For Once, Cherokee Actor Wes Studi Cast as Romantic Co-star

Actor Wes Studi poses for a portrait in New York on June 14, 2022, to promote his film "A Love Song." (AP)
Actor Wes Studi poses for a portrait in New York on June 14, 2022, to promote his film "A Love Song." (AP)
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For Once, Cherokee Actor Wes Studi Cast as Romantic Co-star

Actor Wes Studi poses for a portrait in New York on June 14, 2022, to promote his film "A Love Song." (AP)
Actor Wes Studi poses for a portrait in New York on June 14, 2022, to promote his film "A Love Song." (AP)

In Wes Studi’s potent and pioneering acting career, he has played vengeful warriors, dying prisoners and impassioned resistance leaders. For three decades, he has arrestingly crafted wide-ranging portraits of the Native American experience. But one thing he had never done in a movie is give someone a kiss.

“I thought it was about time, yeah,” Studi, 74, says chuckling.

In “A Love Song,” a tender indie drama starring another long-pigeonholed character actor, Dale Dickey, Studi is for the first time cast as a romantic co-star. Dickey plays a woman camping by a mountain lake awaiting the visit of an old flame.

Studi, the Cherokee actor who masterfully played the defiant Huron warrior Magua in Michael Mann’s “The Last of the Mohicans” and who got his first big break playing the character credited only as “the toughest Pawnee” in “Dances With Wolves,” hasn’t been limited entirely to what he calls “leather and feathers” roles. But it’s sometimes taken some extra effort. When he heard Mann was making “Heat,” Studi called up the director and got himself a part as a police detective.

But recently, Studi is increasingly getting a chance to play a wider array of characters. Along with Max Walker-Silverman’s “A Love Song,” which opens in theaters Friday, he’s a recurring, funny guest star on Sterlin Harjo’s “Reservation Dogs,” the second season of which debuts Aug. 3 on Hulu.

“Hopefully it has to do with creating a better understanding of Native people by the general public,” Studi said in an interview earlier this summer. “It does still exist, the misconception that we were all killed off and we don’t exist anymore as peoples.”

“That’s essentially what I want to work on, and being a godfather to Native people in the industry,” he adds.

With that Studi, sitting outside the lobby of his East Village hotel in New York, lets out such a howl of laughter that he nearly doubles over.

Why does that notion, one many would eagerly endorse, strike him as so hysterical? He entered Hollywood at a time when Indigenous people were regularly played by white actors. (“Sam Waterson is the one that kills me,” Studi says, smiling.) A 2019 honorary Oscar made Studi the first Native American actor ever given an Academy Award.

“I can’t take myself seriously when I say that, that’s why,” he answers, wiping tears from his eyes. “I guess it could be.”

In person, Studi bears little resemblance to his fiercer screen roles. He’s more like his characters in “A Love Song” and “Reservation Dogs.” Amiable. Quick to laugh. Self-deprecating. A good storyteller. He exudes a bemused gratitude for the life he’s found as an actor despite spending half his life without Hollywood ambitions. Studi grew up outside of Tahlequah, Oklahoma, and spoke only Cherokee until he was 5. His father was a ranch hand.

“I had never thought of acting, really, except once early in my life when I asked my dad when I saw Jay Silverheels on ‘The Lone Ranger’: ‘Do you think anybody else can do what he does?’” Studi recalls. “He said, ’Probably not. Most of the actors you find are 6-foot tall, blond and blue-eyed.”

At 17, Studi joined the National Guard and volunteered to fight in Vietnam. He served one tour in South Vietnam, and saw heavy action. When he returned home, Studi became an activist and joined the American Indian Movement, taking part in the 1973 occupation of Wooded Knee. It wasn’t until after he got divorced in his late 30s that Studi gave acting a shot -- “on a lark,” he says -- with a Tulsa community theater company his friend was involved with. Studi thought: What do I have to lose?

“The worst thing is that you could embarrass yourself. That’s about it,” he says. “They’re not going to shoot you for it.”

