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Erica Tremblay, a filmmaker deeply rooted in the Seneca-Cayuga Nation, has channeled her heritage and personal experiences into the captivating film, Fancy Dance. From early storytelling inspired by her community to a successful career in video production, Tremblay’s journey has been driven by a desire to share meaningful narratives on screen. Her acceptance into the Sundance Native Lab marked a pivotal moment, leading to her acclaimed short film, Little Chief, starring the immensely talented Lily Gladstone. This early success paved the way for Tremblay’s foray into television, with writing and directing credits on FX’s Reservation Dogs and executive story editor roles on AMC’s Dark Winds.
However, Tremblay’s heart was set on a larger canvas: her feature directorial debut, Fancy Dance. Co-written with Miciana Alise, Fancy Dance is a project nurtured through the prestigious Sundance Labs, garnering accolades such as the Walter Bernstein Screenwriting Fellowship and the Lynn Shelton Of a Certain Age Grant. Following its premiere at the 2023 Sundance Film Festival, Fancy Dance resonated with audiences at SXSW, Sun Valley, Outfest LA, and BFI London Film Festival, building anticipation for its wider release.
The film stars Lily Gladstone as Jax, a woman grappling with the disappearance of her sister while raising her niece, Roki (Isabel Deroy-Olson). As the official investigation stalls, and social services intervene to remove Roki from Jax’s care, aunt and niece embark on a journey to the state powwow. This escape becomes a poignant quest to uphold family traditions amidst profound loss and uncertainty. The film is further enriched by a talented supporting cast including Ryan Begay, Crystle Lightning, Audrey Wasilewski, and Shea Whigham. Audiences in select theaters can experience Fancy Dance starting June 21st, with a global streaming release on Apple TV+ scheduled for June 28th.
In a revealing interview, Erica Tremblay, the driving force behind Fancy Dance as co-writer, director, and producer, delves into the inspirations and intricate process of bringing this compelling film to life.
The Genesis of Fancy Dance: Inspired by Language and Kinship
Colin McCormack of SAGindie engaged Erica Tremblay in a conversation to uncover the initial sparks that ignited Fancy Dance. Tremblay shared a deeply personal connection to the film’s origins, tracing it back to her immersion in the Cayuga language, her ancestral tongue. During this period of linguistic rediscovery, she was struck by the nuances of kinship terms. The Cayuga words for “mother” (kno:ha) and “mother’s sister” or aunt (kno:ha:ah), which translates to “little mother,” resonated deeply with her. This linguistic insight illuminated the strength and significance of matrilineal kinship within Haudenosaunee culture.
Driven by this newfound understanding, Tremblay felt compelled to craft a contemporary narrative centered on the bond between an aunt and niece. An image took shape in her mind: two women dancing together. This visual became the emotional core around which the story began to unfold. The process then became, as Tremblay described, “a fun game of how to get them there.” To flesh out this initial concept, she brought in Miciana Alise, a Tlingit writer whose talent she greatly admired. Together, they embarked on a collaborative journey to write Fancy Dance.
Sundance Native Lab: A Crucible for Collaboration and Growth
The Sundance Native Lab played a crucial role not only in the development of Fancy Dance but also in the partnership between Tremblay and Alise. McCormack inquired about their connection through this prestigious program. Tremblay confirmed that both she and Miciana were fellows at the Sundance Indigenous Program in the same year. Tremblay had previously completed a short film through the program, while Alise was developing a romantic comedy script. Tremblay was immediately drawn to Alise’s writing and her comedic sensibilities.
As Tremblay envisioned the dynamic between Jax and Roki in Fancy Dance, she recognized a need for a similar “rom-com sensibility.” She elaborated, explaining that the aunt-niece relationship would involve “two people falling in and out of favor” as their story progressed. Alise’s inherent humor became a vital element in balancing the heavier themes of the film. Tremblay emphasized the importance of their partnership, especially given the emotional weight of the subject matter. Having Miciana as a co-writer allowed them to “take the weight off of each other on certain days and support each other” throughout the writing process.
