In a recent interview, Nathan Sapsford, star of the much-anticipated film “Here Be Dragons,” shared his insights into the challenges and rewards of portraying David Locke, a war crimes investigator grappling with personal loss while seeking justice in the Balkans. Sapsford reflected on the intense preparation required for such a complex role, including immersing himself in the culture of the region to authentically capture Locke’s character. With the film already generating significant buzz on the festival circuit and earning nominations, Sapsford expressed his excitement and pride in being part of a project that aims to stand alongside classic noirs and thrillers. His passion for storytelling, honed over years of diverse acting and directing experiences, continues to drive his artistic journey, with upcoming projects that promise to further showcase his versatility and dedication to his craft.

Here Be Dragons is available for steaming now, via VOD

Cox: Nathan, “Here Be Dragons” is generating significant buzz. Can you share what drew you to the role of David Locke and how you prepared for such a complex character?

Sapsford: Thank you! We set out to make something highly watchable yet ask some big questions, so for some buzz to be happening means we did something right here. For starters, David Locke is a war crimes investigator, a daunting task to bring to life. It lit something in me to do just that though, so I was in. There’s his job, and then there’s the man – he suffers great loss and is forever tied to the people he tries to bring justice to and for in the Balkans. So you learn as much as you can, experience as much as you can, find his voice and then go for it when the camera rolls. 

Cox: This film has already received acclaim on the festival circuit and nominations for Best Oceanian Film. How does it feel to have your work recognized in this way, and what do you think sets “Here Be Dragons” apart from other films in the genre?

Sapsford: To have a film you’ve worked so hard on for so long recognized feels really bloody good, actually! As for setting it apart, I’d say our hope, the director Alastair’s hope for sure, was to set it with other great films, amazing noirs and thrillers from The Third Man in 1949 with Orson Welles to Chinatown and Blade Runner. Perhaps you can’t ever reach that height, but you can give it a shot.   

Cox: Returning to Serbia for your character’s investigation in the film must have been quite an experience. How did the setting influence your portrayal of David Locke?

Sapsford: It was the greatest influence, actually! I didn’t know anyone from there, just some kids I grew up with in Croatian, Serbian, and Bosnian parents. I’d read and watched so much in preparations, but I thought, man, I have no idea who these people are. So I went there months before shooting. The first person on my list was my mate’s mate, a brilliant actress in Zagreb. Freezing outside, I walked into the rammed bar, smoke hanging low at eye height. I turned and found Iva with her friends, eyes on fire, a drink in her hand, exhaling smoke. She said, “So you must be Nathan. Get yourself a drink”. I mean, come on, so cool. We were instant friends. David operates there as a local, so the more I felt like one, the better it got.

Cox: You’ve been nominated for Best Oceanian Actor at the 2023 Septimius Awards for this role. What does this recognition mean to you, especially considering the esteemed actors you’re alongside?

Sapsford: Exactly. Those we were alongside makes it mean even more. Having our film nominated alongside a fantastic fellow Aussie film, The Stranger, and myself with Joel Edgerton in the acting section as well as Cliff Curtis and Rena Owen – both from Once Were Warriors – I felt truly honored. And who wouldn’t love putting on a tux, picking a glass of champers off the tray and walking into an iconic theatre in Amsterdam for it.

Cox: Your career began with MTV Australia and has since evolved into acting, directing, and producing. How has your early work as a VJ influenced your approach to storytelling and acting?

Sapsford: It was a time of fantastic growth and innovation when I was at MTV and a good idea could be turned into a show in a week. That opened my mind to a world of creativity and also great professionalism as everything we made went on international television. So I’ve taken that with me for sure. That and the daily inspiration from interviewing artists from music and film at the top of their game made it feel like anything was possible. It was the best feeling in the world.

Cox: You’ve worked on a diverse range of projects, from TV series like “The Last Ship” to independent films such as “Cement Suitcase” and theatrical productions. How do you choose the roles and projects that resonate with you?

Sapsford: I think you’ve just said it there! When they resonate, when I feel there’s something I can bring to a role or story, then I go for it. I mean, I’m not precious, by the way; we’ve all got rent to pay, so a nice offer can go a long way, too, sometimes, and if there’s a director to bounce ideas with, then amazing.

Cox: You’ve demonstrated remarkable versatility across different mediums. Is there a particular genre or type of role you’re especially passionate about or haven’t explored yet?

Sapsford: Well, there has to be some seriousness for comedy to work, and there has to be some occasional lightness for a drama to work, I reckon, so I don’t really have a genre preference. I highly doubt I’ll ever do a musical, though. I don’t think anyone wants to see that.

Cox: Your short series “Fernando” and the dark comedy short “Bathtub” have garnered significant acclaim. How do you balance the creative and practical aspects of writing, directing, and acting in your projects?

Sapsford: Writing has been a great creative find for me. I’m in awe of full-time writers, and I do enjoy writing when something clicks, and the scene flies out of your fingers. Directing kind of goes on from there because I have the vision in the first place. One I don’t enjoy at this stage is directing myself as an actor. You need more creative voices involved for the thing to sing, even if you disagree at times.

Cox: You’re set to co-direct a project in Paris while also acting. What can you share about this upcoming venture, and how does it align with your artistic goals?

Sapsford: I’m really excited about the prospect of this. A French crew making a French story in France? I can’t wait. I got the bug of shooting on location with a foreign (to me) team and story doing Here Be Dragons in Belgrade. My French is pretty good, and the story came to me in a whirl. I’ve got some willing co-conspirators, so why not? Hopefully, the French planets will align for us to do it this fall.

Cox: You’re involved with charitable organizations such as Young Storytellers and the Art of Elysium. How do these causes influence your work and personal life?

Sapsford: Young Storytellers is something I’ve done for a long time. Under-privileged kids in underprivileged schools meet a writer for an hour a week for 8 weeks to come up with a 5-minute story of their own in their own words! The things they think of are amazing. At the end of the eight weeks, they invite a bunch of actors to come and help them bring all the stories to life on a stage in front of their friends and families in what’s called The Big Show. That’s where I come in. It is an honor to do it every time, even after their cut-throat casting process; they really know what they want. It’s a joy to be a part of.

Cox: In addition to your professional endeavors, you’ve been known to engage in activities like cooking and exploring new cities. How do these personal interests contribute to your creativity and well-being?

Sapsford: Oh baby I love to cook. I’ve been working on my gnocchi lately; what a treat. It’s the mechanical nature of it, working with your hands, getting the feel right, the smell, the taste, the look. I put on a Grace Jones record, and it becomes all senses and minimal thinking, a soothing thing. When I’m feeling the need, I come up with a complex dish that takes hours to make and then hit it. They usually turn out pretty well, too.

Photography Credit: Jonny Marlow