Nathaniel Burns first met genre director Robert Conway on ‘Krampus: The Reckoning.’ Umpteen movies later, they’re still making movies together – their latest, ‘Hellhounds,’ has just been released on digital platforms.
Film Factual (FF): When did you decide you wanted to be an actor, Nathaniel?
Nathaniel Burns (NB): I was heading to football practice and a pretty girl asked me to try out for the school play. I was the drama club president a year later. I took to acting quickly, and with fervor.
My first opening night was a literal blast, minutes before we opened the house the transformer blew out because a guy hijacked a tank and ran over the stoplight about 200 feet from the theater. We were all so ready to go and it just made the first actual performance that much more electric. but I digress.
I was dealing with difficult stuff at the time I was introduced to the craft, including my mothers’ passing. I found a home in performance, and a warm, welcoming community in theater, that I otherwise didn’t have.
Not long after I began, I saw an ad for an acting job in the San Diego Reader. I went to audition for that, landed the job and was a paid actor in my teens.
After producing plays and doing my best to extend that kindness I received in theater for others, I got into movies when I met Laura Durant of
While ‘Krampus: The Reckoning’ was my first film with Robert, I’ve done theatre, live and national television, and movies. I’ve worked with several filmmakers since then, but Robert and I share an affinity for thrillers and an excitement for moviemaking.
FF: Was there a certain genre you particularly wanted to work in?
NB: My first play was ‘Little Shop of Horrors’ by Howard Ashmen, and I think that was telling. I have some fond memories of watching thrillers, horror, and action movies with my dad and my brother. We’d break the rules and order pizza, sit on floor and watch ‘Enemy Mine’ or ‘Terminator.’ ‘Nightmare on Elm Street did a number on me. We had a lot of fun.
As I’ve continued my education on art and film, I’m evermore drawn to more outlying work, more foreign and “artsy” stuff. I’ve gained so much perspective and compassion through the arts.
There are few films I couldn’t enjoy for one reason or another. Bring on the fright, the fights, the romance and yes, even documentaries. I love storytelling. I’m always grateful to be invited to take part in telling a great story., whether I’m in front of, or behind, the camera. As Banksy said, “Art should comfort the disturbed and disturb the comfortable.” That quote resonates with me.
FF: What was the audition process on ‘Hellounds?’ What was it that the filmmaker was looking for that you encompassed?
NB: You’ll have to ask Robert about that. When he gets an idea, he runs with it. As a professional in this industry, especially in a smaller market like Phoenix, you’re always auditioning. Your last project was probably your most impactful audition. When he approached me about the project, I was definitely interested in helping him achieve his vision for it.
I also produced ‘Hellhounds,’ and it wasn’t like I was guaranteed to play Alias. We did some screen tests and definitely held auditions looking for the right people for each part.
‘Hellhounds’ as a concept is really big, and the story, like most of Robert’s, span centuries. We don’t begin at the beginning or the end Alias’ chapter. Werewolves are, after-all immortal.
FF: Tell us a bit about your character. Can you personally relate to his plight?
NB: Certainly, I think everyone can relate to Alias’ unfortunate situation to some degree. Most of us have been stabbed in the back by a close friend or loved one, lied to or had our entire werewolf-motorcycle-gang sold-out to “l’Argents” by our own blood.
Perhaps not the last one, but for Alias, yes, that’s his reality. I can certainly relate to his wretched and seemingly-hopeless situation. I relate to his need for justice and his reckless abandon to get it at any cost. It’s a gut-feeling. Although Alias is definitely not a good guy, he’s not pure evil, either, and there are spaces in him with warmth. Usually after a meal.
FF: I see you’re a producer too. What kind of films are you interested in, as a producer?
NB: I love making movies. If it’s a great story, I’m interested to hear more. Anytime you set out to make an artwork, either on your own or on a massive collaboration like a movie, it should be challenging and fun. I’m a simple man in that regard.
Since I studied as a stuntman and stunt coordinator the last two years at Campus Univers Cascades AKA “the biggest stunt school in the world” in France, and am also a member of the Arizona Renegade Stunt Crew, I’m definitely interested in bringing more and better action to the table in my projects. But my films don’t need to be “action movies” per se.
FF: As a producer, on films like ‘Hellhounds’ or ‘Ghost Town,’ does it give you more say at the table? Anything in particular you’ve been able to make happen on these films as a result of being a producer?
NB: I’m of the mind that if a director has a solid vision, (which certainly both of the Conway brothers had in these films you mentioned), the best thing a producer can do is support the director to achieve that vision.
Problem-solving and offering suggestions can be appropriate, especially in early stages of a project. But in my world, it’s always the director’s call, and I expect the same from a producer when I direct. Any influence I’ve had as a producer would still be considered a collaborative effort with the director.
FF: Are you working with Robert Conway on anything else?
NB: We have two other titles in post right now, ‘Buried Alive’ and ‘Blood Totem.’ Stay tuned, they’re both looking very cool. I am working on my first screenplay and feature-length directorial debut. Reach out and help me make it.
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