Naturally Native

Filmmakers
*"if you don't like how you're depicted on screen, you need to create your own projects and let your voice be heard."* - Valerie Red-Horse Heeding her own advice, Valerie Red-Horse considered how she would portray Native Americans on screen. As an actress, she was mostly offered "Indian Maiden" roles, which had little to do with the reality of her daily life or the lives of the Native Americans she'd met. She began to write a screenplay that would reflect the reality of the modern Native American family living off of a reservation. Naturally Native features three sisters as main characters. The sisters represent Red-Horse at various stages of her life. "The youngest sister typifies how I was in high school," said Red-Horse. "I was more interested in boys, clothes and the shallower aspects of life than with my Indian heritage. The middle sister represents my college years, when I was trying to forge an identity through academic achievement. The oldest sister, whom I play in the film is who I am now, knowledgeable, but secure in who I am and where I come from." Once she had written the screenplay, she shared it with Jennifer Wynne Farmer, who she met through their local church and with whom she was enrolled in a UCLA class on film making "I think there was an irony in the class we attended, 'How to make a Low-Budget Feature for $700,000,'" Red-Horse noted. "We were eager to learn and unafraid of asking questions," added Farmer. "I don't think our fellow students took us seriously when we told them we were going to make a film." Red-Horse hired Farmer to CO-direct the film with her, and having two directors turned out to be instrumental later when Red-Horse realized she was pregnant with her third child as they entered production. The screenplay benefited from their personality differences and similarities. Often, Red-Horse would offer a traditionally Native voice while Farmer would represent the non-Indian voice. Red-Horse comments, "I feel we fit together like pieces of a puzzle, because the script needed both interpretations. Yet, if ever there was any time we disagreed on a point or viewed something differently, it never conflicted with our overall vision of the film." With the strong screenplay completed, the next hurdle was financing. Red-Horse felt that mainstream studios wouldn't have the vision to foresee the commercial possibilities of her project. She began seeking other avenues of financing. She partnered with fellow Native American producers Dawn Jackson and Yvonne Russo, and the threesome led the fundraising effort. They approached the Tribal Chairman of the Mashantucket Pequot Tribe, which operates the most successful casino in the world. The Mashantucket Pequots were immediately struck by Red-Horse's portrayal of Native Life in her script. Her screenplay stressed the similarities instead of the differences between the cultures. Red-Horse had asked for an investment unit of $100,000 and planned to piece together the $700,000 by approaching six more tribes. Surprisingly and joyously, the Pequot Nation came back with approval to fund the entire movie. Naturally Native became the first film entirely financed by an Indian Tribe. With financing set, casting and filling production posts needed to be completed before filming could commence in October of 1997. Red-Horse first turned to filling the Director of Photography position, and wanted to contact the cameraman who received an emmy for his work on the CBS Afterschool Special which Red-Horse wrote, "My Indian Summer." But before she even found his phone number, having heard about the project, he called her. "Bruce Finn is a genius behind the camera, and he came ready to work and create a beautiful movie, even on the tight budget we had." Wherever possible, Red-Horse filled the other behind the camera positions with Native American crew members such as Art Director Kee Miller and Costume Designer Irene Fredericks. The casting of Naturally Native went smoothly. Since the Native American acting community is small, Red-Horse personally knew her Native co-stars and had worked with them on other projects. The Native American actors responded enthusiastically to her script and were excited at the opportunity to play roles that were more relevant to the modern Native American experience. "This is the first film I've appeared in that I didn't have to wear buckskin," exclaimed Irene Bedard. The cast was rounded out with non-Native actors who also loved the script and grasped the concept which coincided with their own personal commitment to Native issues. "I was amazed that the non-Native actors, including Mary Kay Place, Max Gail, and Carol Potter were so supportive and dedicated to the project," said Red-Horse. "For instance, Mary Kay Place was filming another project and arranged her schedule to jet in for one day to shoot her scenes." "We also had a wonderful crew around us," added Farmer. "Everyone in each department was dedicated to the project and the level of professionalism they displayed made the production progress smoothly." Red-Horse