Anthony P. Chango
Anthony P. Chango is the writer, creator, and driving force behind White Wolf, an independent action thriller about an ordinary father who loses everything, gets left for dead, and still crawls forward because his family is worth fighting for. But before White Wolf became a film, it started as something much more personal. Anthony is a husband, father of four, IT Director, youth basketball coach, and lifelong storyteller from New Jersey. He is not a traditional Hollywood filmmaker with a studio behind him. He is a regular father who built this project from the ground up with persistence, technology, faith in the story, and a refusal to quit.
11/1/20266 min read
So that the producers have the maximum information about you, who are you?
I'm Anthony Chango, an IT director from New Jersey, husband to Nichole, and father of four. Family is the center of my life, and that's where White Wolf started for me. I wanted to explore what an ordinary father would do if the people he loved were taken from him.
White Wolf, also known as Lobo Blanco, is my first film. I wrote, directed, produced, and edited it under my Party of 6 Films banner, using AI tools extensively to bring the story to the screen. I came into this with a technology background and a lot to learn about filmmaking. It's a fictional story built around a very real love for my family. The line I keep coming back to is, "This isn't revenge. It's a rescue."
How many years have you been making movies?
I'm at the very beginning. White Wolf is my first film. Before this, I had never written a screenplay or made a video longer than six minutes. Apparently, I decided the next logical step was a full feature! I learned an enormous amount getting it finished, and I still have plenty to learn. The script was written over the course of a few nights in late May 2026, and the final film was completed on October 22, 2026. The entire process took roughly four and a half months.
What was your first experience making movies? Did you study at a film school or did you learn on your own?
My first experience making a film has been White Wolf, and I learned through the process of making it. My IT background helped me get comfortable with the tools, but I still had to learn how to tell a story with them. Getting a shot to look good was one challenge. Making it belong in the scene was another.
I worked through the screenplay, generated the material, and learned editing, sound design, and color grading as the film developed. There was a lot of trying something, watching it back, realizing it wasn't working, and doing it again. By the later cuts, I was noticing things I wouldn't even have known to look for at the beginning.
I have no formal training in the film industry. I have been an IT professional for 25 years.
What budget did you have?
I approached White Wolf with limited resources. AI gave me a way to attempt the locations, characters, and action in the story, and I handled much of the production and finishing myself. It still took a serious investment of time, along with the tools needed to create and finish the film.
My total Budget for the film was roughly $2600.
Is it a self-financed project?
I have financed every penny of this Project myself.
Any anecdote that you can tell us about the filming?
The running joke became how many times I could call a version "final." I would finish a cut, watch it again, and find one more thing I wanted to fix.
At one point I cut roughly three minutes to tighten the film. Later, I put about a minute back because I didn't like what the film had lost. That was a useful lesson for me. I could make it shorter and still end up wanting some of those moments back. I had to figure out which scenes helped you care about the family and which ones were slowing things down. Learning that balance took a few "final" versions.
If you had unlimited budget. Which actor and actress would you like to work with?
I would love to see my AI film picked up by a studio and remade as a live-action production using physical cameras and actors. John Krasinski and Emily Blunt would be perfect choices for the two lead roles in a live-action adaptation of White Wolf.
Your favorite movie?
This is difficult because I could go in a million different directions, but there has always been something about The Usual Suspects that I was drawn to.
Tell us 3 filmmakers that you like.
Joe and Anthony Russo, and Christopher Nolan. I am a huge Marvel fan, and I thought what the Russo brothers accomplished with their Marvel films was spectacular. I also think Christopher Nolan is a great storyteller. I do not agree with his views on AI, but I greatly respect him as a filmmaker.
What is the scene that has impacted you the most?
If we are referring to White Wolf, it would be the scene where the 4 kids begin to realize that their father really is dead and no one is coming to save them.
If you could do a remake of a movie, what would it be?
The Boondock Saints. That movie deserved a major studio budget, and I believe it could have been even better than it was.
Did you have light designs or did you shoot with the same light as the location? Can you explain the process of working with a cinematographer?
White Wolf used an AI production process, so the lighting and camera work were designed through generated imagery rather than a physical location shoot. I didn't have a traditional cinematographer working beside me. I was making those visual decisions through the material I created, selected, and revised.
That meant thinking about where the light should come from, what needed to be visible, and how the shot should feel within the scene. Then I worked on the color in postproduction to bring the footage together. That was a big learning curve. A shot could be striking on its own and still need work to sit comfortably beside the shots around it.
Did you have any problems when shooting?
Absolutely. Consistency was one of the biggest challenges. When you're generating material, a shot can have something that looks wrong or doesn't match what comes before or after it. You have to keep checking the details while also watching the whole scene.
I rebuilt visual elements, revised a television sequence, replaced a map shot, and cleaned up defects as I got closer to the final version. There were also editing decisions that took several attempts before they felt right. My background in IT probably helped with the patience to troubleshoot, but it was still frustrating at times. You keep working through the problems until the scene does what you need it to do.
And in terms of sound? Neighbors, flushing, cars?
Because of how the film was made, location noise wasn't the issue. I had to build the sound around the images. That included generated voices, music created with Suno, and sound effects and foley, then bringing everything together in the edit.
The challenge was making the dialogue clear and giving the action weight without overwhelming the quieter moments. I went back into sections where the dialogue felt crushed and adjusted them. I also spent a lot of time on small sounds that help a scene feel believable. Sound became a much bigger part of this project than I understood when I started.
How was the producer-director relationship?
I was wearing both hats, so the meetings were very easy to schedule. Getting the producer and director to agree could still take a while!
The director in me wanted to keep improving things. The producer had to think about the time and resources it would take, and eventually getting the film finished. Having control over both sides let me make changes quickly, but it also meant I had to decide when another revision was actually helping. That's a harder judgment than I expected, especially on a first film.
And working with actors? Tell us about this process, how do you work with the actors?
The performances in White Wolf were created using AI-generated characters and voices, with my family serving as the basis for the central characters. The process was different from directing actors on a set. I worked through the visual material, vocal delivery, timing, and editing to shape each scene.
I had to keep asking whether a line sounded right for that character and whether the reaction made sense in the moment. Sometimes that meant revisiting a voice or rebuilding part of a scene. Since the story centers on a family, those relationships mattered to me. I wanted people to care about them before the danger arrived, so they would feel what was at stake during the rescue.
Do you have any other project in progress?
Right now, White Wolf is still keeping me busy. I'm preparing for our private screening at Bernardsville Cinema on November 19 and taking the feature through its festival submissions. After spending so much time working on it, I'm excited and nervous to see it with an audience.
On the production side, the next project I want to tackle is a 5.1 sound remaster from the current Premiere project. Finishing this film has given me a lot to think about for whatever comes next.