Kamari Somers: Turning Preparation into Opportunity
Episode Description:
Over the past five years, Kamari Somers has been working her way up in the film industry in Pittsburgh and around the US. She got her start as a staff production assistant on shows shows and films like MINDHUNTER, HAPPIEST SEASON, and THE HARDER THEY FALL and recently moved to Showrunner’s Assistant for Amazon Studios’ A LEAGUE OF THEIR OWN. Listen as Kamari talks to Anya and Fanshen about her experience on set and the most valuable lessons she learned.
TRANSCRIPT:
Anya Adams (00:13):
Hey, welcome back to Sista Brunch with me, Anya Adams.
Fanshen Cox (00:16):
And me Fanshen Cox.
Anya Adams (00:19):
For those of you haven't listened yet, Sista Brunch is a podcast about black women plus, striving and thriving in media entertainment and the arts, and we can't wait to share more stories with you over the next few weeks.
Fanshen Cox (00:31):
Yes, and today's guest on our wonderful season three, we could not wait to get this season out to you all. Today's guest is perfect for those of you, who want to kind of enter into the industry. Maybe you're kind of just getting started, and this is a perfect guest to let you know how to get into something, that is just beyond entry level. So, our guest is show runner's assistant and screenwriter, Kamari Somers.
Fanshen Cox (01:00):
Kamari is a New York native, currently living in Pittsburgh. She attended the University of Pittsburgh, and afterwards she stayed to start her career in film, and get her MFA in playwriting and screenwriting, from Point Park University. Over the past five years, she has been working in film, in Pittsburgh, and around the U.S. as a staff production assistant, on shows and films like Mindhunter and Happiest Season, and The Harder They Fall, we got questions about that. And recently, she moved to show runner's assistant for Amazon studios, a league of their own. We'll be talking about that one a lot, I think this season, because Anya's kind of close to it. She is also an aspiring screenwriter like so many of you. So we're so excited.
Anya Adams (01:47):
Clapping, so glad to have you with us Kamari, welcome. We're so happy to have you, and let's just jump right in. Tell us a little bit about your background, and what inspired you to get involved in film and screenwriting? What's your path been like?
Kamari Somers (02:01):
For me? I think, it stems from my parents, they're big movie buffs. And so, a lot of their relationship was watching movies and talking about movies. And so, when I came up, I'm the first child. So, they were kind of, the way we show our love is through movies, and when you come up and there really isn't a lot of money around, movies are a really easy way to feel you're going out, you're going to do something, it's something you can always have. You buy VHS and you have it forever.
Anya Adams (02:34):
Yes.
Kamari Somers (02:36):
So, it's a constant form of entertainment. So for me, I grew up watching a lot of movies. I grew up watching a lot of public TV and my grandma didn't have cable. So, a lot of PBS kids, and I was constantly just taking in a lot of just media in general. And so, me watching things repeatedly, I started analyzing stuff, and I just really like the comfort that it brings, being able to listen to other people's stories, and kind of just be able to experience things, that you wouldn't see in your everyday life through someone else's eyes. So, that's kind of how I got started, and I just always loved being part of other people's stories and telling stories myself. So, that's kind of where I started. So, I knew going into school that, that was my passion. I wanted to be in the film industry. I didn't really know in what capacity, but I knew that was kind of my path.
Fanshen Cox (03:24):
Is there a particular film or TV show that really was a catalyst for you, and you said, I want to help make something like that?
Kamari Somers (03:33):
The first movie I think, that I felt really connected to, in terms of watching it over and over again, and kind of breaking it down was The Breakfast Club.
Anya Adams (03:43):
Awesome.
Fanshen Cox (03:43):
Wow.
Kamari Somers (03:44):
That was the first movie that I was like, this is speaking to exactly how I feel at this moment, it was just so impactful. And so, every time it was on, I was like, yeah I'm going to watch it, no matter what scene it started at, I'm just going to watch it all the way to the end, and see, if I feel differently, why I feel this way. And then, going into school, I was like, if I can make a movie like that, then I'd consider myself a success. That was my bar.
Fanshen Cox (04:11):
I love that. And I love that film too, because that's one of those films, that every generation could have their own version of a breakfast club. You know what I mean? And yet the kind of general story, it's such a great example for general storytelling, that piece of it is universal. That period and the awkward tough period of high school. Okay so, we know that you are a show runner's assistant, and that's something you recently started doing. Can you talk about what your day to day is like in that job?