summed up, "There was not a day that we arrived at home from the set and said 'what an awful day we had.' We always thought, 'how exhilarating!'" Naturally Native's modest budget required a tight shooting schedule. Eight pages were shot each day and the budget wouldn't allow for any delays. The film's locations included Red-Horse's personal residence, a garden center and a reservation. While the cast and crew were busy filming, CO-producer Yvonne Russo tackled the challenging job of pulling together the musical soundtrack. Skip Hayward, the Pequot Tribal Chairman at the time, had already managed to get a commitment from Donna Summer to donate an original song she had written for him, a lilting, yet-unreleased ballad entitled "DREAMCATCHER." Russo proceeded to obtain songs from Gloria Estefan ("Get On Your Feet"), Rita Coolidge ("Amazing Grace"), Pam Tillis ("Melancholy Child") and an original selection from Native American songstress Joanne Shenandoah ("In Love"). A strong selection of various artists and styles rounds out the soundtrack which will be available soon after the national release of the film. The filming was completed on November 7, 1998 and the post production schedule was tight since they were entering the holidays. To make things even more hectic, they received work that they had been selected to premiere at the Sundance Film Festival in one of the special TBA slots in mid January. "We literally took the film print off the machines at Deluxe Labs in Hollywood on January 14, 1999... my husband (Curt Mohl) carried the twin heavy film canisters on the plane and we screened on January 16th!" Entering her sixth month of pregnancy, Red-Horse was glad the 12 to 17 hour days of production and editing were finally over. (Note: A healthy baby girl, Chelsea Victoria "Morning Dove" was born on April 14, 1999). With a film that touches upon important issues for Native Americans including casino gambling, the controversy of Native images used as sports mascots and the portrayal of Indians in the media, Red-Horse expects the film to incite discussion. "Of course our main purpose is to entertain and create a good story," she says, "but if we can also educate and enlighten simultaneously, then we've achieved my ultimate goal as a filmmaker."
Co-Director - Jennifer Wynne Farmer After nearly a decade of success as a Script Supervisor in film and network television, along with years of study at UCLA working toward her Certificate in Directing from UCLA Extension, Jennifer recently began her career as a film and television director. In addition to working with the Director's Film Lab at the Sundance Institute, she's had the opportunity to work with and learn from many well-known and accomplished leaders in the entertainment industry - writers, directors, producers, actors, and editors. Jennifer's debut film "Pumpkin Man" is a charming and meaningful coming-of-age story. Through the mystery and magic of Halloween, a young man discovers that his world is not going to come to an end simply because his parents are going through a divorce. "Pumpkin Man," starring Denise Crosby, Phil Abbott, Milton Creagh, and Valerie Red-Horse, has won numerous awards and certificates of honor including the prestigious Dove Award for excellence in family programming and the Film Advisory Board Award for excellence in family programming. Her most recent feature length film "Naturally Native" had its World Premiere at the 1998 Sundance Film Festival and is being screened on a worldwide Film Festival Circuit. This film has won awards worldwide including the Dreamspeakers Festival in Alberta Canada, Worldfest Flagstaff International Film Festival, the Top Applause Award at the 1999 Santa Clarita International Film Festival, as well as the 23rd Annual American Indian Film Festival in San Franciso where Jennifer was nominated for Best Director. "Naturally Native" follows the lives of three present day Native American sisters each with her own identity issues and her own very different career journeys, as they come together to start a Native cosmetic business, and find themselves facing their pasts, each other and the business world on the path to success. Jennifer made her theatrical directorial debut in theater with the play reading of "Yearnings" for the Playwrites in Exile series. "Yearnings," a tender Asian American love story, later went on to have a successful run at the East West Playhouse in Los Angeles. Jennifer often speaks as a guest lecturer to film schools and student organizations. Her enthusiastically received talks offer a humorous and insightful perspective to all aspects of filmmaking titled "Secrets to Surviving Success in Hollywood." She is represented by Frank Balkin at the Irv Schecter Agency in Los Angeles.
