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Independent Lens:
'On This Island'
With Stephanie Slewka
Filmmaker
Monday, Feb. 24, 2003; 1 p.m. ET
For the 1,000 well-heeled people who spend summers in Tiny North Haven, Maine, it is an idyllic escape from modern life. But for the 350 year-round residents, many of them lobstermen whose roots on the island go back centuries, life on North Haven is a proud legacy. And the decision of some to live on the island year-round has often created resentment.
Award-winning theatrical producer John Wulp, 70, came to the island to spend his final days far from the infighting and jealousies of show business. But soon after his arrival, he was recruited by North Haven's school principal Barney Hallowell to work with the island kids on a theater project. But some vehemently disapproved of the project, seeing Wulp as a Pied Piper whose big city background would lead their kids off the island, and whose emphasis on the arts would detract from the three Rs of education. A nasty feud ensued, dividing families and estranging neighbors. There were threats, vandalism and harassment. Eventually the school board voted Principal Hallowell out of a job. The students protested, taking their cause to the state capital, and Hallowell was reinstated but returned to an island still deeply divided by the conflict.
Wulp decided to try to heal the wounds by creating, along with Grammy-nominated songwriter and part-time islander Cindy Bullens, a musical that would give expression to the lives and hearts of North Haven's residents. It is the genesis of that play, "Islands: The Musical," is the focus of "On This Island," which aired nationally as part of PBS's Independent Lens on Feb. 18 and airing in the Washington area on WETA digital over Feb. 21-23. Filmmaker Stephanie Slewka was online to talk about North Haven and her film on >Monday, Feb. 24.
The transcript follows.
Slewka is an award-winning producer whose shows have aired on networks including ESPN and Fox, and international broadcasting networks including the BBC, ARD German Television and TF1 French Television. Slewka has produced television features and news pieces covering topics from national elections to the death penalty. Other subjects have included Americana and travel, and issues pertinent to developing countries. Before her move to television, Slewka worked as a reporter for Hearst Newspapers, The London Sunday Times and People magazine. At 24, she was Washington bureau chief for Life magazine. Having grown up in Europe, she started her career working on-air in Flemish for a pirate radio station in Belgium. A traveler at heart, Slewka once crossed Africa solo from top to bottom over land and has been to more than 50 countries. She lives in Washington, D.C. "On This Island" is her first independent documentary.
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Lyme, Conn.:
If you had never been to Maine before this film, what brought you to desire to do a film in Maine?
Stephanie Slewka: Viewers in places as diverse as the Islands of Lake Erie and a canal in Paris have said the film resonated with them because of the story it tells. It was the story that drew Had it been as far away as Timbuktu, I'd have been drawn to make it. Of course, if North Haven were closer to Washington, DC, it would have made it all the easier.
Maine now has a place in my heart and I hope to get up there before winter is over. That's when I first went and I think I prefer it in all its bleakness.
Harrisburg, Pa.:
It was a great compromise to allay the fears of residents of exposing children to the arts by directing the children to explore their own heritage within their arts. Was most local opposition quieted after the presentation, or are there some die hards left who still dislike the idea of instilling arts within the education of their young?
Stephanie Slewka: Maybe with a few people. What really changed the atmosphere on the island, it seems to me, were the town meetings held to discuss whether to take the show to New York right after 9/11. Everyone who had something to say was allowed to say what was on their heart or on their mind--it was an epic meeting, lasting hours. The fact that everyone was listened to seemed to bring about a change in feeling towards the Islands show and the arts program.
New York, N.Y.:
I enjoyed "On This Island" tremendously. Having been a student of his at New York University, I believe you captured John Wulp exactly as he is. Did Independent Lens broadcast your documentary in its entirety? Is there a printed transcript available? Is the documentary available on DVD? Had you worked with John Wulp before the documentary? Do have any plans to work with him in the future?
Stephanie Slewka: The film was trimmed a bit to make room for Angela Bassett's introduction.
I had never heard of John Wulp before this film although I was a fan of Edward Gorey, with whom he shared his first big success. Wulp always has plans up his sleeve and I hope we can work together again.
As for transcript, if you are very nice to the filmmaker she might just have one tucked away in her computer.
Richmond, Va.:
In your view, was it the subject matter of the play that made the greatest impact on the students or was it theatre?
Stephanie Slewka: The first play Wulp staged with the children was The Importance of Being Earnest. He picked that because there was an island girl called Cecily, and there is a character in the play called Cecily. He wanted to draw them in any way he could.
What came out of Islands: The Musical, if I may speak for the kids (I hesitate to do so) is an awareness of how their tiny island could provide so much inspiration to so many.
Tinseltown:
A few years ago, I pitched an idea to a movie agent about a movie set in Maine. I was half way through the first sentence before the agent cut me off by saying "No one in Hollywood will ever set a movie in Maine, unless you're Stephen King." Not being Stephen King, I was out of luck. What would your advice be to Hollywood about doing more filming in Maine? What would Maine residents think about being filmed?
