Gary “Litefoot” Davis, a member of the Cherokee Nation, currently serves as the Executive Director of the Native American Financial Services Association (NAFSA). Van Ness Feldman works with NAFSA to advocate respect for tribal sovereignty and self-determination, most recently in an amicus brief filed at the U.S. Supreme Court.
In addition to his day job at NAFSA, Davis recently made his directorial debut with a short film, "Strong Hearts: An Indigenous Love Letter To My Sons". Strong Hearts earned the “Award of Excellence” award from the Impact Docs Awards and the silver “Remi” award from the 55th Annual Worldfest-Houston International Film Festival. Strong Hearts is produced by IndigiStudios (founded by Davis and his wife, Carmen), an Indigenous-owned and operated production company.
We recently sat down with Davis to talk with him about this award-winning short film.
What inspired you to make this film?
Ultimately, my sons inspired the film. But it came by way of a dream I had when I first began my career, years ago in Oklahoma. I was in my mid-twenties and had not yet met my wife, and had no children. There is a scene in the film where I am sitting down in a field at the bottom of a hill and as the camera tilts up, you begin to see my sons walking over the hill in front of me. It is my oldest, Quannah, holding the hands of my two younger sons, Sequoyah and Qwnuseia, who are on each side of him. Today, my oldest, who is now 23, resembles me quite a bit. When I had the dream, I originally believed that I was seeing myself walk over the hill with two children and I could never understand that. I now know that what I saw in my dream was my children walking over the hill down to meet me. When we were at the Rosebud battle site we were about finished filming and I turned around and saw the field with the hill in front of it and I thought, “That’s the hill and field in my dream!” So, we re-created that part of my dream on the spot and it came together perfectly. I believe that moment in the film demonstrates how our children walk in our footsteps and when we look back at our lives as parents, we hope that we gave our children love to carry on their journey. And that we have done all we can to impart the lessons from our life experiences, to help provide them with guidance and wisdom so that they may learn from our mistakes and effectively navigate their road in life and achieve their purpose. So, the film originates from a place of spoken intimacy and love between a father and his sons and the desire to impart knowledge to them that they can carry throughout their lives. The narration in the film begins and ends with “I love you”- as I believe that love is the single most important thing that we can give our children.
The visuals in the film are stunning. Where did you film?
Thank you. We shot the film in just two days in Montana, South Dakota, and Nebraska. All the locations we filmed at were intertwined with significant happenings related to Crazy Horse, the Oglala Lakota Chief. In Montana, we filmed at Crow Agency on the Little Big Horn (Greasy Grass) battle site and at the Battle of the Rosebud near Decker, Montana. We filmed the Badlands footage on the Pine Ridge Indian reservation, home of the Oglala Lakota Sioux Tribe in South Dakota. And we filmed at Fort Robinson located near Crawford, Nebraska, which is where Crazy Horse surrendered, and where he was murdered. At the time we were filming there were very bad fires happening in the northern plains and it created a haze in the sky that held for both days we filmed across all three states. It provided a very celestial atmospheric to the footage that really helped set the tone of the film. I also must give credit to my Director of Photography on the film, and fellow Cherokee, Jeremy Charles. He really helped me capture my vision for the film.
You have a number of prior film credits. What was different about this experience where you were both directing and working with your family?
Up until now, my work in film has been on the acting side. This is the first project that I have written and directed. And my wife, Carmen, and I also produced it. We have been a husband-and-wife team for so many years now, and have owned so many businesses, that we operate very symbiotically. Subsequently, the production of the film came very natural to us. It made it way easier on me to focus on the film because I knew Carmen would execute on all the logistics and keep us on track with the schedule, etc. Having the family in front of the camera started with staying true to the film’s premise and it honored that. The boys have grown up seeing Carmen and I out in front and publicly leading our companies across Indian Country. So, it wasn’t a stretch, or out of the ordinary, for us as a family to be involved in this production. All our endeavors throughout the nation have always been focused on advancing our Indigenous communities, so our work has always been very personal to us, and we go about it with a strong sense of responsibility. The production of this film embodied all those same feelings and sentiments.
In the film you talk about a determination to end generational trauma. Do you see a role for television and film to play in that effort?
Absolutely! We started IndigiStudios to help reclaim the Indigenous narrative in film and television. If we as Indigenous people are not directly involved and leading the development, writing, and directorial aspects of our stories and projects, then the outside world is not truly hearing us because what they are receiving is our stories from second-, third- or fourth-hand parties. Non-Indigenous writers are simply not capable of capturing the nuance and the subtleties of our Indigenous communities. And quite frankly, it is our job as Indigenous creatives to assert ourselves in the industry and claim that space. I believe that is slowly happening but there is much, much more work to be done. The ultimate goal is for us to be directly involved in and in control of the creative process from start to finish. There won’t be a need for Indigenous film consultants once we as Indigenous people are creating the content. And in order for us to help end our trauma, Hollywood needs to stop creating more of it – no matter how well intentioned. There has to be balance and there are many projects that need to be made in order to bridge the divide.
Was there anything you learned in process of making this film that surprised you?
The locations that we filmed at were all so powerful and provided a heavy reminder to every one of us on the crew, of the great sacrifice that our ancestors, who were hunted and murdered, paid for us to have the opportunity to live our lives. And to experience that power with my family, especially my sons, was epic in and of itself.
What is next for IndigiStudios?
I have just finished my first script about the life of Crazy Horse which we are shopping now and that I will direct. Carmen and I will produce it along with Thomas Lee Wright who wrote New Jack City and is an Academy award nominated producer and Frank Oz who directed me in, “Indian In The Cupboard” will executive produce. And additionally, we have two documentaries in post-production and three more films in development.
Interview by Patrick Daugherty