From Behind the Camera to Producing Change: Kelly Mason’s Cinematic Journey

Join Carole Dean and Kelly Mason and learn how to:

Break Into Cinematography

Transition from Cinematographer to Producing Cinematographer and

Become a Film Consultant & Create Impact Through Filmmaking

Kelly Mason

(Mom |Entrepreneur | Healer | Filmmaker | Cinematographer)

Kelly Mason’s priority is to make a lasting difference in the world for generations to come. A mother, entrepreneur, filmmaker, and intuitive healer, Kelly’s mission spans storytelling, advocacy, and transformational work. As an independent producer, her focus lies in creating stories that champion social justice, environmental protection, and well-being awareness. 

Kelly shattered barriers in 1997 as the first female cinematographer in IATSE (ICG 669). Over her 30-year career, she has collaborated with Tier 1 crews, A-list celebrities, and world-class directors for major companies like Netflix, Warner Bros., Disney, Apple TV, and the Berlanti Group. Her cinematography expertise extends across film, digital, green screens, LED environments, and virtual production alongside cutting-edge VFX teams. Notable projects include The Night Agent (Netflix) and Travelers (Netflix). She has worked with legendary producers such as Greg Berlanti, Shawn Ryan, and Seth Gordon, and Academy Award-winning filmmakers Ismail Merchant and James Ivory. 

Her career as an "A" camera operator has been shaped by mentorship from cinematographic masters like Vilmos Zsigmond ASC and Dante Spinatti ASC, contributing to over 200 productions. Kelly’s cinematic vision has also earned her acclaim in the impact filmmaking space, with 18 laurels for her feature documentary Pave the Road, including Best Documentary Feature at the 2021 Chelsea Film Festival.

In 2024, Kelly earned the Altitude Award recognizing her achievements in the industry through Women in Media. She is an Executive Producer and the Cinematographer for the docu-series The Frequency of Miracles, currently in post-production. She is also collaborating with Academy Award-winning producer Mimi Polk Gitlin (Thelma and Louise, The Breadwinner) to adapt Pave the Road into a narrative feature film.

Through the power of impact filmmaking, Kelly influenced environmental legislation in Costa Rica to mandate the use of plastic waste in road construction, triggering an investigation that led to incarcerating 72 corrupt government officials.  Beyond filmmaking, Kelly established the Trinidad and Tobago Film Commission, and created impactful educational programs for the American and Canadian Societies of Cinematographers. Her curated motion pictures with Getty Images has generated over seven figures in royalties and continues to enrich productions worldwide.

Through her extensive work in film, healing, and environmental advocacy, Kelly Mason exemplifies the power of storytelling to inspire, transform, and create a better future.

Transcript

SPEAKER_00 1:11

Our guest today is Kelly Mason. Her priority is to make a lasting difference in the world for generations to come. A mother, entrepreneur, filmmaker, and intuitive healer, Kelly's mission spans storytelling, advocacy, and transformational work. As an independent producer, her focus lies in creating stories that champions social justice, environmental protection, and well-being awareness. Kelly shattered barriers in 1997 as the first female cinematographer in IATSE known as ICG669. Over her 30-year career, she's collaborated with Tier 1 crews of A-list celebrities and world-class directors for major companies like Netflix, Warner Brothers, Disney, Apple TV, and the Burlante group. Her cinematography expertise extends across film, digital, green screens, LED environments, and virtual production alongside cutting-edge VFX teams. Notable projects include The Night Agent on Netflix and Travelers on Netflix. Her career as an A-camera operator has been shaped by mentorship from cinematography masters like Vilmos Zygmunt, ALC, and Dante Spinotti, ALC, contributing to over 200 productions. In 2024, Kelly earned the Altitude Award, recognizing her achievements in the industry through women in media. She's an executive producer and a cinematographer for the docuseries, The Frequency of Miracles, currently in post-production. Through her extensive work in film, healing, and environmental advocacy, Kelly Mason exemplifies the power of storytelling to inspire, transform, and create a better future. And Carol, I understand that Kelly works with From the Heart Productions.