Studi performed wherever the theater company could mount a stage or in gaslight dinner theaters. In one play, he co-starred with Will Sampson and David Carradine. After a few years, Studi headed out to Los Angeles. He was in his early 40s.

“I still get the feeling of: Will I ever work again? That’s always been a part of it,” said Studi. “On the other hand, things have worked out that I have continued to work. I don’t take that lightly. I’m especially grateful that I’ve been able to buy a home and stay in a good car for an extended period of time.”

Studi remembers the Screen Actors Guild book of actors being a hefty tome while the then-newly founded American Indian Registry for the Performing Arts, listing Native actors, was a thin sliver. The parts available to him were also limited.

“The only real opening for a guy who looked like me was in Westerns,” says Studi. “That’s the only real door that was open to us in that point in time. It was simply a matter of being able to deliver lines and look like you mean it.”

After a few roles, Studi landed “Dances With Wolves.” Two years later, Mann cast him as Magua in “The Last of the Mohicans,” the cunning Huron warrior who fervently believes in fighting, ruthlessly, for survival. With time, Studi’s steely, determined performance has only grown more searing.

“Any Native that’s cognizant of history and the back and forth we’ve had with the colonizers, if you will, can have empathy with how he felt about things,” said Studi. “When you’re backed into a corner, you gotta fight. It’s one way or the other. All those things had an emotional consistency to them that I could identify with having been through the turmoil of the ’70s.”

When first-time director Walker-Silverman reached out to Studi, he had little reason to expect the actor of “Geronimo: An American Legend” (1993), “The New World” (2005), “Avatar” (2009) and “Hostiles” (2017), would say yes to a production as small as “A Love Song.”

“We’ve both played a lot of pretty rough people,” she said in January during Sundance. “But he’s such a kind, sweet, gentle soul. It was our first screen kiss. We both laughed a lot about that.”

Studi has goals beyond what he ruefully refers to as his first “rom-com.” One thing he’d like to do is play a main character with a full trajectory, something he feels he’s only done in the Kevin Willmott 2009 film “The Only Good Indian.”

“I’d like to play a lead that takes me from really good to really bad or vice versa, something that has a long arc to it,” says Studi. “I want to continue to do this until I can’t.”

Press Studi and he’ll grant that he sometimes gets letters from young Native American actors who say he inspired them to try. When Studi has been asked to talk to Native children, his message is simple: “If I can do it, you can, too.” And he’s followed along — “a supporter to the max,” he says — as an explosion of young Native talent has emerged in series like “Reservation Dogs” and “Rutherford Falls,” which was co-created by Navajo showrunner Sierra Teller Ornelas.

Studi, who lives in Santa Fe, New Mexico, with his wife, Maura Dhu, has also seen one of his three children, son Kholan, pursue acting. Studi visibly brightens remembering when he and Maura mounted a one-man show with the kids helping out. Studi’s son Daniel operated the lighting. His daughter, Leah, was backstage feeding him lines.

“There were times she would get exasperated with me when I dropped something: ‘Dad, that’s not it!’” Studi says laughing. “Oh, it was such fun.”



Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
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Remembering Quincy Jones: 10 Career-Spanning Songs to Celebrate His Legacy

Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)
Michael Jackson, left, holds eight awards as he poses with Quincy Jones at the Grammy Awards in Los Angeles, Feb. 28, 1984. (AP)

Few artists have legacies so mammoth their very name could be considered synonymous with the music industry, but then again, most musicians are not the prodigious producer Quincy Jones.

The larger-than-life figure died Sunday night at his Los Angeles home, surrounded by his family. He was 91 and scheduled to receive an honorary Academy Award later this month.

Across his career, the 28-time Grammy Award winning Jones worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with hundreds in-between. The best way to celebrate his legacy, of course, is to listen to the music he made.

