Christian Wehrle’s most notable projects include World War II: The Shipwrecks of Truk Lagoon and Red Sea: Brother Islands – A Scuba Dive Adventure. These documentaries showcase his ability to blend historical narratives with breathtaking underwater cinematography, bringing to light the stories of sunken vessels and the vibrant life that now inhabits them. His films have been celebrated for their educational value, visual appeal, and the compelling storytelling that guides viewers through the depths of the sea.
indieactivity: How did you get into directing? How would you describe your style?
Christian Wehrle (CW): It all started with a homemade movie featuring my dog as the lead and my little brother as the villain. From those humble beginnings, my passion for directing snowballed. I’d describe my style as a mix between a mad scientist and a meticulous artist—think of it as a cocktail of Spielberg’s wonder, Tarantino’s edge, and a dash of Attenborough’s nature magic. I thrive on weaving epic narratives that oscillate between the fantastical and the profoundly real, always with a pinch of unexpected humor.
Who are “Truk Lagoon” and “Brother Island” for? Who do you think would enjoy it the most?
Christian Wehrle (CW): These films are for anyone who’s ever looked at the ocean and wondered about the secrets it hides. If you’re a history buff, an adventure seeker, or just someone who appreciates stunning visuals and compelling stories, you’ll be hooked. Essentially, they’re for everyone from your grandma who loves a good war story to your teenage cousin who’s obsessed with marine life. Expect gasps, tears, and the occasional “Whoa, did you see that?”
How long did it take to shoot the films?
Christian Wehrle (CW): *Brother Island* was a whirlwind three-week adventure—quick, intense, and full of unforgettable moments. But *Truk Lagoon*? Well, that one was the Everest of filmmaking. It took more than a decade, thanks to some epic sound issues and my perfectionist streak with the original footage. It was like trying to teach a school of fish to sing in harmony—frustrating, time-consuming, but oh so worth it in the end!
How long was the post-production process?
Christian Wehrle (CW): Ah, the magical land of post-production, where caffeine and creativity flow in equal measure! For *Truk Lagoon*, we spent about a year stitching together the narrative, tweaking the visuals, and making sure every bubble sound effect was just right. *Brother Island* was a similar story, clocking in at around 14 months. It’s like assembling a giant, intricate jigsaw puzzle, but instead of a picture of a cat, you get an immersive cinematic experience.
The film had a lot of talent working behind the scenes as DPs, sound designers, composers, etc. Why is diversity important both in front of and behind the camera?
Christian Wehrle (CW): Diversity is the secret sauce that makes the magic happen. Having a rich mix of voices and perspectives means you’re not just telling a story, but telling it in the most vibrant, inclusive way possible. It’s like a potluck dinner—everyone brings something unique to the table, and together, you create a feast that’s way more interesting and flavorful than any one dish alone. Plus, it keeps things fresh and unexpected, which is exactly what great storytelling should be.
What are your goals with “Truk Lagoon” and “Brother Island”?
Christian Wehrle (CW): Besides winning all the awards and becoming a household name, my real goal is to ignite a spark of curiosity and wonder in viewers. I want people to walk away from these films with a deeper appreciation for our history and our planet’s incredible marine life. If someone feels inspired to dive deeper into their own passions or to take action in preserving our natural world, then I’ve done my job.
What’s next for you? What are you working on right now?
Christian Wehrle (CW): Ah, buckle up for Blue Hole: The Call of the Abyss! Last March, I found myself in Dahab, Egypt, taking several dives into the infamous Blue Hole—dubbed the “most dangerous dive spot in the world.” Picture me, 120 meters deep, navigating the aquatic abyss with a camera in hand. There’s still some epic footage I’m itching to shoot, and I’ve been collaborating with an artist on 3D CGI models that are finally nearing completion after two months of creative ping-pong. This documentary will be a deep dive (pun intended) into the world of technical diving, unraveling the mysteries and limits of sports diving with all the flair and detail you’d expect. And guess what? I’m aiming to wrap it up this year! Yes, you heard it right—no decade-long marathons this time. Get ready for an exhilarating underwater escapade!
What would you recommend to a new director at the beginning of his/ her journey? Any special courses, workshops, helpful books they can read?
Christian Wehrle (CW): First off, embrace your inner sponge—soak up every bit of knowledge and experience you can. Some great courses include the MasterClass series, especially those by directors like Martin Scorsese and Werner Herzog. As for books, “In the Blink of an Eye” by Walter Murch is a must-read, as is “Directing Actors” by Judith Weston. And remember, nothing beats practical experience—grab a camera, gather some friends, and start creating!
Who is your favorite director? Why?
Christian Wehrle (CW): Tough question! If I had to choose, I’d say Ridley Scott. His ability to seamlessly blend epic visuals with deep, engaging stories is something I strive to emulate. Plus, anyone who can go from *Alien* to *Gladiator* to *The Martian* with such finesse has my utmost respect. He’s a chameleon, and that’s something I deeply admire.
What advice would you give directors around the world?
Christian Wehrle (CW): Be bold, be curious, and never stop learning. The world is your canvas, so don’t be afraid to paint outside the lines. Surround yourself with diverse voices, because they will challenge and enrich your vision. And most importantly, have fun! At the end of the day, storytelling is about sharing your passion with the world. If you’re not enjoying the journey, neither will your audience.
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