Jennifer Podemski began her career on the other side of the camera. While she has most recently been balancing acting with producing, writing and directing with her independent production company Redcloud Studios, those early experiences inform every aspect of her work.
Launching her professional careeer at age 14, her breakout role came in Bruce McDonald’s Dance Me Outside in 1994. One role led to another, from Degrassi: The Next Generation (2003-2010) and Sarah Polley’s Take This Waltz (2011) to Departure and Reservation Dogs (both 2021). Her producer credits have grown to include Mocassin Flats (2003-2005), Rabbit Fall (2007-2008), Empire of Dirt (2013), The Other Side (2014-2018), Future History (2003-2010) and Unsettled (2020).
Podemski’s forward momentum will continue in 2022 with Little Bird, Crave’s original limited drama co-commissioned with APTN’s lumi, which she co-created with Hannah Moscovitch about an Indigenous woman trying to find her lost family after the events of the Sixties Scoop.
Playback: There are a lot of labels surrounding you, so how would you introduce yourself to a banker?
Jennifer Podemski: In the old reality of life, I would say I’m in the television business…. Now I just say, I’m a storyteller. That’s essentially what I am and what I do; I tell stories and all of the things that come with that. I would hope the banker doesn’t say ‘what kind of stories do you tell.’
What is the first story that you remember, and why was it important?
When I was little, we used to listen to tapes. And one of them was [actor] Danny Kaye telling [Grimm’s] Fairy Tales. I listened every night and those stories inspired movies that played over and over in my mind, of my own creation and interpretation. The other one that really stood out is [Marlo Thomas’s album] Free to Be… You and Me. I listened to that like a million times, and it was also sort of my entry into real performing. When I saw the video, it was the first time I saw people more similar to me, all kinds of different-looking people and I was very attached to that for many, many years. I did learn about being a better human through stories.
Let’s do a bit of a lightning round: We’ll name a couple of projects, you tell us what each taught you about the business. Moccasin Flats?
Looking back I wish I could have asked what I wanted to. I came off looking as if I knew, but I honestly did not know. The first season of that show taught me so much about the importance of asking for help when you feel like you’re spiraling. I am better at it today, not perfect at it, but I’m better at it. It also, in a good way, set the foundation and the bar for what it means to tell stories to an Indigenous audience. I always use that as my guide.
Empire of Dirt?
It almost broke me, but it also showed me that with the right team and the right common vision, you literally can overcome anything. You can work
with people who believe in your ability to achieve the vision you set up to achieve. That’s a magical experience.
Was there a specific project that brought you to create the Shine Network?
It really had a lot to do with the pandemic. When I shut down the production that I was doing and came home, like so many of us, I had a dark night of the soul thing of everything that happened until now. I realized that I am not as far as I thought I would be at this part of my life, because there are systemic barriers that have prevented me from, for example, going to the bank. It was an accumulation of 25 years of experience that I felt I was abused or undermined or not
treated well, even my own sets. I didn’t want to ever repeat that; and I also didn’t want that to be repeated for others. That’s not to say that the Shine Network is going to put an end to that – but I endeavour to create more advocacy and support mechanisms for Indigenous women specifically, but all Indigenous people ultimately, to expand and thrive in the industry.
You’ve received many awards and accolades, is there one that means more to you, or are you still reaching for that?
I love being acknowledged. Absolutely. I’m not gonna lie. I actually feel that I’m a bit of a s*** disturber. And the way that I like to do things – pushing the boundaries and really wanting to dismantle systems that exist – makes me someone who is often surprised when I’m acknowledged.