Stephanie Slewka: It sounds familiar. If you knew for how long how many people had told me this film was not commercial and would never make air, I'd invite you to help me pluck out my grey hairs, but I save that activity for airplane rides.
"But it's a magical story," I told one TV executive. "Magic doesn't sell," he answered and changed the subject.
I wouldn't presume to tell Hollywood what to do but all I can advise you is: Never say die!
Agana Heights, Guam:
Did you find that there is a island psychology? Something about the fact that an island has limits and the persons on it take concrete roles among known, finite characters?
And would you say, based on your experiences, that islands need some outside interaction and influx, or they risk tyranical social structures and spiritual stagnation? I am thinking of "Lord of the Flies" which depicted one island situation.
Thank you.
Stephanie Slewka: Guam? You know far more about island psychology than I, but from what I learned on North Haven, I would say there is an island psychology, just like there is island ESP. Maybe you can explain it to me, but I never figured out how it happened that I would show up for a group meeting or musical rehearsal on North Haven to find no one there. "Oh, it's been cancelled," people would tell me when I called around. Somehow everyone knew but me.
Islands have limits, and as painter Eric Hopkins says in the film, you know where your boundaries are, both physical and metaphysical. Some people are held back by them, and others are pushed to leap over them. I think it provides a great sense of belonging and security, which can be either stultifying or inspiring.
Charleston, S.C.:
Recently in the news there have been articles about deep cuts in arts education, as many states are being forced to trim their budgets. What do you think the effect might be on schools such as the one you portray in "On This Island"?
Stephanie Slewka: The school in the film had no funding for arts when it started arts education, so it raised the money for its program. North Haven is dedicated to keep teaching arts and music and will find a way. Other schools could take inspiration from their dedication.
Washington, D.C.:
How did Cindy Bullens become involved with the play? She's a resident of the island, no?
Stephanie Slewka: Cindy Bullens lives on North Haven part of the year. She had written some music for a school production of a Shakespeare play. John Wulp told her she would be writing a little bit of music for some island vignettes.
As it became clear there would be precious little spoken word in this piece, Wulp informed her she was writing a musical. She had never written a musical before and had no idea to what she had agreed.
But, as she e-mailed me the other day, she did what John Wulp told her to do. That's his genius, is making people do things they weren't sure they had in them.
Arlington, Va.:
How did Sigourney Weaver get involved in the project (your film)?
Stephanie Slewka: Years ago, Wulp and Weaver worked together, and as she said, he made her "e-nun-ci-ate ve-ry clear-ly."
Wulp spoke to her agent who made me jump through hoops and reduced me to tears when I called him from a cellphone as I was driving from St. Louis to California right after 9/11, there being no planes. "You are WASTING my time," he yelled at me when I told him I had no idea how much I could pay her for the voice-over. What to pay the woman who earns millions per film? Anyway, he agreed to show her the film. Luckily, she liked it and thankfully agreed to voice it over.
Silver Spring, Md.:
How was the island affected by Sept. 11?
Stephanie Slewka: Again, at the risk of speaking for them, I would say they were deeply affected. The media often says that it is most the East Coast that was touched by the events of that day, but I'm not so sure. They may be isolated geographically, but sometimes that means connections to the world outside are all the stronger.
Washington, D.C.:
You mentioned the town/island's dedication now to arts education. Is everyone on board now, as a result of the play, or are there still skeptics?
Stephanie Slewka: It's a small, tight community that will have strong feelings about all sorts of things. It's not a monolith and I cannot imagine everyone is on board, although I now that the school and its academic curriculum are accredited, there is less criticism of its academics, and thus more acceptance of what some might consider non-essential activities such as art.
Washington, D.C.:
Are you in touch with John Wulp and/or the principal or any of the kids? How is everyone doing now?
Stephanie Slewka: "Hellooooooooooooo," says a deep, distinctive voice over the telephone very early in the morning about once a week. And as if I had no idea who was calling me with a basso profundo before eight, "this is John Wulp." We've been talking about reactions to the film and some of his future projects.
I stay in touch with some of the islanders and occasionally talk with principal Barney Hallowell. They keep me abreast of what the kids are doing. Chellie Pingree, who ran for US Senate against Susan Collins is moving to DC to head Common Cause, so I'll have my own little bit of North Haven right here.
Atlanta, Ga.:
Are there any updates on the kids in the film? Have any of them considered the arts as a career as a result of being part of the musical?
Stephanie Slewka: One of the kids who was in the very first plays went to drama school in London and is in New York knocking on doors looking for work as an actor. He said he never would have thought of such a career had it not been for"Mister Wulp."
The Funniest Man in The World is in college in Maine and is lobstering in the summer. Some of the other kids are thinking about studying drama, as well.
Washington, D.C.:
Why does every film or newspaper article about small town USA begin with a description of the class struggle between rich people (summer residents in this case) and the working class, such as on the PBS website describing your film? Is it considered safe ground to chronicle resentment toward rich people or to editorialize to that effect?