Executive Producer - Dawn Jackson A Saginaw Chippewa from Michigan, Dawn has worked in the entertainment industry for nearly fifteen years while also establishing herself as an accomplished artist, Native American political leader, community liaison and businesswoman. Ms. Jackson currently serves as a creative project administrator for the Walt Disney Company (The Disney Store, Inc.) located in Burbank, California. Under her core leadership this division of Disney experienced business growth from $40 million is sales to $1.1 billion over a period of four years. Prior to her work at Disney, Dawn specialized in the field of animation at Twentieth Century Fox Film Corporation and DIC Enterprised, Inc. As part of the team at Red-Horse Native Productions, Inc., Dawn served as CO-Executive Producer of the recently completed independent feature film, NATURALLY NATIVE and serves on the Board of Directors of the Hollywood Access Program for Natives. Additionally, Ms. Jackson is serving her 5th consecutive year as an elected American Indian County Commissioner for the greater Los Angeles area. As such, she oversees the Block Grant funding from the Federal Government targeted for American Indian community service providers. As part of the National American Indian Policy Network, she traveled to the White House three times including President Clinton's inauguration, to discuss a new vision of the Native American urban population in the hopes of creating national awareness of the changing needs of the Native American population and to develop a policy for urban dwelling Natives. In 1991, Dawn CO-founded FIRST AMERICAN IN THE ARTS, a group dedicated to recognizing the achievements of Native Americans in the entertainment industry and providing scholarships to film students for higher educational opportunities. Dawn continues to serve as Vice Chairman, spokeswoman and principal fundraiser for FAITA and under her leadership they recently held their sixth annual awards banquet in Beverly Hills. Dawn has also been appointed to the National Board of Directors of the Native Communications Council, an organization whose goal is to link American Indian tribal nations via the Global Internet. Dawn has been active in Women in Film and serves on the Advisory Board of Independent Feature Project West. She is an accomplished and award winning graphic artist who inherited the love of art from her late father, Smokey Joe, a well known Chippewa Woodland artist whose carvings are avidly collected. Through the H.A.P.N. Program Dawn avidly works with Native Youth at reservations nationwide encouraging interest in the arts and highlighting the vastly important "behind-the-scenes" positions in film and television. A strong role model for youth of all races, Dawn was nominated for GLAMOUR magazine's "Most Inspiring Women of 1997."
Co-Producer - Yvonne Russo "Instead of knocking on doors, it's about time we write our own stories and establish our own production companies." Sicangu Lakota from the Rosebud Reservation in South Dakota. Moving back to Los Angeles in 1982, Yvonne began petite modeling for Escada, Model Magazine and several swimsuit calendars. She began studying theater Arts at Pasadena City College and furthered her studies at the Howard Fine Acting Studio in Los Angeles. Her Television credits as an actress include, Dr. Quinn Medicine Woman, Stolen Women (CBS Movie of the Week) Sioux City, and Siringo. Ms. Russo currently hosts a cable show titled, "American Indian Cable Network." In addition to acting Yvonne teaches a program workshop for children that consists of Native storytelling, music and dance at various schools around the country and has moderated classes for the SAG Conservatory at the American Film Institute in Hollywood California. She also works with American Indian Tobacco Education Network, educating the youth in the art of acting and healthy lifestyle workshops. Yvonne has worked in production for Time Travel Productions, "The American Scene," a short film made especially for Casting Directors, Producers and Network Executives and has also Co-produced "LIVING VOICES" a radio project for the National Museum of the American Indian. Her enthusiasm has led her to CO-Produce her first Independent Feature Film, "Naturally Native" funded by, written by, directed and starring Native Americans. A slice of life film about Women's dreams and relationships. A film that touches upon important issues for Native Americans, including casino gambling and the portrayal of Indians in the media. Naturally Native was shot in Los Angeles in October and November of 1997 with a total of 19 shooting days. Adding to the marketability of the project with a soundtrack including artists such as Donna Summer, Gloria Estefan, Rita Coolidge, and Pam Tillis. Premiering at the Sundance Film Festival in 1998, Naturally Native is in the midst of a successful world film festival circuit garnering favorable reviews. Yvonne currently heads up their production company, RED-HORSE NATIVE PRODUCTIONS, promoting Naturally Native while also developing a full slate of future female-driven and empowering projects! As an active member of the Screen Actors Guild, Women In Film, and on the steering committee for the Native American Subcommittee at SAG, she is also on the Board of Directors for the Hollywood Access Program for Natives and now Vice-president of Red-Horse Native Productions.

