With his horror film “Night Watch,” director Timur Bekmambetov had in mind a dual objective – to evoke a classically scary movie, but to set his chilling tale in a realistic version of his homeland, showing both the good and bad of everyday life in Russia. His efforts paid off. Upon release, “Night Watch” broke Russian box office records, making it one of the highest-grossing films in that country’s history.

Born June 25, 1961 in the small town of Guryev, Soviet Union – now Atyrau, Kazakhstan – Bekmambetov spent his childhood devouring all kinds of films, as well as priding himself on being the sole inter-continental student at his school. Each day he walked to school, the youngster crossed a bridge from his home in what was technically Asia, over to his school in Europe. He made his very first movie, a ghost story, when he was 10 years old, shooting with an 8mm camera at a summer camp.

Bekmambetov graduated from the prestigious A.N. Ostrovsky Institute of Theatrical Arts in Uzbekistan in the 1980s. Drawing on his extensive background in art, his first job was working as a set designer for film and theater. In 1992, he wrote and co-directed his first feature, “Peshawar Waltz,” about the Russian war in Afghanistan. Budgeted at $50,000, it told the story of a group of Soviet prisoners of war, who upon freeing themselves, shoot Soviet helicopter pilots after begging their army to rescue them. The film earned him critical acclaim and prizes in Russian film festivals.

Throughout the rest of the decade, Bekmambetov made a name for himself by directing commercials and music videos. He worked on campaigns for Pepsi and Daewoo cars, garnering several advertising awards for his work and earning a reputation as one of the most innovative and in-demand directors in Russia.

In 1999, he produced and directed an eight-part TV miniseries, “Our 90s.” In 2001, he was hired by famed indie horror producer Roger Corman to remake “Arena,” a film about female gladiators. Bekmambetov credited Corman for teaching him to be both financially resourceful, as well as appreciative of the value of creativity over money.

The lessons paid off with “Night Watch.” Financed by the Russian television station Channel One, the film was made for just $4 million. Based on a popular series of books by Russian author Sergey Lukyanenko, the film explored the age-old struggle between good or “light” forces, who operate during the day with supernatural powers, and evil, “dark” forces, who move about at night in the traditional guise of vampires and witches. Bekmambetov’s film was a risky move in that, unlike in America, the horror flick had lain dormant in Russia for years. The director was also excited to show audiences the mainstream way-of-life in his country, instead of setting the film in the typical American locales of New York or Los Angeles.

After the film’s enormous success in Russia, U.S. distribution rights were snapped up by Fox Searchlight International which also snared rights to the sequels. Anticipation for “Night Watch” grew among horror film devotees in the states, thanks in part to great international online buzz. Having Quentin Tarantino singing its praises did not hurt either. The film opened stateside in early 2006.

Bekmambetov was set to direct the sequels, “Day Watch” and “Dusk Watch,” as well as co-produce with Tim Burton the animated film “9,” based on a short film of the same name. He was also attached to direct the film version of Mark Millar’s cult graphic novel, “Wanted.”