The distance between Inchelium, Wash., and Park
City, Utah, is a lot farther than the mere miles that separate them.
No one knows that better than Michelle Hall.
For Hall, who grew up on the Colville Indian Reservation,
closing that distance has involved attitude. It has involved perception.
In the end, it has involved spirit.
As her mentor, film producer Millie Ketcheshawno,
told her, "Keep your spirit because you're going to get knocked down, and
you need to stay true to what you believe. And always remember what it is you
want to achieve."
These
days, Hall lives and works in San Francisco, where she runs her own public
relations business. Last month she was in Park City, site of the prestigious
Sundance Film Festival. Bumping elbows with the best of the country's
alternative filmmakers, she was helping publicize the documentary
"Alcatraz Is Not an Island," a 70-minute film about the 1969-71
Indian occupation of the former federal penitentiary.
But Hall does know what it's like to get
knocked down.
Born 31 years ago in Hemet, Calif., Hall was
just three weeks old when her parents moved back to the Inland Northwest.
The next several years were, in Hall's words, a
"turbulent" time. Most of that turbulence involved her parents who,
she says, "loved each other, but they were just two Indian people who
couldn't be together."
When they split up, Hall and her younger sister
were left primarily in her grandmother's care.
"My life was my grandmother," Hall
says. "She was it for me. Through her I learned unconditional love."
Nevertheless, Hall remembers her adolescence
seeming like an ongoing trek between schools in Inchelium, Wash., and Coulee
Dam.
By her senior year, she was attending Coulee
Dam's Lake Roosevelt High School. Living in her own apartment, working and
playing three sports, she studied just enough to get by. When she graduated in
1987, she didn't even consider college.
"Growing up on the reservation," Hall
says, "I didn't really think that college was an option for me."
Instead, she moved to Spokane, where she spent
two years working as a paralegal with the late Carl Maxey's law firm. Married
at 19 and divorced 18 months later, she decided to leave the Northwest.
"Seattle wasn't far enough," she
says, "and Oregon was too much like Washington. So I decided to move to
the Bay Area."
She knew no one there. But with her experience
as a paralegal, she got a job right away. She still harbored deep feelings of
self-doubt, but gradually she began to glean a sense of her abilities.
"Never in a million years did I think I
could leave home or that I would amount to anything," Hall says. "I
had these dreams, but I just didn't think that I would ever do anything that
would matter. But that whole experience gave me confidence."
As a paralegal, she worked on a number of major
cases -- the estate of the late concert promoter Bill Graham, for example, and
the winery ownership of filmmaker Francis Ford Coppola. But she eventually
soured on the law.
So in 1995, she took a job in corporate
communications at a Bay Area biotechnology company specializing in gene
research. She met regularly with members of the San Francisco media, and
ultimately she began working for the advertising agency that handled the
corporation's account.
Soon she was learning about ecology and
pharmaceutical products, about neurology and medicines designed to treat such
afflictions as multiple sclerosis, Parkinson's disease and epilepsy.
She learned so much, and gained so much
confidence in the process, that she ended up going free-lance.
"Essentially, I worked out of my
house," she says. "Whatever the job entailed, I brought on other
free-lancers -- designers, writers, artists -- and we got the job done."
Just eight years after leaving Spokane, Hall
had succeeded beyond her wildest dreams. The time was ripe for her to grow in a
different direction.
She had, after all, taken college courses:
paralegal courses at Spokane Falls Community College, then general courses at
San Mateo Junior College. She eventually attended the University of
California-Berkeley in 1994-95. She left without getting a degree but not
before realizing something about herself.
"I got tired of people trying to get me to
join their causes," she says. "I didn't know what my causes were or
even if I had any causes."
A cause is exactly what she found when, tired
of working with medical research companies, she started looking for a new
challenge. While working with the American Indian Film Institute, she attended
the group's 1999 film festival.
"The experience with the festival that
year was so enlightening and so empowering," she says. "My heart was
feeling so connected, which it hadn't been all those years that I had been in
the Bay Area. Emotionally, I began feeling all these repressed emotions."
Being around other Indian people was what did
it.
"They would say, act and do mannerisms
that people back home did," Hall says. "These people were
geographically nowhere near my people, and yet they were talking about fry
bread and macaroni soup and saying `enit."'
One person that she met was film producer
Ketcheshawno. It was through her that Hall got involved with "Alcatraz Is
Not an Island."
And it is for the sake of Ketcheshawno, who
died in December, that she remains working on the film for free. She'll
continue to do so as it makes the rounds of film festivals in search of a
distributor.
"I had to get the word out," Hall
says. "Millie worked too hard to get the film to that point, and getting
to Sundance was the icing on the cake for her. I just couldn't let it
sit."
Nor does she intend to sit on her own career.
In a few weeks, Hall plans on attending the Grammy Awards with another of her
clients, Joanne Shenandoah, a nominee for Best Native American Music Album.
She's working with Arizona musician Keith Secola, and she's looking for other
native people and issues to promote.
Hall still pauses now and then to marvel at her
life and the spirit that propels it.
"People
tend to migrate toward me now," she says, "and I have to believe that
it's because I'm true to my heart."