SPEAKER_02 3:38

Yes, she does. We're honored to sponsor Kelly. Thank you for joining us.

SPEAKER_01 3:42

Oh, so happy to be here. Thanks, Carol and Claire. Yeah, I feel like I'm at home. I've been with From the Heart for many, many years, and um I love turning clients on to your company. And I just uh I'm so thrilled to be speaking with you today.

SPEAKER_02 3:58

Thank you, Kelly, because we want to learn how you did it. Let's get going with breaking into cinematography, because your journey is incredible. It's groundbreaking. So we want to know what inspired you to pick up the camera and break into the industry as a female cinematographer.

SPEAKER_01 4:19

Thanks, Carol. Yes, you know, I think it's one of those things that I was born with, and I've always wanted to capture imagery from a very young age. So, you know, I got my first camera when I was eight years old for Christmas, my first Kodak camera, and um, and then I was gifted a dark room. My father built me a dark room when I was 13, and I started printing fine art photography and just learning how to work with the image in the dark room and in the camera. Anyway, um, you know, gender for me at that time, because that was back in the 80s, was never a thought. Um, it was just a passion that I had. And so I worked hard to save up for the first Sony camera and uh and I started shooting video. And from there, um I got a lucky break into the industry through a family friend. And um, my mother's best friend from Trinidad, West Indies, was married to a very legendary stunt man, Freddie Waugh, who is directing Cannonball Run 3, second unit. So right away I got into the industry at a very high level. It was a $55 million budget film back in the 80s in Canada, the biggest budget ever made at that time. And so my entrance into the film industry was really by accident, just through introduction and um uh the willingness of Fred to create a position for me called camera trainee, which wasn't even a thing back then. It wasn't a thing in the union, it's a thing now. But uh that's basically how I got in. And I just continued as one of the lone women in the industry in that position in the camera department to work my way up the ranks over the years. It takes time and dedication, doesn't it? Totally dedicated. Completely. So, I mean, back then I spent, you know, seven years as a second AC, seven years as a focus puller, and then you know, 20 some odd years as an operator. So it it it and it was a different culture in the industry then with only shooting film. Um, and the way that we did things was very different than now on set, even on the big union jobs. So it was um it was very rewarding and um and a lot of fun.

SPEAKER_02 6:55

Well, you what you've done is share with us how it's who you know in the industry. This is why filmmakers uh should go to events, go to film festivals, meet people, and network because we're all in this uh thing alone together. That's what Lily Tomlin says. We're all in here. Uh we came here, we're not leaving, we're the same group. So knowing people uh as you have for 10 years, you've watched them move up the ranks and and move into positions of authority, right?

SPEAKER_01 7:32

For sure, 100%. It is all about networking. It is very much a relationship-based industry. You know, if if you if the personalities get along and you connect with each other, um, that's the key because the technical aspect of it, the professional aspect of it is a given. You have to be excellent at what you do and you need to know how everything works and how to execute your vision. And so it's really about personality and how we can connect with each other and serve each other, honor each other, and really love each other while in the project. We have to come into this um decision of loving each other because there's going to be a lot of conflict. We so we become a family once we're we're in the field.

SPEAKER_02 8:23

Yes, that's exactly right. And one of my favorite uh producers, Academy Award producers, says that she'll take someone who gets along on the crew over someone that might be have more talent and experience, but doesn't, but is difficult on the set. So this is another important thing that you're saying is that you uh worked close together, everyone with the same vision, right?

SPEAKER_01 8:53

Exactly, yes. Um we're working together for long periods of time, and hopefully that will change. Actually, I know a lot of uh women now in the industry are trying to pull back on the amount of hours that we have created for our industry, you know, it's it's almost too much. So, but yes, you're right, absolutely. It's all about how we get along because so much of the communication is silent as well. We just need to flow and we need to understand what is needed and when. And if there's a conflict or ego or some kind of resistance or block, then that is going to get in the way of our flow. And it's really important that we stay on schedule. Amen. That's exactly right.