Kamari Somers (04:45):
Yeah. Coming into A League of Their Own, that was my first time moving up to show runner's assistant. So, I wasn't really sure what to expect going into it. I knew that it was probably going to be some scheduling, and that every person that I worked for was going to have slightly different expectations from me. So, coming into the job at first, the producers that I worked for, they have their own kind of production company, that was working with the production. So, a lot of my tasks were actually for their independent production company. So, I did a lot of scheduling for them in terms of development. And I got to talk to a lot of different writers that they were talking to, and other production companies that they were talking with, and it was just a lot of scheduling. And then, once we got closer to shooting, it turned into more pre-production meetings, and kind of balancing their life schedule with their work schedule and traveling. It was insane.
Anya Adams (05:44):
Traveling, you mean traveling to Pittsburgh and back and forth?
Kamari Somers (05:47):
Yeah.
Anya Adams (05:48):
You were in Pittsburgh, so traveling to New York, or what do you mean by traveling?
Kamari Somers (05:51):
Everything from LA was moving to Pittsburgh, for the production. So, a lot of their traveling was back and forth between LA and Pittsburgh. So, before we started production, I was kind of dealing with going back and forth between the coast, in terms of time zones and things like that, because they also have staff in their production company, that are still in LA or were based in LA the entire time. So, some of them, it was just juggling when they were actually on the ground in Pittsburgh, and when they were actually on the ground in LA, and kind of navigating that territory also.
Anya Adams (06:23):
So, basically your job was to schedule, where they were during the day, make sure they knew where they were going, that kind of idea once production started.
Kamari Somers (06:33):
Right, because the more hectic it got, the more things were focusing more on what we were shooting at the time. So, some of it was diverting things, that were kind of going to the words of the back burner and then, the things that were coming up and becoming more important. I was kind of bumping those up in their schedule, and just making sure that they knew where they were supposed to be and when. And that's not very different from being a PA or being in the assistant director department, which is where I normally work. So, for me it was just transitioning from working with a group of cast and actors all the time, and moving towards focusing on three higher level executives.
Fanshen Cox (07:13):
I'd love to hear more about what it's like to go from, when you're in school, and you're in film school in particular, and you have your MFA in particular, so you know what you're doing, you kind of know what a lot of the roles are on set. You know a lot of what other people are doing on set. What is it like, and how do you wrap your head around being in a new position, where other folks who may not know as much as you do, because we know how these mediocre white men get jobs, right? But you're now in a position where you kind of have to work for them, or with them even though you know so much, I guess I'm getting at, how do you balance that out when you know more than some of the folks that are your boss?
Kamari Somers (08:00):
When I figure it out, I will let you know.
Fanshen Cox (08:02):
Well you seem to be doing a good job at it.
Kamari Somers (08:09):
I think, when you're on the outside, looking in a lot of it is like, they must know what they're doing, because they wouldn't have got to this position, if they didn't know what they were doing. And I mean, coming out being a black girl, everything is about being excellent, and you have to know what you're doing, and you have to be smart. You have to give a hundred, thousand percent with everything to be considered. So, to get to the upper echelon, and be like, I actually know more about this than you do, but my paycheck does not reflect that. So, that's a hard, it's a balancing act for sure. But I guess, that comes with the territory.
Anya Adams (08:51):
What do you think some of the soft skills that are needed to be a show runner's assistant? Obviously, you need to understand production and how it works. What are some of the other skills that you think are necessary?
Kamari Somers (09:04):
For me, the skills I use the most were definitely prioritization, just knowing. And that comes from my background in production, but a lot of it is common sense. But also just communication, being able to go to the person you're working for. And I was lucky in the capacity that the people I was working for, they were very open, very communicative with me. So, I knew I could go to them and be like, well these are the options, which direction do you want me to go in? Which was a blessing.
Kamari Somers (09:33):
I know some people weren't as lucky as I was. But in general, I think, time management, prioritization and just being open to asking when you don't know the answer, are the most important things across the board in all production. And I think, my coming from having a PA background, knowing production was definitely helpful, but I think, that anybody coming in as long as you're working hard, and you know what you want. I think, that if you have a good head on your shoulders, you can do this. It's not unattainable. It's not out of reach.