Filmmakers

"if you don't like how you're depicted on screen, you need to create your own projects and let your voice be heard."

- Valerie Red-Horse

Heeding her own advice, Valerie Red-Horse considered how she would portray Native Americans on screen. As an actress, she was mostly offered "Indian Maiden" roles, which had little to do with the reality of her daily life or the lives of the Native Americans she'd met. She began to write a screenplay that would reflect the reality of the modern Native American family living off of a reservation.

Naturally Native features three sisters as main characters. The sisters represent Red-Horse at various stages of her life. "The youngest sister typifies how I was in high school," said Red-Horse. "I was more interested in boys, clothes and the shallower aspects of life than with my Indian heritage. The middle sister represents my college years, when I was trying to forge an identity through academic achievement. The oldest sister, whom I play in the film is who I am now, knowledgeable, but secure in who I am and where I come from."

Once she had written the screenplay, she shared it with Jennifer Wynne Farmer, who she met through their local church and with whom she was enrolled in a UCLA class on film making "I think there was an irony in the class we attended, 'How to make a Low-Budget Feature for $700,000,'" Red-Horse noted. "We were eager to learn and unafraid of asking questions," added Farmer. "I don't think our fellow students took us seriously when we told them we were going to make a film." Red-Horse hired Farmer to CO-direct the film with her, and having two directors turned out to be instrumental later when Red-Horse realized she was pregnant with her third child as they entered production.

The screenplay benefited from their personality differences and similarities. Often, Red-Horse would offer a traditionally Native voice while Farmer would represent the non-Indian voice. Red-Horse comments, "I feel we fit together like pieces of a puzzle, because the script needed both interpretations. Yet, if ever there was any time we disagreed on a point or viewed something differently, it never conflicted with our overall vision of the film." With the strong screenplay completed, the next hurdle was financing. Red-Horse felt that mainstream studios wouldn't have the vision to foresee the commercial possibilities of her project. She began seeking other avenues of financing. She partnered with fellow Native American producers Dawn Jackson and Yvonne Russo, and the threesome led the fundraising effort. They approached the Tribal Chairman of the Mashantucket Pequot Tribe, which operates the most successful casino in the world. The Mashantucket Pequots were immediately struck by Red-Horse's portrayal of Native Life in her script. Her screenplay stressed the similarities instead of the differences between the cultures. Red-Horse had asked for an investment unit of $100,000 and planned to piece together the $700,000 by approaching six more tribes. Surprisingly and joyously, the Pequot Nation came back with approval to fund the entire movie.

Naturally Native became the first film entirely financed by an Indian Tribe. With financing set, casting and filling production posts needed to be completed before filming could commence in October of 1997. Red-Horse first turned to filling the Director of Photography position, and wanted to contact the cameraman who received an emmy for his work on the CBS Afterschool Special which Red-Horse wrote, "My Indian Summer." But before she even found his phone number, having heard about the project, he called her. "Bruce Finn is a genius behind the camera, and he came ready to work and create a beautiful movie, even on the tight budget we had." Wherever possible, Red-Horse filled the other behind the camera positions with Native American crew members such as Art Director Kee Miller and Costume Designer Irene Fredericks. The casting of Naturally Native went smoothly. Since the Native American acting community is small, Red-Horse personally knew her Native co-stars and had worked with them on other projects. The Native American actors responded enthusiastically to her script and were excited at the opportunity to play roles that were more relevant to the modern Native American experience. "This is the first film I've appeared in that I didn't have to wear buckskin," exclaimed Irene Bedard.

The cast was rounded out with non-Native actors who also loved the script and grasped the concept which coincided with their own personal commitment to Native issues. "I was amazed that the non-Native actors, including Mary Kay Place, Max Gail, and Carol Potter were so supportive and dedicated to the project," said Red-Horse. "For instance, Mary Kay Place was filming another project and arranged her schedule to jet in for one day to shoot her scenes." "We also had a wonderful crew around us," added Farmer. "Everyone in each department was dedicated to the project and the level of professionalism they displayed made the production progress smoothly." Red-Horse summed up, "There was not a day that we arrived at home from the set and said 'what an awful day we had.' We always thought, 'how exhilarating!'"