SPEAKER_02 9:38

Well, tell us what the key skills and technical proficiencies are for a cinematographer. What should women develop to get work in the industry?

SPEAKER_01 9:51

That's a great question. First of all, you want to understand the difference between digital and film and how to capture each um each tool. So, because nowadays film is coming back. I'm seeing a lot of projects being made on film. Over half of the nominations last year for the Academy Awards was shot on film. So I would say be very open to understanding how to capture a digital image and that workflow and how to see it through to completion, and then the workflow for film because they're quite different. Um they respond differently. So if, you know, and all the other things, of course, with um LED volume stages, uh, the green screens, etc., the ways that we're using AI now is very important, knowing how to seamlessly integrate AI capture with LED screens, with that digital image or that film image. So everything is about understanding the workflow and who are the heads of departments that are going to help you with that workflow. What are their roles and how to communicate with them in pre-production? Pre-production is the most important phase for the cinematographer to be prepared and fully equipped with what the demands will be on the set. So I I would say that those are the the main things. Really understand what you're doing before you step into the arena.

SPEAKER_02 11:39

Wow, you're right. With the AI coming, green screen, film coming back, and video, you really have to know your craft, Kelly. That's incredible. Well, okay, now you've worked with some of the biggest studios in Hollywood. So give us some advice for cinematographers looking to get in the door with major projects like Netflix, Warner's, and Apple TV.

SPEAKER_01 12:07

Well, that's a great question. Yeah, I I think it's really where you're based. Um, if you want to work with these large streaming networks, the head office is still in Los Angeles to connect with those players. Um, there are always other ways, of course. I mean, destiny and the divine always has its way of leading you to your dream projects. So you could be in the most remote part of the world and you still may be asked to come and work on a Netflix project. So I'm not saying you have to move to LA, but what I am saying is that you are more likely to accomplish that goal through having a good agent who is going to uh give you the um interviews that are needed and and and bring your real and portfolio to those types of decision makers. And if you don't have an agent, if you're not at that phase yet, then to come to the uh industry events and and meet people because this one person that you might meet at the industry event might know somebody who has a husband or a wife that works at one of the networks and that's working on a project. So, you know, we never really know how it's going to evolve. And that's part of the great fun and mystery of this industry is it's it's really about envisioning your future to work on these big projects. For me, I was very fortunate because I got in on a very high level right from the beginning. And so I maintained that career level throughout my career working on big studio projects. And generally, um teams move through from one project to the next because we form a reputation for the producer that we, you know, know what we're doing and we get the job done, and we do a great job, and we're fun to work with. So if you could become part of a team as a camera assistant or an operator, and then work your way up to cinematographer once you're in one of those teams, then that's another great way to get to that goal.

SPEAKER_02 14:29

That's great. Yes, become part of a team. And you're so right, it's your vision. You have to start with a vision that you see yourself on a set with some of the people you work with, Vilmo, Zigma, oh my gosh, what fun that must have been. Uh, and your vision is what brings your future to you. You uh but in this world now, you have to have the craft. You can have the vision, but you have to have the craft to go with it, right, Kelly?

SPEAKER_01 15:00

Absolutely. And and you may have to uh kind of take a look at the ego before you um step in because you may have to take a step back to camera operator or camera assistant to get onto one of those teams. I've seen many people do this, especially people that come from foreign countries and they want to break into the Hollywood scene. They've come as cinematographers, but they've stepped right back to focus pulling again and then work their way back up over a number of years. So, but you just never know how it's going to happen. And you know, Carol, we're really big, you and I were really big on envisioning and just kind of how keeping that dream very much alive of what you want to accomplish.

SPEAKER_02 15:46

Yes, and that's what I teach filmmakers. So, yes, we both got it. Now, tell us what uh how what it was like to learn from people like Vilmos and Dante Spinalti. You worked with him too.