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Tremblay further elaborated on the profound impact of the Sundance Labs on her career trajectory, extending beyond just Fancy Dance. McCormack asked about other relationships and lessons gleaned from these labs. Tremblay affirmed that the Sundance Labs had been “so formative” not only for her filmmaking but for her overall development as “a creator and storyteller.” Her journey with Sundance began with the Indigenous Labs, and she subsequently participated in the Screenwriters and Directors Labs. These experiences provided invaluable mentorship and community.
One of Tremblay’s earliest mentors at Sundance was Sterlin Harjo, who later became the showrunner for Reservation Dogs. This mentorship evolved into a professional collaboration, highlighting the lasting connections forged at Sundance. Tremblay emphasized that the community built within these labs extends far beyond the program duration. She described the invaluable support network she gained, enabling her to reach out to mentors for feedback on script drafts or creative roadblocks during editing. The “generosity of the mentors” at Sundance was something Tremblay expressed immense gratitude for. She underscored the significance of this support, particularly for someone who, growing up without internet access in the 90s and without formal film school training, hadn’t initially perceived directing as a viable career path for women. Sundance, she affirmed, provided the formal support system that proved “a key to my career and my success as a storyteller.”
Lily Gladstone and Isabel Deroy-Olson: Casting Jax and Roki
The casting of Fancy Dance was a meticulous process, particularly for the central roles of Jax and Roki. McCormack inquired about the casting journey, specifically noting that the role of Jax was written with Lily Gladstone in mind. Tremblay confirmed this, recounting her prior collaboration with Gladstone on the short film Little Chief. Their first encounter on that project sparked an “incredible connection.” Tremblay lauded Gladstone’s exceptional talent, expressing a desire to collaborate again. The success of Little Chief provided validation, signaling audience interest in stories and characters like those in Fancy Dance, and in Gladstone’s compelling screen presence.
With this in mind, Tremblay reached out to Gladstone early in the Fancy Dance development process. Gladstone was not only on board from the beginning but actively involved in shaping the character of Jax throughout script development and production. This early commitment of Gladstone as the lead allowed Tremblay to build the film around her strengths.
Finding the right young actor to portray Roki, Jax’s niece, presented a different set of challenges. McCormack asked about the process of casting Roki and discovering Isabel Deroy-Olson. Tremblay explained that they anticipated a wide-reaching search for Roki from the outset. She drew inspiration from a podcast discussing the casting of child actors in The Florida Project, adopting a similar proactive approach. Even in the early stages of securing funding and before the script was finalized, Tremblay and her team allocated initial grant money to hire a casting director and begin the search for Roki. This preemptive step was taken in the hope of gaining a head start in finding the perfect young actor should the film move forward.
The casting process involved viewing auditions from numerous talented young Indigenous actors. While many impressed, Tremblay hadn’t yet found the specific qualities she envisioned for Roki. Serendipitously, while casting an episode of Dark Winds, Tremblay encountered Isabel Deroy-Olson’s audition tape for a different role—a pregnant teenager. Although Deroy-Olson was too young for that particular part, Tremblay immediately recognized her as a potential Roki. She contacted casting director Stacey Rice, and after a call and audition, Tremblay knew she had found her Roki in Isabel Deroy-Olson.
The chemistry between Gladstone and Deroy-Olson was evident from their first meeting during pre-production. Tremblay described a two-week prep period involving language immersion and dance lessons for the lead actors. During this time, Gladstone and Deroy-Olson formed an immediate bond and friendship, which translated seamlessly onto the screen. Tremblay fondly recalled that during the Fancy Dance production, Gladstone was also in the process of solidifying her role in Under the Bridge. When Under the Bridge producers sought an actress to portray a younger version of Gladstone’s character, Gladstone enthusiastically recommended Deroy-Olson. Consequently, Deroy-Olson was cast in Under the Bridge while filming Fancy Dance, solidifying the special connection forged between the two actors. Tremblay reflected that even if Fancy Dance achieved nothing else, bringing these two talented individuals together and fostering their friendship was a significant accomplishment.
Directorial Approach and Collaboration on Set
McCormack shifted the conversation to Tremblay’s directorial approach, particularly when working with actors of varying experience levels, from newcomer Isabel Deroy-Olson to seasoned professionals like Lily Gladstone and Shea Whigham. He asked if her process differed depending on the actor’s background. Tremblay acknowledged that Fancy Dance marked her feature film debut and a significant learning experience as a director. While she had directed episodes of Reservation Dogs and her short film Little Chief, this was a “very big exploration” – a personal story on a larger scale.
