What is your martial arts background, and who were your main influences?
I started training very young. My main influence was Bruce Lee – when I saw Enter the Dragon, I knew I wanted to be a martial artist. I began with Taekwondo, but I was always searching for something closer to kung fu, so I trained in different styles whenever I could. Later, I trained in Ken Shin Kan Karate in Chile under Sensei Roberto Fernández. Throughout my life, I’ve kept training in different disciplines, always learning and evolving.
You moved to Mexico in 1997 and worked as a model. Do you have any memorable experiences from that time?
Working as a model in Mexico helped me pay my bills while I was training, and more importantly, it gave me control of my time. That allowed me to stay focused on martial arts. It was also a great experience, I started understanding camera work through commercials and infomercials, which helped me later as an actor.
You worked as Dwayne Johnson’s stunt double in The Rundown. Can you share any stories from that set?
The Rundown was my first experience on a big Hollywood film. Working with Andy Cheng, J. J. Perry, and that level of stunt team was incredible. Dwayne Johnson was an amazing guy—very kind—and the whole stunt team was very supportive, especially because I was the new guy. It was also a challenging process.
At the beginning, I didn’t have the paperwork, so the unions didn’t allow me to work. They even did tests and an open casting to replace me. But in the end, I got the job, and the studio was able to sort everything out. For me, it was a huge learning experience, my first real school in understanding how action is made in cinema. I’m very thankful to Andy Cheng for believing in me and giving me that opportunity.
You are often a guest at Fantastic Fest in Austin, Texas, where you have presented several of your films. How difficult is it today to secure distribution for an independent film?
Fantastic Fest was an incredible support for us. Our early films like Kiltro and Mandrill were shown there, and it was also the beginning of the festival, so I feel like we grew together. We went for about six years in a row – it really felt like a family. In many ways, my career was born there. And honestly, distribution has always been the hardest part.
Making the film is one thing, but getting it out into the world is the real challenge, especially for independent films. Festivals like Fantastic Fest were key for us, because that’s where distributors and buyers saw our work, and where we were able to secure international deals.
Many fans first noticed you in Undisputed III: Redemption (2010), where you fought Boyka. How did you land that role, and what was the biggest challenge?
After my films played at Fantastic Fest, I got a call from Isaac Florentine about playing the main villain in Undisputed III: Redemption. It was a huge moment for me, because I had seen Undisputed 2 and thought, “This is exactly the kind of film I want to do.”
I spoke with Scott Adkins, and we were both very committed to making the fight something special. The biggest challenge was the pressure – we knew we had to elevate what had already been done. We trained hard, rehearsed every day, and shot very intense, long fight sequences with a lot of contact. It was physically demanding, but that’s what made it such a great experience.
You continued collaborating with Scott Adkins in Savage Dog and Diablo, and you both appeared in John Wick and The Killer’s Game. What makes your partnership work so well? Would you ever consider switching roles or doing something completely different together?
After Undisputed III: Redemption, Scott Adkins and I connected right away, we became very good friends. We share the same passion for martial arts, and we both feel lucky to do what we love. Over the years, we’ve worked together on different projects, and every time we push each other to bring out our best. He’s an incredible martial artist and a great human being, and I always enjoy working with him. I’d love to keep collaborating and explore different kinds of characters and stories together. And yeah… we have something exciting coming soon.
I like the way you approach your characters. In Diablo, you played a silent, intense killer. In The Killer’s Game, you portrayed the dancing assassin Emilio “El Botas.” In The Fist of the Condor, you played the mysterious warrior Guerrero. How do you develop these unique personalities?
In Diablo, the character is very minimal—almost no dialogue—so everything comes from presence and body language. It’s about what you don’t say.
In The Killer’s Game, the tone is different—there’s more personality, more energy. I enjoy moving between those styles.
I really love the process of discovering the character—taking the time to understand who he is and what I can bring from myself to make him real. That also defines how he fights, how he moves, and why he uses certain techniques. It’s a very fun part of the work, and I enjoy exploring different characters.
One of your biggest roles came in John Wick: Chapter 4 (2023), where you played the assassin Chidi fighting John Wick. Can you talk about the choreography and which scene was the most complex to film?
Playing Chidi in John Wick: Chapter 4 was an incredible experience. You’re stepping into a set with the best of the best, so for me it was a huge learning opportunity. I stayed close to Chad Stahelski to understand how he builds action—camera, rhythm, how everything connects. And working with Jeremy Marinas was amazing, seeing how he designs fights for camera.
Both of my main fight scenes were very complex. One had the challenge of timing everything with cars moving around you, and the other was on the stairs—going up and down, very physical and demanding. It was something new for me. There was definitely pressure, but Keanu Reeves was incredible—very supportive. Overall, it was a game changer for me.
In films like Kiltro (2006), Redeemer (2014), Fist of the Condor (2023), and Affinity (2025), you played the lead role. How has your approach to playing a hero evolved over the past 15 years?
In the beginning, it was more about the physical side—proving myself, the action, the technique. Over time, it became more about the character—understanding who he is, what he’s going through, and bringing something real to it. Now, for me, the action has to come from the emotion. If the character feels real, the fights feel real too.
Rey del Ring (2025) tells the story of a Chilean boxer and was produced in your home country. What can you share about that project and your role?
Rey del Ring is inspired by a Chilean boxer who fought for a world title against Joe Louis. It’s a beautiful story—more of a romantic drama with some comedy, and very different from what I usually do. For me, it was a great opportunity to explore outside the action genre.
The character has a big emotional arc, and I go through a lot throughout the film. There is boxing, of course, and it was the first time I approached it on screen. I was also lucky to bring in Uriah Hall for some real sparring in the final fight, which made it even more special.
You are attached to the project 100 Years, directed by Robert Rodriguez and written by John Malkovich. Is there anything you can share about it?
100 Years is a project that Robert Rodriguez invited me to be part of, and working with him is always an amazing experience. We’ve collaborated on several projects since Machete Kills, and I’m always happy when I get a call from him. He’s a true inspiration for me. Back in Chile, Ernesto and I used to talk about Robert all the time—he was a reference for us, that idea of just going out and making your own films. So for me, it’s an honor to work with him and be part of that creative world.
How has your approach to fight choreography evolved throughout your career?
For me, fight choreography and directing have evolved a lot. At the beginning, it was more about showcasing techniques, putting in moves because they looked cool. Now it’s the opposite—it comes from the inside out. It’s about understanding the character, the objective, and the purpose behind every move. Why is he fighting this way? What’s the urgency? What’s driving the scene? That’s what builds the fight. I try to stay honest to that, and then create dynamic action that supports the story.
What are your three favorite martial arts films of all time?
My three favorite martial arts films are Enter the Dragon, The Way of the Dragon, and Rumble in the Bronx.
What are your two favorite fight scenes in film history?
- Bruce Lee and Chuck Norris in The Way of the Dragon.
- Jet Li in Fist of Legend, the blindfolded fight.
- Jackie Chan in Armour of God, the fight against the Amazon girls.
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