SPEAKER_01 16:02

Yes, yes. Oh my gosh. So with Vilmos, I was very young. I was only about 21 years old, and um, I was asked to assist on a commercial that Vilmos was shooting, and I opened up all of his cases in the prep area, and I saw that in his cases he had these um what we call a director's viewfinder on a phone through an app called Artemis, where we are able to kind of understand what the size of the lens is giving us so that when we're looking around on set, we can understand what lens we need to use to set up the shot. Well, back in the day, in the film days, when we didn't have any video assist, um, you know, I opened up Vilmos's cases and he had all of these directors' viewfinders. And on the sides of these directors' viewfinders were written all of the films that he had worked on. So I actually started working with Vilmos not even knowing who he was. I was very naive at that time, and I think it served me well because then I did, I wasn't nervous. And so when I got onset with him, um I watched how he spoke to his crew, and he was the type of man that asked a lot of questions and created a lot of opportunity for input from his team. And at first I thought as a young uh filmmaker, this guy doesn't know what he's doing. He's asking everybody how to do this and how to do that. And then I quickly realized, oh, this is a really great way to, and I'm learning from him because he's he has no ego and he's just very open, and he's smart because he knows that other people will know things that he doesn't know or he hasn't thought of. And so I see this with a lot of the great filmmakers, directors, and cinematographers. Dante was the same with Dante, it was on X-Men, and I came on as a day call camera operator. And anyway, so Dante and um Brett Ratner, the director, they were very open to allowing their operators um create their own shots, and they didn't have a lot of input around the shots, so they gave their crew a tremendous amount of freedoms, very different from um other directors and cinematographers' operating style. So it was wonderful to learn from him. First of all, I will always watch as I worked my way up the ranks. I would always watch how the cinematographer lit, what techniques they used. So I would do my job, but I would also take note on how they tackled certain problems, uh, what tricks they used. But so with Dante, you know, he and and Brett would just let us set up, but then he would come over and tweak the shot a little bit, but always from a very kind perspective. He wasn't a screamer, you know, he was very grounded. So, you know, learning from these AI, the ASC cinematographers, American Society of Cinematographers, uh, masters is always very pleasant because they are humbled. They have learned through their failures and their mistakes. And so once they get to that level, um, you know, they're they're quite kind and generous with what how they want to pass on the knowledge. So mentorship is extremely important. We're always going to be learning. We're in an artistic craft, it's always changing, the technology is changing. Now I learn from the younger people. They know more about the technology of the cameras than the older folks know these days because there's so many new new tools and cameras that are being introduced into our industry.

SPEAKER_02 20:10

Yes, Kelly. I talked to a friend who is a color correction uh man, and he says that you really need to get your color correction person on early if you're using video or film, because some of these new video cameras, especially, have so many buttons you punch the wrong button, and you're never going to be able to match the colors when you get to post or this. So getting that all organized and understanding the new equipment is sometimes overwhelming, right?

SPEAKER_01 20:46

Yeah, no, for sure. The digital imaging technician is extremely important. We call it the DIT. Um, this person is going to be capturing the raw media and then um providing specific lookup tables or LUTs that we can use as um cinematographers to determine the look of the project. And so, of course, then the camera assistants that you work with have to really know what they're doing. So I say the most valuable people on set these days are the camera assistants.

SPEAKER_02 21:18

Camera assistants, well, that's a great thing to know. Well, what is the most important trends right now in cinematography that the aspiring DP should be aware of?