Stephanie Slewka: Unless you can make a good argument that class is a non-issue in this country.
Richmond, Va.:
I have been going to North Haven in the summer for years. How would you describe the prevalent attitude of islanders toward "summer people?"
Stephanie Slewka: The "Summer People" song in the film tells it straight, "can't live with 'em, can't live without 'em, but we love 'em." Summer People are part of island life.
Alexandria, Va.:
New Englanders -- and particularly Mainers -- are notoriously divided between "natives" and "outsiders." Did you encounter any resentment for your "outsider" status when making the film?
Stephanie Slewka: Sometimes it's easier for a real stranger, someone with what PJ O'Rourke calls a "generic continental" accent to show up than it is for a known stranger, if that makes sense. As a person intruding on other people's lives, it's often hard to say how they feel about you. Being as straightforward and blunt as the Mainers might have made my job easier.
Menerbes, France:
I have seen "On This Island" and think it is a remarkable and moving piece of work, with a message that has resonance for people outside of the U.S. Is there any chance that the film will be transmitted in Europe or elsewhere any time in the near future?
Sara Walden
Stephanie Slewka: It was aired in Germany in German as part of the "one year after 9/11" programming with a resounding Teutonic title: The World is not an Island, where it was well-received.
The French said the film was too American, and the Brits, well, they have a tape sitting on their desks gathering dust at the BBC and Channel 4 and we can only hope they pick it up.
Paris, France:
As a first-time director, what was the hardest thing about making this film? I saw the film and was relaly impressed at the ensemble cast. And do you have any advice for aspiring documentarians?
Stephanie Slewka: Everything was "the hardest thing." But you shoulder the responsibilities one at a time, otherwise you'd crumble under the weight. First, I had to overcome the panic at spending my own money, then I had to get used to having people pin their hopes to my project, then I had to hear everyone tell me no, the film would not air.
Last, I had to contradict my editor and my cameraman about the final cut of the film. One of the hardest days was when my cameraman looked at the rough cut and was silent, and pale. I almost gave up that day because he didn't like the film I was making, but I had to kick on.
Persevere is all I can say to anyone. As my editor says, you can buy help, you can hire an editor, a writer, a shooter but there is no agency that rents out tenacity.
North Haven, Maine:
When are you coming back for a visit? You missed the Thoroughfare freezing for the first time in 24 years.
Stephanie Slewka: Yeah, I heard that to get there from Vinalhaven you have to take the boat to the mainland, then another boat to North Haven. Let me know when it freezes hard enough to walk across to Brown's and I'll come on up. It's scallop season, too, isn't it? I haven't touched a scallop outside North Haven since eating them there, there is no comparison.
New York, N.Y.:
How long did it take to make this film? How long were you on the island?
Stephanie Slewka: The musical took a year and a half to put together because Cindy Bullens was touring, and had released a CD, and John Wulp had quintuple bypass. It was a tense moment when I went to principal Hallowell after having filmed for a year and said (forgive me John Wulp, don't anyone tell him I know he has no computer) "If John Wulp dies, will you all finish this musical?"
Filming took as long as it took to make the show.
Falls Church, Va.:
Dear Ms. Slewka,
I just wanted to congratulate you on your film going national. You should celebrate sometime with a bubbly martini and lobster sandwich.
Stephanie Slewka: Ugh, lobster sandwich? I learned how to cook lobsters on North Haven; boil 'em in saltwater (from the sea, channel, thorofare or bay.) I'm afraid no other lobster will do, but thank you for the martini, I'll drink to that!
Washington, D.C.:
What's your next project as a filmmaker? Are you all booked up?
Stephanie Slewka: My dance card has some room on it; I'm involved in a few long-term co-productions. Short term I'm casting about for something immediate, perhaps related to what is happening in Iraq. Going back to my days working in warzones, perhaps.
Baltimore, Md.:
What's been the reaction of the islanders to your film?
Stephanie Slewka: Talk about being held accountable: when the film was first shown on island during community days I was a nervous wreck because I rarely make something where I know the ramifications and family ties of each editorial decision. But then I realised that the islanders were going to take it in their stride as they do most things.
North Haven, Maine:
Eric Hopkins, Barney Hallowell and Morris Cheston walked out on the ice in Southern Harbor. Eric took a little dip, but other than getting really cold, he's OK. But now for a real question, how do people respond to "us natives"? Do they understand that those against John Wulp and the art programs, were really a minority?
Stephanie Slewka: What? Eric Hopkins is supposed to be working on MY painting, don't let him die before he finishes.
Yes, I think they understand that the opposition was a minority but the film resonates with small communities in many places, however strong their feelings are about outsiders and newcomers.
Stephanie Slewka: For awhile during filming, the crew and I would cast about the horizon and say: "it's slatty out there!" I want to thank folks on North Haven for allowing me to be there during good times and slatty times, and to all of you who took the time to write.
washingtonpost.com:
That wraps up today's show. Thanks to everyone who joined the
discussion.
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