HOMELAND - The Filmmakers

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Interview with Jilann Spitzmiller and Hank Rogerson

filmmakers on site

Q: What inspired you to make this film?

A: In 1994 we were on the Pine Ridge Indian Reservation for our very first professional film project, which was about Native American elders. Two very extraordinary Lakota women, Marie and Cecilia, aged 83 and 84, were our guides. They gave us the history lessons of our lives. They told us about Lakota history firsthand, showed us Wounded Knee, talked about their famous relatives, and filled us in on the real story of Crazy Horse, Red Cloud and Sitting Bull. We realized that there were so many stories that hadn't been told and that our Western education had neglected to give us the full picture of Native Americans, past and present.

On the reservation we encountered solid family values, deep spirituality and sense of peace, a vibrant social fabric, and an unparalleled reverence for the environment. Personally, we knew we could learn a great deal by spending time with Native Americans. Since then, we have, and it has really changed us. We decided to make a film about contemporary Native American life because it was the best way to convey what we were learning. When we started there were many good films that dealt with Native history, but not much about every day life. It was the present day, with all its complexities, that drew us in the most.

Q: How did you choose the four families featured in HOMELAND?

This was really a reciprocal process. We chose the families and the families chose us. In other words, we could never have made the film without the four families wanting to share their lives. We met many families, but these four really stood out. They were all working hard for their children and their future. They felt frustrated by not having a voice in their own tribal government, in the U.S. government, or in the media, and had a lot they wanted to say to the world. Although they are willing to work hard to make things better, the resources are very scarce. They realized they needed to have their voices heard to get some support.

The interesting thing about making a contemporary documentary film about someone's life is that you never know where you'll end up, in three, four, five or more years, with the people you have chosen to film. But you go on faith that you have selected compelling people with dynamic situations. You hope that you'll catch unique and revealing parts of their lives on film, stories that speak to the larger human experience. We took that leap of faith, and thankfully, all four family's stories worked for the film.

Q: How did the families react after viewing the film?

Showing the film to the subjects was the big test. We had a screening for all of them on Pine Ridge. It was really interesting to see how they all reacted. Of course we were really nervous, but they loved it. They laughed a lot, learned from each other's stories and seemed to gather strength from each other.

Michael Little Boy said he really liked the way the four family stories were woven together. Thurman said he'd never seen a documentary film capture life on the reservation like HOMELAND does. He loved the humor in it, and also the serious reality. Marian told us that her husband was really moved by the film and by the portrayal of Marian's dream to get a house built on her land. She said it made their resolve even stronger to make their dream a reality.

Q: As "outsiders" did you find it difficult to gain trust from people on the reservation? Were you comfortable documenting Native American stories?

We were really lucky to have good relationships with the four families from the start. The key reason for their trust in us was that we were introduced by someone they knew very well, Hugh Margesson, who was at that time the executive director of Walking Shield. We had also done our research in a broader sense. Since we had done a previous project on Pine Ridge, we had already educated ourselves on Native history and contemporary issues. In general, people on the reservation were open, generous and very welcoming. They seemed to have sensed we were on their side and would be truthful to their stories.

As far as our own internal struggles about being "outsiders," there were many. When we first set out to do the film, there was so much doubt. We continually talked about our "right" to make the film, examining why we were doing it. I think most of the doubt came from outside pressure from many different types of people asking us, "Who gave you the right to do this film?" We were mostly asked by non-Indians whether or not we were Indian ourselves. Jilann has some Native blood, but a very small percentage, not enough to claim to be a Native American. There is a movement for indigenous communities to tell their own stories because so many people have misrepresented them, exploited them or just not taken the time to listen fully and understand their history and points of view. We were very sensitive to this and didn't want to be just one more link in the terrible chain. But we knew that no one else was telling this story - be it Native filmmakers or "outside" filmmakers - and we knew that it really needed to be told.

How did we resolve this issue? We took the time to read the history from the Native viewpoint, and most importantly, we tried to stay focused when we were filming. We focused on the fact that we were just trying to provide an outlet for these Lakota families who wanted to speak out. We tried not to make it about what we wanted to say. We concentrated on hearing what they had to say. And it was in this way that we collaborated with them in the telling of their own stories. It was also in this way that we learned so much ourselves and were personally transformed throughout the making of the film.

Q: Tell us a bit about the structure and style of the film and its relationship to Lakota ways.

While the film takes place over three years, the structure of the film lies within the seasons of the year. We start in summer, year one, go to fall of that year, then to winter, year two and finally spring, year three. This structure, based on the seasons, was meant to honor the idea of nature and the earth, and that we are all connected to this natural cycle. This is something that is still very prominent and integral to indigenous culture. Also the number four - which is how many families we followed, and the number of seasons we filmed - is a very important part of Lakota spirituality. The number four refers to the four directions, the four seasons, the four elements and the four races.

Q: Some magical moments occur within the film such as the eagle flying over the Little Boy's new home and the birth of the sacred white buffalo calf. Were these types of occurrences common during filming?

These small miracles or magical moments are a part of everyday life - if we are paying attention. Filming a documentary is all about paying attention to the details of life. It's a lot about hanging out and being there when something finally happens, but it's also about being lucky. The magical moments in HOMELAND are mostly centered around nature, and that was one of the greatest things about making the film. It really focused our attention on the brilliance and spirit of life and the natural world.

Q: What do you hope that people will come away with after viewing HOMELAND or visiting the website?

We hope first and foremost that people will just enjoy the family stories and connect with the universal human truths in the film. Secondly, we hope that people will appreciate seeing a contemporary view of Native Americans and realize that they have not been getting the full picture from the media. Increased awareness brings change, and hopefully part of this change would be a greater appreciation and support of Native communities around the world.

HOMELAND does not portray the full spectrum of Native American life, but it opens the door if you want to learn more. We also hope that it opens a door with the media for more Native Americans to tell their own stories. Our culture has largely tried to suppress Native voices. It's time to stop fearing them and time to acknowledge that they have many valuable things to share.

We also hope that people will realize that we can all make a difference. One person chopping wood for an elder makes a difference. One person sending material to a traditional Native quilting group makes a difference. One person contacting lawmakers about their feelings concerning legislation that helps or hurts Native American rights makes a difference. One person learning that the Lakota still thrive with their ceremonies makes a difference. We can all make a difference by just becoming more aware. This awareness affects our actions and the ripple effect can be enormous.

Visit the Resources section of this site to see how you can make a difference.