You talked about your rom-com and how you are still working on getting it out there. With working on it through the Lab, what were some opportunities that came out of that, from both working on that script, but then also the cohort that you had, and some of the folks that were involved?

What’s really great about the lab is everyone gets to connect with their mentors, but also connect with other people in the room. Tommy and I had known each other loosely before we were in a cohort together, but he was able to read my work, I was able to read his work and through that process,Tommy has put out the good word for me with the people that he’s working with. That sort of friendship building, but also interconnection, is really important, especially in the industry. I feel like that’s been one of the really cool things that has come out of the cohort. 

I think a lot of the time, there’s an expectation that you’re going to be plucked from obscurity by some network executive or some talent agent, or something like that, but I feel like often it’s people who like you, like your work, and think that you have talent. They put your name forward to somebody who’s looking for somebody to work on a TV show, to be a writer, to be a director, and that’s where a lot of the opportunities have come out of.

My rom-com worked as a very good spec script for me. To try to get more work in the industry as a writer, and also just trying to get more work as someone who’s a writer and director. So I think the opportunities have been twofold. But I really think what’s special are the friendships that we build and the connections you build within your own cohort — and then through just knowing other people who’ve also been in Sundance.

Was there any sort of before and after, with the Native Lab in terms of how you approach your own work as an artist?

I think [the lab] gave me more confidence to see myself as a writer. Because writing is very difficult and I admire people who love it and enjoy it. But it’s hard, and you’re trying to get ideas out… andalso be authentic to the stories that you’re telling. So I definitely think my writing skills have grown exponentially since the lab. And, from all the wonderful mentors I had and also through the process of securing work, being a writer on a TV show has also grown my skill set exponentially. All of them are little building blocks that help you to be better at your job. 

Looking back it feels just like yesterday, but also a million years ago when I was in the lab. I learned so much from the mentors, I learned so much from the other fellows in the lab, and I was able to take what I’ve learned and apply that to the work that I’m doing now for other people.

Is there a dream project you have that you would want to work on either from a directorial view, or writing, or both?

I would really like to have somebody fund my rom-com. I think this has been a lot of Indigenous folks’ experiences; it’s a long game of getting your work made and you have to stick to your beliefs, and really believe strongly in the work that you’re making, and that it’s important. So I think for me there are a couple of dream projects. Specifically, I would really like to make this rom-com. I’m still surprised no one has made a rom-com about Indigenous folks… I feel like there’s still such a gap missing. There’re a lot of historical films being made about Indigenous folks, but where are the fun comedies that are one off films? And where are the stupid Christmas movies that represent our experience and that share the larger modern interpretation of what it means to be Indigenous and what Indigenous Christmas looks like? What Thanksgiving looks like?

Those are the types of films that I want to make and I really want to see. I’m excited because it feels like the tide is turning a little bit. I think, with the success of Fancy Dance and Reservation Dogs, people can see the talent out there and are interested in these stories… So much groundwork has been laid by a lot of people to get us here.