Naturally Native's modest budget required a tight shooting schedule. Eight pages were shot each day and the budget wouldn't allow for any delays. The film's locations included Red-Horse's personal residence, a garden center and a reservation. While the cast and crew were busy filming, CO-producer Yvonne Russo tackled the challenging job of pulling together the musical soundtrack. Skip Hayward, the Pequot Tribal Chairman at the time, had already managed to get a commitment from Donna Summer to donate an original song she had written for him, a lilting, yet-unreleased ballad entitled "DREAMCATCHER." Russo proceeded to obtain songs from Gloria Estefan ("Get On Your Feet"), Rita Coolidge ("Amazing Grace"), Pam Tillis ("Melancholy Child") and an original selection from Native American songstress Joanne Shenandoah ("In Love"). A strong selection of various artists and styles rounds out the soundtrack which will be available soon after the national release of the film. The filming was completed on November 7, 1998 and the post production schedule was tight since they were entering the holidays. To make things even more hectic, they received work that they had been selected to premiere at the Sundance Film Festival in one of the special TBA slots in mid January. "We literally took the film print off the machines at Deluxe Labs in Hollywood on January 14, 1999... my husband (Curt Mohl) carried the twin heavy film canisters on the plane and we screened on January 16th!" Entering her sixth month of pregnancy, Red-Horse was glad the 12 to 17 hour days of production and editing were finally over. (Note: A healthy baby girl, Chelsea Victoria "Morning Dove" was born on April 14, 1999).

With a film that touches upon important issues for Native Americans including casino gambling, the controversy of Native images used as sports mascots and the portrayal of Indians in the media, Red-Horse expects the film to incite discussion. "Of course our main purpose is to entertain and create a good story," she says, "but if we can also educate and enlighten simultaneously, then we've achieved my ultimate goal as a filmmaker."

Co-Director - Jennifer Wynne Farmer

After nearly a decade of success as a Script Supervisor in film and network television, along with years of study at UCLA working toward her Certificate in Directing from UCLA Extension, Jennifer recently began her career as a film and television director. In addition to working with the Director's Film Lab at the Sundance Institute, she's had the opportunity to work with and learn from many well-known and accomplished leaders in the entertainment industry - writers, directors, producers, actors, and editors.

Jennifer's debut film "Pumpkin Man" is a charming and meaningful coming-of-age story. Through the mystery and magic of Halloween, a young man discovers that his world is not going to come to an end simply because his parents are going through a divorce. "Pumpkin Man," starring Denise Crosby, Phil Abbott, Milton Creagh, and Valerie Red-Horse, has won numerous awards and certificates of honor including the prestigious Dove Award for excellence in family programming and the Film Advisory Board Award for excellence in family programming.

Her most recent feature length film "Naturally Native" had its World Premiere at the 1998 Sundance Film Festival and is being screened on a worldwide Film Festival Circuit. This film has won awards worldwide including the Dreamspeakers Festival in Alberta Canada, Worldfest Flagstaff International Film Festival, the Top Applause Award at the 1999 Santa Clarita International Film Festival, as well as the 23rd Annual American Indian Film Festival in San Franciso where Jennifer was nominated for Best Director. "Naturally Native" follows the lives of three present day Native American sisters each with her own identity issues and her own very different career journeys, as they come together to start a Native cosmetic business, and find themselves facing their pasts, each other and the business world on the path to success.

Jennifer made her theatrical directorial debut in theater with the play reading of "Yearnings" for the Playwrites in Exile series. "Yearnings," a tender Asian American love story, later went on to have a successful run at the East West Playhouse in Los Angeles.

Jennifer often speaks as a guest lecturer to film schools and student organizations. Her enthusiastically received talks offer a humorous and insightful perspective to all aspects of filmmaking titled "Secrets to Surviving Success in Hollywood." She is represented by Frank Balkin at the Irv Schecter Agency in Los Angeles.

Executive Producer - Dawn Jackson

A Saginaw Chippewa from Michigan, Dawn has worked in the entertainment industry for nearly fifteen years while also establishing herself as an accomplished artist, Native American political leader, community liaison and businesswoman.