SPEAKER_01 21:36

One of the interesting things that's happening now is that the um at the consumer level uh companies like Apple are, you know, trying to push their way into the motion picture industry with their iPhones. And um, you know, one of the first movies shot completely on iPhone was made recently. And and I speak to some of my friends about that, about how we can be using our iPhones, we can use the GoPro, we can use the Red, we can use the Panavision, we can use so many different tools and cameras now. And really, not one is better than the other. It's all about how we apply it to tell the story properly, how we apply the look of that camera. So back in the olden days, it used to be what film stock are we going to use to tell the story? Now it's what camera type are we going to use. So I recommend that cinematographers really understand what they can get out of each camera type. And so that means running tests, um comparison tests themselves with uh different variables of lighting, different types of skin tones, working with the DIT, the digital imaging technician and a colorist, um, and seeing those processes through. And then I would also recommend um, you know, understanding how to seamlessly knit imagery together so that the editor and the Post-production people have less work to do, and then therefore you're saving post-production money, uh, or sorry, the producer's money in post-production. So you want to understand what you can do in camera, that's very important. Um, and uh that will speed up the production and that will save money in the long term.

SPEAKER_02 23:33

Exactly. I I work with a woman who is a post-production supervisor, and she goes berserk when someone says, Oh, don't worry about that, we'll fix it in post. And she says, No worry about that now because it may never be fixed in post. You expect too much, she said sometimes. Oh, yes. Okay, well, what I want to know now is that you have transitioned from cinematographer to producing cinematographer. So tell me uh what does that role entail and how different is it from just being a DP?

SPEAKER_01 24:13

I am so happy that you asked that question. I think it's really important for cinematographers to know that they can be and should be producing cinematographers, especially on independent projects. This might, this title might take a little while to break into in the union world because um that world is very much set on its ways of of making films and its position titles. But what it means is as a cinematographer, we really people don't realize how much we need to know about the distribution of money, the way that money is spent on a production. Because as the capturer of that image, we need to um know how to utilize every department in the best way. And therefore, we need to know what um, you know, how much room we have to play in each area, and we don't know that unless we know what the budget is. So as a producing cinematographer, you're coming in um understanding and um negotiating how the money can be spent the most wisely when it comes to capturing that image, what type of equipment we may need or we may not need. So um I have really kind of pushed to uh bring in this um title because um it puts the cinematographer also on um, I guess, you know, in a in a position where they they need to really think about how they're going to be spending the production's money. There are a lot of cinematographers that will ask for a lot and really push the production into a place where it's it's there's there's a tremendous amount of um pressure on the producer and on the production staying within budget because they want specific types of lenses that are more expensive or cranes or whatever it may be. So as a producing cinematographer, you're taking responsibility for where the money is being spent too. So I think it's a very valuable role and a role that should be uh explored more by more people.

SPEAKER_02 26:34

A lot of cinematographers were doing that uh before in the film world. Uh Bobby Karamiko was a good friend of mine, and I remember hearing him on the phone to Castle Productions saying, I can save you money on this shot. I know how we should do it. Uh, you don't need this or that, he's saying. And so basically, this has been going on for a long time, but it has never been honored. So bravo, Kelly, for moving into that position and bringing it out for everyone to understand.

SPEAKER_01 27:09

Yes, thank you. No, for sure. And you're absolutely right, and that that is what we do, and and so why wouldn't we receive that recognition and that um that title and uh you know and that pay for for helping the production on that level?

SPEAKER_02 27:28

Exactly. Now, for people who want to move into producing, what do you think are the most important business and creative skills they need to develop?

SPEAKER_01 27:38

It depends on what type of producer. When I when we talk about producing, from my perspective, it's more of a creative producer. There are many types of producers, right? There are producers that are really great with understanding how to work the numbers, there are producers that know how to speak to investors. And now there are producers that know how to partner with brands and influencers. And so, as a creative producer, um, this is where my expertise is. I understand what is needed from the crew, from the vendors to uh make the shot uh the best it could be for the lowest amount of money. Um, so I would say the most important thing is depending on what type of producer you want to become, if you're transitioning from a cinematographer to a producer, it's most likely going to be a creative producer. You're going to know all of the vendors, the people that run, you know, the rental houses, um, the cameras, the uh what your relationship is with the director. So my advice is to um, you know, deepen your relationship with the current producers that you've worked with, um, or the directors that you've worked with, and and let them know your intentions and let them know that you feel that you'll be more valuable as a producer on this specific project. And you know, um, you can oversee the cinematography from a producer standpoint or oversee the way that the production is being run from that standpoint. So I feel it's a very exciting role to be able to move into after you've uh had a lot of experience as a cinematographer. Um because it is also still working with people, with the team, uh leading and guiding that team in the right direction.

