently before it’s too late (same). No help from Hollywood (same). So much of it was the same, just on an entirely different scale, and with all of the professional commercial work I’d done as a backdrop. I made 10,000 A.D. with so little we just didn’t care to consider if there even were rules. We didn’t follow them because we didn’t even know they existed. Both have been wars, true battles of attrition and ultra- marathons. Humbling experiences, and overall better movies than I think they’ve been considered. My hope is some day, someone notices before it’s too late and they actually help the cause. There is so much money around, but not much for films that have a message unless they’re a documentary, or films with a star (and then the quality doesn’t seem to matter). The hardest part, and the difference between The Protector and 10,000 A.D. was not having Giovanni Messner- who’s a very successful and accomplished commercial director and one of my best friends, but also just a total genius and epic filmmaker. 10,000 A.D. never would have been what it was without Gio and I working together and I’m still so glad we did. That film was our film school, and The Protector was my ode to an art form I love after years of practice and being told yet again it wasn’t possible. I’m glad we proved to someone that it was, and I hope we get to make this into a franchise/trilogy as there’s a lot of opportunity in the IP and world we’ve created with Dirt Jousting and all the rest.
BK: What do you like about the post-apocalypse genre?
RG: It’s the best way to talk about the future in a captivating way. It’s gritty and compelling and allows you to bend reality while still rooted in it.
BK: Any moviemaking heroes?
RG: The Wachowski Sisters. Denis Villeneuve. Christopher Nolan. David Fincher. All of them pushed the envelope and did things others said weren’t possible. I think, as filmmakers these days, that should be the goal. Whether it’s due to budget, or story, overcome the fear and push it!
BK: Any upcoming projects you can tell us about?
RG: I want to make this into a trilogy. The next installment would be The Dirt Jouster, and would feature many of the same characters from The Protector. I just need $2 million. Feels like we should have proved by now we can do something impressive with it. I’ve always been working with next to nothing (what I could scrap together solo), so some support would be wonderful! I have a wild and funny comedy/horror-thriller called Radical Honesty that has a young cast and is super entertaining with a great twist at the end. Return is my favorite story- but it requires an A-lister and a round the world trip. It’s two stories of a path to enlightenment, and I believe is the film that could really help to define my career if I’m lucky enough to have one. I know I can’t make another film solo and finance it myself again.
BK: What do you hope audiences get out of The Protector?
RG: Protect what is left. The last few scenes and monologues are the heart of the film. That’s the take away. We make the rules. We can still change things. We can protect what is left for future generations.
BK: What is your favorite post-apocalypse movie?
RG: That’s a tough one. Most of my favorites are in the genre. I would say The Matrix (1999) is actually post-apocalyptic, so that probably takes the cake. Children of Men is pure genius and wonderfully executed. A Quiet Place (2018) is wonderful. I am still so impressed with what they did with that film and the money they pulled it off with. So many interesting solutions due to budgetary constraints. Same goes for 28 Days Later (2002). Genius. I also like Waterworld (1995). It gets a bad wrap, but the scale and scope and vision of that film and its underlying message of hope definitely resonated with me. I have seen Mad Max: Fury Road (2015) more times than I care to mention, but it doesn’t quite have enough story for me.
BK: Would you want to try dirt jousting in real life?
RG: Absolutely. I’ve always been an adrenalin junkie. In my younger years I definitely would have competed 🙂
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A very special thanks to Raul Gasteazoro for agreeing to participate in this interview and to david j. moore for setting it up.
The Protector will be available on all major digital, Video On Demand, and cable platforms starting May 23rd, 2025.
Check out my review of The Protector here!
Check out the official website for The Protector here!
Raul Gasteazoro image courtesy of Raul Gasteazoro. All other images courtesy of Vertical Entertainment.