Ms. Jackson currently serves as a creative project administrator for the Walt Disney Company (The Disney Store, Inc.) located in Burbank, California. Under her core leadership this division of Disney experienced business growth from $40 million is sales to $1.1 billion over a period of four years. Prior to her work at Disney, Dawn specialized in the field of animation at Twentieth Century Fox Film Corporation and DIC Enterprised, Inc. As part of the team at Red-Horse Native Productions, Inc., Dawn served as CO-Executive Producer of the recently completed independent feature film, NATURALLY NATIVE and serves on the Board of Directors of the Hollywood Access Program for Natives.

Additionally, Ms. Jackson is serving her 5th consecutive year as an elected American Indian County Commissioner for the greater Los Angeles area. As such, she oversees the Block Grant funding from the Federal Government targeted for American Indian community service providers. As part of the National American Indian Policy Network, she traveled to the White House three times including President Clinton's inauguration, to discuss a new vision of the Native American urban population in the hopes of creating national awareness of the changing needs of the Native American population and to develop a policy for urban dwelling Natives.

In 1991, Dawn CO-founded FIRST AMERICAN IN THE ARTS, a group dedicated to recognizing the achievements of Native Americans in the entertainment industry and providing scholarships to film students for higher educational opportunities. Dawn continues to serve as Vice Chairman, spokeswoman and principal fundraiser for FAITA and under her leadership they recently held their sixth annual awards banquet in Beverly Hills. Dawn has also been appointed to the National Board of Directors of the Native Communications Council, an organization whose goal is to link American Indian tribal nations via the Global Internet.

Dawn has been active in Women in Film and serves on the Advisory Board of Independent Feature Project West. She is an accomplished and award winning graphic artist who inherited the love of art from her late father, Smokey Joe, a well known Chippewa Woodland artist whose carvings are avidly collected.

Through the H.A.P.N. Program Dawn avidly works with Native Youth at reservations nationwide encouraging interest in the arts and highlighting the vastly important "behind-the-scenes" positions in film and television. A strong role model for youth of all races, Dawn was nominated for GLAMOUR magazine's "Most Inspiring Women of 1997."

Co-Producer - Yvonne Russo

"Instead of knocking on doors, it's about time we write our own stories and establish our own production companies."

Sicangu Lakota from the Rosebud Reservation in South Dakota. Moving back to Los Angeles in 1982, Yvonne began petite modeling for Escada, Model Magazine and several swimsuit calendars. She began studying theater Arts at Pasadena City College and furthered her studies at the Howard Fine Acting Studio in Los Angeles. Her Television credits as an actress include, Dr. Quinn Medicine Woman, Stolen Women (CBS Movie of the Week) Sioux City, and Siringo. Ms. Russo currently hosts a cable show titled, "American Indian Cable Network."

In addition to acting Yvonne teaches a program workshop for children that consists of Native storytelling, music and dance at various schools around the country and has moderated classes for the SAG Conservatory at the American Film Institute in Hollywood California. She also works with American Indian Tobacco Education Network, educating the youth in the art of acting and healthy lifestyle workshops.

Yvonne has worked in production for Time Travel Productions, "The American Scene," a short film made especially for Casting Directors, Producers and Network Executives and has also Co-produced "LIVING VOICES" a radio project for the National Museum of the American Indian. Her enthusiasm has led her to CO-Produce her first Independent Feature Film, "Naturally Native" funded by, written by, directed and starring Native Americans. A slice of life film about Women's dreams and relationships. A film that touches upon important issues for Native Americans, including casino gambling and the portrayal of Indians in the media. Naturally Native was shot in Los Angeles in October and November of 1997 with a total of 19 shooting days. Adding to the marketability of the project with a soundtrack including artists such as Donna Summer, Gloria Estefan, Rita Coolidge, and Pam Tillis.

Premiering at the Sundance Film Festival in 1998, Naturally Native is in the midst of a successful world film festival circuit garnering favorable reviews. Yvonne currently heads up their production company, RED-HORSE NATIVE PRODUCTIONS, promoting Naturally Native while also developing a full slate of future female-driven and empowering projects! As an active member of the Screen Actors Guild, Women In Film, and on the steering committee for the Native American Subcommittee at SAG, she is also on the Board of Directors for the Hollywood Access Program for Natives and now Vice-president of Red-Horse Native Productions.