1963: Ella Fitzgerald and Count Basie's orchestra, “Honeysuckle Rose”

Those looking to kickstart their Jones listening journey at the very beginning of his career could do so with “Liza,” from his first album, “Jazz Abroad,” a joint release with Roy Haynes. For everyone else, look to his arrangements on 1963's “Ella and Basie!,” an album by Fitzgerald with Count Basie's orchestra. Moving from just vocals and bass before building into its own grandness — not to mention, a delightful scat solo from Fitzgerald — “Honeysuckle Rose” from the album is an exemplar of Jones' jazz brilliance.

1963: Lesley Gore, “It’s My Party”

Teenage heartbreak met its match on Lesley Gore's “It's My Party,” recorded when its pop singer was still in her own adolescence. Jones produced the record, with its addictive melodies, percussion and cheerful horn section — emotionally and diametrically opposed to its narrative tale of a girl getting dumped by her boyfriend for her best friend on her birthday. You'd cry, too, if it happened to you.

1964: Frank Sinatra, “Fly Me to the Moon”

Jones' legacy is defined by an idiosyncratic ability to master various American musical forms with an apparent ease. That is the case of this canonized cover by Frank Sinatra, “Fly Me to the Moon,” from Sinatra's 1964 album, “It Might as Well Be Swing,” arranged by Jones. The producer set the song to a punchy, swinging rhythm and wistful flute, and the rest is history. You can also thank Jones for “The Best Is Yet to Come.”

1967: Ray Charles, “In the Heat of the Night”

Jones scored the 1967 film “In the Heat of the Night,” which includes its R&B-gospel title track, “In the Heat of the Night,” performed by his good friend Ray Charles. It is soul committed to wax, amplified by the inclusion of a lusty tenor sax solo.

1979: Michael Jackson, “Don’t Stop 'Til You Get Enough”

Perhaps Jones' best-known production partnership is the one he had with Michael Jackson, working with the King of Pop on his culture-shifting albums, 1979's “Off the Wall," 1982's “Thriller” and 1987's “Bad.” The pair met while working on the 1978 movie “The Wiz" — Jones worked on its soundtrack, and Jackson was its star. “Don't Stop ‘Til You Get Enough," with its inventive disco-funk, ambitious production and Jackson's signature falsetto set the stage for the massive career to come.

1981: Quincy Jones, “Just Once”

Put it in the pantheon of great piano ballads: On Jones' 1981 album “The Dude,” James Ingram takes over lead vocal duties for “Just Once,” the big-hearted and bigger-feelings track.

1982: Michael Jackson, “Billie Jean”

What songs are more immediately recognizable? An elongated drum and bass lick introduce “Billie Jean,” one of the great genre-averse pop songs of all time, from Jackson's record-breaking “Thriller" album. Here, Jones' production is post-disco, but still funky, still prescient. And time tells the greatest tale: “Thriller” sold more than 20 million copies in 1983 alone and has contended with the Eagles’ “Greatest Hits 1971-1975” among others as the best-selling album of all time.

1982: Donna Summer, “Love Is in Control (Finger on the Trigger)”

And now for something completely different: In 1982, Jones worked with Donna Summer on her self-titled album, a dance-forward record that includes the synth-y pop single “Love Is in Control (Finger on the Trigger)," which earned a Grammy nomination for best R&B vocal performance, female.

1985: USA for Africa, “We Are the World”

Nearly four decades ago, some of the biggest stars on the planet — Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen among them — came together for an all-night recording session. The result was “We Are the World,” a pop superhit overseen by Jones, the 1985 charity record for famine relief in Africa.

Lionel Richie, who co-wrote “We Are the World” and was among the featured singers, would call Jones “the master orchestrator.”

1989: Quincy Jones with Ray Charles and Chaka Khan, “I'll Be Good to You”

Back in 1976, Jones produced the Brothers Johnson's R&B hit, “I'll Be Good to You,” and then re-recorded the track with Ray Charles and Chaka Khan — an ebullient number with contemporary production, completely transforming the classic.