SPEAKER_02 29:48

This is all so smart. Thank you, Kelly. I know when uh when they were shooting film, that cinematographers used to go to the camera store, I think it's on Melrose, and they would chat up the people, the rental agency with the cameras and say who's shooting and what's going on and what's new. And then they heard, well, so-and-so used this lens on that film, and he did he took this instead of that, and they got the newest info. And we've become so addicted to the cell phone. I think that getting out to meet the camera rental people, the lighting people, those are uh all of these people that you have to get services from to know them personally can benefit you, don't you think?

SPEAKER_01 30:37

Absolutely, 100%. And what's so fun being a cinematographer is that you are whined and dined by these people because we are their clients. We're their best clients. So, you know, um, it's very often that, you know, my actually my closest friends run run everything. So Darren McClain, who is the the business um producer, executive producer in Canada for Cine Lease, he's he used to be my gaffer and now he runs Cine Lease. And he and I always get together for lunch and he updates me on all the latest equipment, and that's another great advantage when you're close with these vendors. They're gonna tell you what's new, who's using what, um, they'll tell stories about it, and you learn from them. And uh, and Steve Demeter, who runs Keslo out of Vancouver, um, and then also the guys down here. I mean, they're always taking the cinematographers, including myself, out for lunches to continue to deepen those relationships so that when a project does come along, I will know that I feel safe working with them because they know me and they have my back. So again, it always comes back to relationship.

SPEAKER_02 31:50

And any problem on the set, you make one phone call and you've solved it. For sure. Sure, right. So great. So, how does being a cinematographer inform your approach to producing? Do you think having this technical background gives you an advantage as a producer?

SPEAKER_01 32:10

A hundred percent. So, for example, a friend of mine was telling me a story the other day. He was the key grip on a very big television series, and um, one of the cinematographers that they brought on didn't know as much as they should have about how to execute a shot. And so, and so that person had requested a type of crane that was not suitable for the size of the location. The base of the crane was too large. They were once they got onto set, you know, once you get on set, it's too late if you if you don't know technically what your equipment can do. And if it so as a producer, if you you know, coming from cinematography, if you understand, well, that that base of the the crane is too big, we won't be able to get that shot, you know, they ended up spending millions of dollars to try to get this shot, and they never succeeded. They needed to come back and do it again with a different type of crane. So that's just an example of you know, having the technical knowledge and skills as a producer will help you because then you you would say, well, actually, given the dimensions, you know, from my experience, let's revisit that, and then you can go and have a little conversation with the cinematographer to understand maybe what the next best option would be.

SPEAKER_02 33:35

Exactly. Right. Well, let's talk about becoming a film consultant and creating impact through filmmaking. Your work spans beyond cinematography and producing because you're also a film consultant. So, what does a film consultant do and how can an experienced uh cinematographer transition into this role?