Her guiding principle on set was to “trust your collaborators and don’t feel like you have everything on your shoulders.” She recognized Gladstone’s immense capabilities and their established “shorthand” working relationship. Regarding Deroy-Olson, Tremblay observed her natural talent, opting for a less interventionist approach: “Just let Isabel do her version of Roki.”
Tremblay highlighted Gladstone’s exceptional ability to be inclusive and supportive of everyone she works with. She referenced Gladstone’s recent Oscars run, noting how she used the platform to uplift Indigenous designers, actors, and directors, bringing the entire community along with her. Tremblay emphasized that she didn’t differentiate her directorial approach based on experience, viewing the entire cast as collaborators on a shared journey. She fondly recalled the month-long shoot in the Oklahoma heatwave, joking that the actors might have “finally forgiven me or forgotten how hot it was” by now.
Language Immersion and Cultural Authenticity
The interview then turned to the film’s commitment to cultural authenticity, specifically the incorporation of the Cayuga language. McCormack inquired about the role of the language advisor and the timeline of their involvement. Tremblay reiterated the deep connection between the Cayuga language and the film’s inception. Fancy Dance was “dreamt up and written” during her language immersion program, making language learning a central inspiration throughout the writing process with Miciana Alise.
Keysa Parker, the film’s language consultant, was a fellow member of Tremblay’s language immersion cohort. Early drafts of the script were shared with Parker and other members of the cohort, including Tremblay’s language instructor, creating a “major collective effort” in incorporating the language authentically. Another cohort member, a faithkeeper, served as a consultant on ceremonial aspects, ensuring accuracy and cultural sensitivity in what was depicted on screen.
Prior to filming, the cast participated in a two-week language immersion program, learning basic Cayuga phrases. Keysa Parker was present on set throughout production to assist with Cayuga dialogue. Tremblay, as a language learner herself, also contributed to this process. Language became “a cornerstone of the making of the film,” extending beyond dialogue. Set calls like “Cut,” “Action,” and “Sound Speed” were translated into Cayuga and used by the crew, who quickly memorized them. Tremblay emphasized that language was integral to Jax and Roki’s communication in the film and expressed hope that Fancy Dance could contribute to Cayuga language revitalization efforts.
A Proactive Path: Creating Opportunities and Community
In the final segment of the interview, McCormack delved into Tremblay’s proactive approach to her career. He observed that she doesn’t wait for opportunities but actively creates them, citing her initiative in reaching out to Lily Gladstone and Miciana Alise. He asked if this proactive nature was something she developed over time or an inherent trait. Tremblay responded that she has always had a strong “want” and perhaps even a “need” to tell stories. She recalled childhood memories of witnessing the captivating power of storytelling within her community, observing audiences “leaning in” and wanting to evoke that same engagement.
From a young age, she was involved in creative endeavors, writing plays, choreographing routines, and reenacting scenes from Dirty Dancing. Her mother’s gift of a VHS recorder further fueled her early filmmaking explorations. However, growing up pre-internet, she viewed filmmaking as a hobby, unaware that directing or writing could be a viable career.
Upon realizing that filmmaking was indeed an option, Tremblay dedicated herself to finding pathways to storytelling. This included self-funding documentaries with friends, working in advertising to be close to cameras and storytelling environments, and consistently seeking opportunities to create. For Tremblay, filmmaking is inherently about “community and collaborators.” Her proactive approach stems from this collaborative spirit, naturally leading her to initiate contact with individuals like Lily Gladstone and Miciana Alise. She likened it to her childhood role as the “bossy girl on the block,” gathering friends for backyard trampoline routines, now translated into rallying collaborators to create films. This proactive spirit extends to seeking financing and distribution, recognizing that in the film industry, waiting for discovery is rarely a successful strategy. Tremblay acknowledges the “hustling” and the “terrifying but also very rewarding” nature of putting oneself and one’s work out there.
We extend our gratitude to Erica Tremblay for sharing insights into Fancy Dance. To delve deeper into the film, visit Apple TV+.
(This interview has been edited for length and clarity.)
(For independent filmmakers or those with independent film-related topics for consideration, please contact [email protected].)
