In Beast, Australian director Tyler Atkins (Boasch & Rockit, aka Ocean Boy) sets out to do something more ambitious than simply stage bone-crunching fight sequences. His debut feature in the MMA arena is as much about family, identity and masculinity as it is about survival inside the cage.
Shot across between Australia and Thailand, Beast pairs visceral action with an emotional core anchored by a working-class fighter torn between who he is and who he’s expected to be. With Russell Crowe lending gravitas as a battle-hardened trainer (Sammy) and Daniel MacPherson embodying the conflicted fighter (Patton James) at its centre, Atkins leans into the human cost of violence — and the strength required to endure it.
Speaking with The Hollywood Reporter Australia, Atkins reflects on the film’s unconventional production and his personal philosophy that shaped its themes. Beast opens in U.S. theaters on April 10, and at home in Australia on April 23.
First of all, congratulations. This was a complex shoot — how long did it actually take?
Thank you. It’s a hard one to answer because it was pretty unconventional. We shot in three different blocks. The first was about 10 days — all the gym material and the Russell Crowe scenes. Then we went to Thailand for a week, and after that we shot the drama over four weeks. So about seven weeks of shooting, but spread across four or five months. It was pretty wild — different units, different locations.
What drew you to a fight film? It’s not an obvious lane for you.
I actually turned the script down a couple of times. It was originally set in America and I just couldn’t see the film — and if I can’t see a vision, I won’t do it. But the producer encouraged me to reread it, and Luke Hemsworth said something that stuck with me — you don’t always get a 10-out-of-10 script, but if you see elements you connect with, you can elevate it.
I love MMA. I love stories about men who protect their families and communities. I’m big on partnership, forgiveness — those themes really spoke to me. So I reshaped the film around what I’m passionate about.
It plays like a fight film, but the family story is really the engine.
Completely. The wife and daughter — that’s what drives everything. I leaned heavily into that. It’s about a man who’s trying to provide for his family but isn’t allowed to be who he truly is.
There’s a powerful moment where his wife realises she has to let him be that person — even though it terrifies her. Fighters can die. They can suffer brain damage. But she understands that suppressing who he is isn’t the answer either. That moment was really important to me.
The opening sequence is striking — you show both the brutality and the glory of the sport almost instantly.
That was very intentional. In MMA, one guy wins, one guy loses — and the difference can be one punch. I wanted to show that contrast straight away.
Then you have Russell Crowe’s character taking a fighter who’s terrified and getting him ready to walk into a cage. There’s something almost spiritual about it — like a preacher sending someone into battle. We added war drums into the score to give it that primal, ritualistic feel.
What conversations did you and Daniel MacPherson have about the character?
We worked on that character for years. Dan trained in MMA — Muay Thai, jiu-jitsu, boxing — and we really built this guy from the ground up.
He’s one of those forgotten men. A working-class guy from Port Kembla (NSW) who can build a house, fix an engine — that kind of man. I wanted to explore what I call “divine masculinity.” Not aggression or toxicity, but a man who’s in control, who protects, who gives. That was really important to me.
You touch on masculinity in a way that feels very deliberate.
Yeah, I think we’ve lost the conversation around what a good man actually is. It’s not about money or status. It’s about integrity, responsibility, protecting others. That’s what I wanted to put on screen.
Russell Crowe in ‘Beast’
Deepwater Films
What’s it like directing Russell Crowe?
He’s a master. You don’t really direct him — you collaborate. We workshopped the script at his farm, and on set he just knows exactly what he’s doing. You might give a small note here or there, but he brings it to life in a way that’s incredible to watch.
Were you looking at other films for inspiration?
Definitely. Requiem for a Heavyweight was a big one — it’s got so much heart. And of course Rocky — that’s the blueprint for the underdog story.
I also love emotional films like Paper Moon and On the Waterfront. That’s what I was chasing — heart and soul. But at the same time, I wanted Beast to feel authentic and real.
You had a major curveball with your cinematographer just before shooting.
Yeah — seven days before we started, our DP had a serious health issue and had to step away. We couldn’t delay — the film had already collapsed twice before — so we had to push forward.
I’d spent two and a half years working as a grip, basically doing film school on set. That gave me confidence. We brought in Thomaz Labanca, who hadn’t shot a feature before, but had a great eye. I just said, “Let’s go for it.” And he delivered.
The world of the film feels very specific — especially Port Kembla.
That was crucial. Port Kembla is part of the character — it’s an old steel town, very raw, very real. Shooting it somewhere like Sydney wouldn’t have worked. We fought hard to keep that authenticity, because the environment shapes who this guy is.
Looking back, what are you most proud of?
That we stuck to the vision. It was a tough shoot, a lot of pressure, but we committed to making something real — something with heart. And I think that comes through.