SPEAKER_01 34:01

Yeah, so love that question. So, film consultants, you know, we have to have a lot of experience in the industry. We have to understand how everything comes together. And this is where being a cinematographer is a great launch from um, you know, into film consulting. Because, you know, as the industry evolves, filmmakers are facing numerous challenges. There are complex distribution channels, um, we, you know, understanding audience trends, social media, leveraging technology effectively. So a film consultant brings expertise that helps streamline the production processes from discovery to development to pre-production to production, all of the phases. And we can also understand and help with the um the AI that's available, with um people that we know in the industry that can help with storytelling, that can optimize marketing strategies, and we can also offer insights into script development, budgeting, industry connections. There's there's so much that consultants can bring to the table, pretty much every aspect of the project. So, you know, ultimately a film consultant is serving as that bridge between the artistic vision and commercial viability. So, for example, right now I'm working with an author who wants to make his book into a film. And so as the as a film consultant, before I even take the project, I want to make sure that this is the viable opportunity for him if it's actually if his book can be made into a film, if if I feel that there is a market for it. So we do that market research and and we when we discuss, and so you know, we've decided that yes, there is going to be an audience for this. There are multiple distribution networks, so we can move forward with this. So I believe that, you know, because of my background of owning my own production company and producing my own projects and then working on all different levels of production, whether they're lower budget to very high budget, um, because of this knowledge and experience, I'm able to step into that role of film consulting very comfortably. It's a very natural progression for me, and it's also a way to be of service. So I know that a lot of my cinematographer friends, I was actually just chatting with a very good friend who uh is very, she's extremely experienced as a cinematographer, and she too is kind of in her later years, so to speak, not that we're old, but you know, we're we're we're we're not in our 20s. She's interested in serving on a level, on helping on a level. And I think when you get to be in these, uh in this period of your life where you have so much experience and knowledge to share, you just want to share it. And film consulting offers that vehicle to share that knowledge.

SPEAKER_02 37:15

That's wonderful. Tell us how people can reach you, Kelly.

SPEAKER_01 37:20

Yeah, thank you so much. Um just reach me directly at Kellymason at me.com. Um, I my website is kellymason.com. I am actually, Carol, you'll love this. I am writing a book right now called The Art of Film Consulting. So I know you wrote the art of film funding. And uh and I so I'm I'm writing this this book as an opportunity for people to understand a little bit more how to be a film consultant. And um, yeah, so that would be great. Please reach out. Um, and I I'd love to give some of these books away. So if if anybody would like to learn more, don't be afraid to reach out to me directly.

SPEAKER_02 38:05

Oh, that's marvelous. Well, in closing, what advice could you give to cinematographers and filmmakers who really want to create meaningful, lasting work in the industry?

SPEAKER_01 38:19

That's such a great question. I love that, and it's so important. Um, you know, there are so many areas of our world that need help, and it's such an exciting time to be in the position of an impact filmmaker because this is a time, it's a wonderful time where our entire kind of system on all levels is facing upgrade, which means that there's a dismantling of everything. There are many structures, um, economic structures falling apart, environment, climate, um, you name it mental mental health. So whatever you're feeling passionate about, wherever you're feeling called, do it. Don't hesitate to follow that call. That will be the most fulfilling work that you'll ever do. It's lovely to work on big projects with names and to make a steady paycheck, but I'll tell you, it's the most fulfilling work to be of service for your community, for your planet, and for humanity. So go for it, do whatever it takes, pick up the camera, start following the story, speak to experts and others that will help you on your journey, connect with brands and receive whatever you need, whatever resources you need, they're out there. So don't ever feel that you need to have a lot of money to make your film. You don't. I made my film with with nothing, and it was all through partnerships. And we ended up creating environmental legislation. So go for it. Believe in yourself. You're needed.

SPEAKER_02 40:08

Thank you. How wonderful. What great advice, Kelly. Thank you very much for the information and for the interview.

SPEAKER_01 40:20

Thank you so much, Carol. It's my pleasure and uh so great to speak with you again.

SPEAKER_00 40:27

And thank you, Claire. Oh, yes, and and Kelly, I have to tell you, truly you are living up to your inspiration that you put out there in the world. You are living up to that very well. And thank you for that.

SPEAKER_01 40:41

Oh, thanks, Claire. I appreciate that. Well, ladies, we we uh we have so much work to do, and it's such an exciting industry we're a part of. So I'm just happy to be traveling the journey with you both.

SPEAKER_02 40:55

It's an exciting industry with really kind, considerate people. Definitely. Definitely. Okay. Thank you.

SPEAKER_01 41:06

Bye for now.

SPEAKER_02 41:07

Bye.

SPEAKER_01 41:08

Be well, everyone.