THE APEX TIMES
The documentary “Werewolf in the Waves” centers on a childhood reunion between Dax Dasilva (Shifty Shellshock) and Seth Binzer, exploring how a relationship became tied to Dasilva’s relapse.
A documentary about Dax Dasilva, best known as the frontman of the band Crazy Town, is being developed by production companies including Leonardo DiCaprio’s Appian Way and Board Soleil Moon Frye, according to a report from The Hollywood Reporter. The film, titled “Werewolf in the Waves,” is described as centering on Dasilva’s personal story and a long-running connection rooted in childhood friendship.
The account says the documentary focuses on a reunion with Seth Binzer, who is identified as Dasilva’s old friend and is also associated with the nickname “Shifty” in connection to Dasilva’s public persona. The report describes the connection as evolving into what it characterizes as a tragic love story that unfolds alongside Dasilva’s struggles with relapse.
The Hollywood Reporter also reports that much of the documentary was shot predominantly using Soleil Moon Frye’s iPhone. The approach, as described, points to an intimate, small-crew production method that aligns with the film’s subject matter, which is framed as personal and relationship-driven rather than primarily archival.
DiCaprio’s Appian Way and Board, the production banner associated with Frye, are presented in the report as the companies behind the project. Neither the report’s description nor the information provided here includes distribution partners, release scheduling, or filming dates, so those details are not included.
The documentary’s concept, as characterized in the report, ties together two distinct aspects of Dasilva’s public narrative and private life: his identity as “Shifty Shellshock” and the interpersonal history that the film uses to structure its storyline. The report frames relapse as a central element of how the relationship and events develop.
In addition to its subject matter, the production details described in the report raise questions about how the filmmakers are handling consent, access, and safety in documenting addiction-related material, particularly where much of the footage is reportedly captured on a phone rather than through conventional film setups. The Hollywood Reporter did not provide procedural information on how those concerns are addressed.
The next phase for the project, beyond development and completion, will depend on additional announcements about post-production, editing, music clearances where applicable, and where it will be made available to audiences. For now, the public information available here is focused on the film’s premise, the production teams, and the reported filming approach.
