When audiences step into the world of The Prince, The Sister & The Serpent, they will see ancient gods, towering stakes, and a prince shaped by destiny. What they may not immediately see is the months of preparation that went into bringing Cadmus to life. For Abraham Mejorado, who both produces and stars in the film, the transformation required far more than memorizing lines. It demanded physical endurance, technical training, and a willingness to be uncomfortable in the service of the story.
In this exclusive conversation with BSI, Mejorado opens up about building the body of a warrior, navigating uncomfortable armor, growing into the look of a mythic prince, and learning the mechanics behind cinematic action.
Cadmus is a warrior prince. Let’s start with the physical side. What did prep look like for you?
Abraham Mejorado: I knew early on that if I was going to play someone who stands toe to toe with gods, I couldn’t fake the physicality. The camera sees everything. So I started training months out. It wasn’t just about putting on muscle. It was about stamina and movement. Action scenes are exhausting. You’re doing takes over and over, sometimes in heat, sometimes in heavy costumes. I focused a lot on functional strength. A lot of compound lifts, bodyweight circuits, and sprint intervals. I wanted to feel powerful but still agile.
Did the training change the way you approached the character?
Mejorado: Definitely. When your body feels capable, your posture changes. The way you walk changes. Cadmus carries responsibility. He carries pride. That shows up physically. There’s a grounded stance, a stillness before action. Getting stronger helped me internalize that. It wasn’t just aesthetic. It influenced how I inhabited him.
The look of Cadmus is very distinct. You grew your hair and facial hair out for the role. How was that adjustment?
Mejorado: That was more challenging than I expected. Growing hair out sounds simple until you’re in that awkward middle phase. You go through weeks where it doesn’t look heroic at all. You just have to trust the process. The beard was similar. It changes how your face moves, how you feel on camera. But once the look settled in, it helped. Sometimes something as small as facial hair makes you feel less like yourself and more like the character. That shift matters.
Let’s talk armor. Period costumes can look incredible, but feel uncomfortable. What was that experience like?
Mejorado: The armor looks amazing on screen. In real life, it’s heavy, it restricts movement, and it gets hot quickly. The first fitting was eye-opening. You realize this isn’t just a wardrobe. It’s equipment. You have to rehearse in it. You have to learn how it shifts when you move. There were moments where I had to adjust my breathing because it compresses you differently. But in a strange way, that discomfort helps. A warrior prince shouldn’t feel relaxed. There’s tension in wearing something protective. That tension adds to the performance.
You also trained in sword work. How intense was that process?
Mejorado: I had basic familiarity with stunt choreography before, but this was different. Sword work is rhythm. It’s muscle memory. You drill combinations until your arms feel like they’re going to fall off. The key is safety and precision. You want it to look dangerous without being dangerous. We worked on foot placement, distance, and timing. It’s almost like a dance. Once it clicks, there’s something satisfying about it. But it takes humility. You mess up. You repeat. You refine.
And then there are wires. Action films today rely heavily on harnesses and rigging. How did you adjust to that?
Mejorado: Wires are humbling. You feel cool in theory, but the first time you’re suspended, you realize how technical it is. You have to engage your core constantly. Small movements become exaggerated. If you tense up, it shows. The trick is to relax into it while still appearing powerful. That took practice. There were bruises. There were moments where I felt like I was learning to walk again. But once you trust the rigging team, it becomes another tool for storytelling.
Was there a moment during prep when it all started to feel real?
Mejorado: The first time I put on the full costume, with hair grown out, armor fitted, sword in hand. That was the moment. You look in the mirror, and it’s not just a rehearsal anymore. It’s a responsibility. That’s when I started thinking less about technique and more about intention. What does Cadmus want in this scene? What is he afraid of? Prep gives you the foundation so that when the camera rolls, you can focus on the truth.
You’re also producing the film. How did you balance physical prep with everything else?
Mejorado: Disciplina. I had to schedule training like meetings. Early mornings, sometimes late nights. There were days when I was reviewing budgets and then heading straight to sword rehearsal. It’s a lot, but I see preparation as a sign of respect for the audience. If we’re asking them to believe in this world, we have to do the work.
Beyond the physical transformation, what did this preparation teach you?
Mejorado: It reminded me that growth happens in discomfort. Whether it’s growing your hair out, wearing armor that doesn’t breathe, or learning choreography that feels unnatural at first, you’re constantly adjusting. Cadmus goes through that emotionally in the script. He’s pushed into situations he didn’t choose. So in a strange way, the physical prep mirrored the character’s journey.
As The Prince, The Sister & The Serpent moves closer to production, it is clear that Abraham Mejorado’s portrayal of Cadmus is built on more than ambition. It is built on sweat, repetition, and a willingness to step fully into the demands of mythic storytelling. From grueling workouts to wire training and the weight of armor, his preparation reflects the same discipline that has defined his career behind the camera.
For Mejorado, playing Cadmus was never about simply looking the part. It was about earning it.
