To read about the rest of the Culture Shifters, including actor Da’Vine Joy Randolph and activist Emily Barker, return to the full list here.
Sydney Freeland was in New Zealand directing an episode of Sarah Streicher’s Amazon Prime Video series “The Wilds” in February 2020 when it became clear the spread of the coronavirus was becoming a pandemic. As soon as production wrapped, she hopped on a plane back to Los Angeles and went about her work schedule, more or less as normal.
But, while she was directing an episode of “Grey’s Anatomy” Season 16, the state announced its shelter-in-place orders. “We’re on set in the middle of shooting a scene and the showrunner walked into the shot and said, ‘Shut it down,’” Freeland told me over Zoom in January. “So in the span of 15 minutes, I went from, ‘I gotta film this scene and complete it before lunch,’ to I’m in the car and calling my partner saying, ‘We have to buy beans and rice and pasta right now.’”
This year of quarantine, however, has been oddly eventful for Freeland. She was hired to write a feature about basketball on an American Indian reservation, and she wrote a pilot script with Shaz Bennett for Ava DuVernay’s “Sovereign,” a TV drama chronicling the lives of an Indigenous family struggling to control the future of their tribe. Last year, the team pitched and sold the pilot to NBC via Zoom, making “Sovereign” the first Native American family drama to be developed for network television. Although the series is still in its early stages, Freeland, 40, is aware how rare the opportunity is to bring this story to prime-time television.
A transgender Navajo woman raised on a reservation in Gallup, New Mexico, Freeland grew up about as far away from Hollywood as you can get, and never saw her own experience reflected on screen. Her Navajo father and Scottish mother split when she was just 4 years old, and it wasn’t until Freeland left for college at Arizona State University that she even contemplated her status as a minority.
“I remember that first day in my freshman year and walking on a campus and just seeing a sea of white faces, some Black faces, brown faces, and just realizing, ‘Wow, I grew up in such a different environment, my own little world,’” she told HuffPost. “There are people who are born and raised there and never leave the reservation. That’s all they know.”
Looking back, Freeland recognizes what a culture shock being on a campus was for her. She became fully aware of not only her racial identity but also her gender identity.
“I’ve always said I knew I was female when my parents were still together, but the whole trans experience was not as mainstream as it is now,” she said. “I just knew I was different; I didn’t know what it was.”
Freeland moved to San Francisco after college and began her transition. She came out, attended support groups and learned how to truly express her authentic self ― a part of her that had been in hiding during her years on the reservation. Eight weeks after transitioning, she started graduate school at the Academy of Art University.
“I went from never having presented as female to the world to going like 100%, full time,” she explained. “I remember thinking, like, ‘OK, wait. I’m Native American and I’m transgender, but I want to be a film director? That’s insane. That isn’t going to happen.’ But I wanted to see what I could do anyway.”
Freeland soaked up as much as she could in school and then threw herself into the industry, working as a production assistant and intern on sets. She didn’t care if she was getting people coffee or sitting by a generator for 16 hours, as long as she was involved in some part of the filmmaking process. The “shit jobs” gave her a solid foundation.
“When I’m on set, I’m not Native American, I’m not trans, I’m just a filmmaker,” Freeland said. “Once you get past that sort of societal boundary and you get into that environment, then it’s like anything goes. Anybody, regardless of your background, can do this.”
In May 2009, the script for her debut feature, “Drunktown’s Finest,” earned her a fellowship at the Sundance Institute Native Filmmakers Lab. The drama infused Freeland’s life experience into her characters as it focused on the trials and tribulations of an adopted Native girl, a young father-to-be and a trans woman growing up in the alcohol-ridden border town of Gallup. Sundance Institute’s president and founder, Robert Redford executive-produced the film, and it was released to critical praise at the festival in 2014.
“Even to this day, I don’t drink,” Freeland said. “It was so pervasive in my community that I saw it as being a phase of life that everyone went through. You’re a kid and then you’re a teenager and then you become a drunk. And if you made it past that, you got to be an adult. So I remember being so afraid to get older.”
Her 2016 web series “Her Story” earned an Emmy nomination, which led to the opportunity to direct Netflix’s “Deidra and Laney Rob a Train” in 2017, about two teenage girls trying to make ends meet after their mom goes to jail. That film caught the eye of “Grey’s Anatomy” producer and director Debbie Allen, who raised the idea of Freeland helming an episode of the long-running medical drama.
It was her first foray into television, but now Freeland’s a fixture: “Tales of the City,” “Fear the Walking Dead,” “Emergence,” “Nancy Drew” and “P-Valley.”
Currently, Freeland is continuing development on “Sovereign” with DuVernay and executive producer Bird Runningwater. She’s also working with a former Sundance adviser, Oscar-winning New Zealand Māori filmmaker Taika Waititi, and director/producer Sterlin Harjo on the half-hour coming-of-age comedy series “Reservation Dogs.” The eight-episode show, about a group of rebellious teenagers growing up on a reservation in eastern Oklahoma, features an all-Native American writers room and lead cast. It will debut on FX on Hulu in the U.S. and internationally on Star through Disney+ in 2021.
Freeland said she appreciates being a part of that team. “Just seeing a bunch of brown faces looking back at me in the writers room, knowing we’re making a TV show and we’re in charge of creating and crafting the narrative. ... We’re just jumping right into stuff and we’re starting to lay that bar and push those boundaries of what we know to be Native experiences, which are ultimately human experiences.”