IW Exclusive: Building the Future Lens – Why Buffalo Nickel Creative Brought on Cinematographer Justin Ivan Hong for "Dead Bird Hearts"

Cinematographer Justin Ivan Hong and Director Ryan Redcorn Discuss a Setup on the set of DEAD BIRD HEARTS

The filmmaking landscape for Indigenous artists is expanding rapidly, moving beyond historical trauma narratives to explore genres ranging from comedy to sci-fi. One film capturing global attention at festivals like imagineNATIVE 2022 is Dead Bird Hearts, directed by Osage filmmaker Ryan Redcorn.

What makes this production particularly noteworthy isn't just its unique premise (a man, his dog, and the search for hope after the world ends), but the strategic collaboration at its core. Writer / Director Ryan Redcorn and Producer Joseph Brown Thunder chose to bring on internationally acclaimed Cinematographer Justin Ivan Hong (from Singapore and of Chinese descent) to lead the camera department.

We sat down with Ryan, Joseph, and Justin to discuss this decision, the philosophy behind the collaboration, and how Indigenous cinema is evolving.

A Forward Looking Vision And Strategy

Behind the Scenes on Dead Bird Hearts

Indigenous Worldwide (IW): Ryan, your work, both with the 1491s and as a filmmaker, often centers on humor and reclaiming narrative. Dead Bird Hearts is a distinct, moody entry into the post-apocalypse genre. What inspired this shift?

Ryan Redcorn (RR): Indigenous life isn't a single genre. We laugh a lot, and we also face complex, heavy futures—we’re experts in surviving the apocalypse, frankly. This film was about taking that core strength and translating it into a visually arresting, cinematic space. It’s a quiet story about two people and a dog trying to hang onto something good when everything else is gone. We wanted the cinematography to do a lot of the heavy lifting for the emotion.

IW: Joseph, as the producer, this must have presented unique challenges, particularly in aligning the visual language with the Indigenous themes. When you were assembling the team, how did the conversation about the Director of Photography (DP) begin?

Joseph Brown Thunder (JBT): We knew the visual ambition was high. Ryan and I run Buffalo Nickel Creative, and we are committed to elevating Indigenous voices. But sometimes, elevating the voice means intentionally seeking out specific technical excellence to raise our entire operation. We didn't just need a DP; we needed someone at the pinnacle of their craft who also had the heart of teaching and imparting knowledge. We needed someone who operates at an international level so that our own people could be exposed to the best practices and knowledge that is out in the world.

IW: That leads directly to the decision to bring in Justin Ivan Hong. Justin is known internationally for his work, but is not Indigenous to North America. This is a non-traditional choice for a production emphasizing self-determination and Indigenous talent. Why was Justin the right fit?

JBT: It was a strategic, capacity-building decision. We are at a point where Indigenous filmmakers have the stories and the directorial talent, but we need to strengthen our technical pipeline, especially in specialized roles like cinematography and lighting design. Hiring Justin was an investment in the future of our crew. Our entire camera department—from the gaffer to the grips—were Indigenous apprentices working directly under Justin.

RR: I agree with Joseph completely. The narrative is Indigenous, the direction is Indigenous, the creative control is Indigenous. But we believe in a system of apprenticeship and knowledge transfer. This is very much in line with the Native way of passing knowledge down from generation to generation. New ideas and practices are not confined to a peoples or geographic location. We didn't just want a great-looking film; we wanted our young, aspiring filmmakers to be changed by the experience of working with a DP of Justin's caliber. It’s about inviting the world’s best to our table so we can learn new methods and subsequently adapt them in our own way. Strengthening Indigenous filmmaking is not about exclusion; it's about intentional inclusion that serves an educational purpose.

An International Perspective: Justin Ivan Hong

Cinematographer Justin Ivan Hong

IW: Justin, stepping into a project led by Indigenous creative control, particularly one with themes tied to survival and resilience, how did you approach the visual design and ensure you were supporting the narrative without imposing an external gaze?

Justin Ivan Hong (JIH): My first step, always, is to listen. This story, although set in a dystopian future, has deep roots in a perspective I am not from. My job was not to put my spin on the story, but rather to interpret and translate Ryan’s vision. While the story is set within an Indigenous context, I believe in a wider and universal human experience: Love, Acceptance, Security, Identity. It is through this thematic lens that I began searching for the visual subtext of our character's existence, framed within the Indigenous context.

We spent weeks discussing light, color palettes, and movement that reflected these complimenting subtexts and contexts. My experience in international cinema meant I could bring the logistical toolkit—the efficiency, the lighting control, the pacing—to support the specific, quiet intensity Ryan needed.

IW: Ryan and Joseph have both framed your involvement as a deliberate strategy to raise the technical ceiling for their crew. Did you feel that responsibility on set?

JIH: Absolutely. It was clear that the intent was to maximize the learning experience. I didn’t just direct my crew; I was actively mentoring and invited every crew member to free and open with their questions on the how and why behind the way things are done. My primary mission, beyond shooting the film, was ensuring that every Indigenous technician on the camera team walked away feeling confident they could operate at this international level on their next project. Cinematography is a craft, and crafts are passed down. For me, it was a profound honor to be trusted to share that knowledge and contribute to capacity building within this new wave of Indigenous cinema.

IW: Tell us a little bit about your own experience working with the Native crew and perhaps some of your own takeaways

JIH: I'd say that I might have actually learnt more through this entire experience than I have taught. Firstly, as someone outside of the US and North America, I barely knew anything about Native/Indigenous people in the US. I had some rough idea that there were a group of people known as "Indians", but it was never quite clear who they were or what exactly their association with the US is. I'd venture to say that the wider world also doesn't have much knowledge and awareness of the history and significance of Indigenous people here in the US.

There is an entire segment of storytelling, and storytellers, in the Indigenous world that get largely ignored by traditional and legacy media. Instead of waiting for an opening or opportunity, I think it's so great that Joe and Ryan are proactively taking their own steps forward, claiming their space within the industry, and empowering the future generation with the knowledge, skills, and opportunities to carve their own way forward. I'm very honored to be a part of that vision.

Looking Ahead

Writer and Director Ryan Redcorn

IW: Joseph, now that the film is completed and successfully premiering, do you view this model of strategic collaboration with non-Indigenous masters as something you will continue?

JBT: Yes. The goal of Indigenous filmmaking is to own our stories and production companies, but also to be globally competitive. We learned so much from Justin about workflow, efficiency, and how to command the visual language. That knowledge now stays in our community and with our crew. We will continue to collaborate with world-class talent when the intention is to teach and transfer skill, making our next film even stronger.

IW: Ryan, what is the biggest lesson you took from seeing Justin’s craft applied to your Osage story?

RR: That our stories deserve the best visual representation in the world. Justin showed us that with the right skill and approach, we can compete with any global independent film and that our own Indigenous stories have a place in the world and in the universal human experience. Dead Bird Hearts is a powerful example of how Indigenous filmmakers are not only creating powerful narratives but also intentionally building the internal infrastructure—the talent and technical mastery—to compete and thrive on the global cinematic stage.

This was a successful endeavor empowering our people with the highest level of craft knowledge and I would certainly continue to bring Justin on as a collaborator in our future projects. We're only just getting started.

Jay Kaulay and Jennifer Rader in Dead Bird Hearts