Fanshen Cox (10:10):
So, let's even take it back a little bit further, and go from you finishing school, and then becoming a PA. I mean, and obviously, I love how inspiring you are, in terms of not being in LA, and not being located in New York either. The two places where everyone says, you kind of have to be there. So, how did you transition from school into actually work in professionally?
Kamari Somers (10:37):
I was very blessed. When I came to Pittsburgh, I didn't think there was any kind of film industry there. I wasn't really aware of it. And then, when I got here, it was right after Batman rises had just came out, and they had shot some of it, or dark night rises, that's what it is. It just finished shooting in Pittsburgh. And so, there were a lot of production still bubbling around, and I got into the swing of talking to people about production happening in Pittsburgh. But as an undergrad, I'm kind of bumbling around like, I want to be in film, but I don't know what I'm going to do after I graduate.
Kamari Somers (11:17):
It was 2016 right as I was about to graduate, my friend was in this August Wilson class, and August Wilson is from Pittsburgh. And so, she was in this class and she was like, did you hear that they're turning senses into a movie? And I was like, that'd be really cool. She said, they're shooting it here in Pittsburgh. And I was like, I got to get on that. I knew I got to get in there. So, I was in the black action society at pit and so, I knew some people who were kind of on the ground doing social justice work. So, I was like, have you guys heard about Census shooting here? And I was just kind of talking to anybody who would listen to me about this movie. And so, I knew that my first foot in the door was going to be as a PA most likely.
Kamari Somers (12:01):
So, I told everybody in Pittsburgh that I wanted to be a PA on this movie. And I set my resume out in a thousand different directions, hoping that something would catch. And then, I got a phone call from one of the ADs and they were like, we got your resume. I didn't ask who they got it from, because I didn't care. They were like, we got your resume. I was like, perfect. They were like, do you want to work for a couple of days? And I was like, yes. So, then I went to set, and then I worked for, I don't know, 10 days on that job. And I learned everything that I could about being a PA on set. And then, after that I never stopped working.
Anya Adams (12:35):
That's awesome.
Fanshen Cox (12:36):
Wow.
Kamari Somers (12:37):
Yeah, so it was whirlwind.
Fanshen Cox (12:43):
This is Sista Brunch with Fanshen Cox and Anya Adams. Stay tuned for more of our conversation with show runner's assistant and screenwriter, Kamari Somers.
Fanshen Cox (13:08):
Welcome back to Sista Brunch. I'm Fanshen, and let's get right back into this chat with Kamari Somers.
Fanshen Cox (13:17):
So, I'm sorry for this transition, but could you talk about what it's like to be in the same space as Idris Elba?
Kamari Somers (13:29):
My God.
Anya Adams (13:29):
Idris? No.
Fanshen Cox (13:30):
And [inaudible 00:13:30], and Viola, I mean listen.
Anya Adams (13:31):
I'm [crosstalk 00:13:31] say Idris.
Fanshen Cox (13:33):
Listen, he's nice to look at.
Kamari Somers (13:35):
He's really nice to look at.
Anya Adams (13:36):
He is.
Fanshen Cox (13:37):
And for real, I love that you're talking about this experience of going for fences. And I think, it's a great thing for our listeners, when you have a passion for a particular kind of storytelling, and particularly for our stories, that is a way in because there aren't enough of us. And so, and we are looking for us to do this. And so, I love your example of being like, this is a film I know I want to work on, but I also want to know what it was like to be around Idris Elba.
Anya Adams (14:12):
Wait, before you start talking about that, can you just tell us, what did you do on fences? When they hired you, and you had no experience on set.
Fanshen Cox (14:22):
On the professional set.
Anya Adams (14:24):
You had 10 days to learn everything you could, so that you could continue to work in this industry. And now, you're assisting major producers in Hollywood, I'm going to move maybe to Hollywood. So, you had 10 days to fucking figure it out. What were you doing?
Kamari Somers (14:40):
When I got brought on, I was brought on as an additional PA. And so, a lot of it was locking up, and a lot of it had to deal with me watching the background, and signing and learning paperwork, learning how to do background vouchers, and someone who's my close mentor now, he's maybe five years older than me. He was on the set, he was a staff PA. And he was the first person who took me aside, and was like, I'm going to teach you how to do paperwork, because if you can do paperwork, then you'll always have a job. And I was like, perfect. And he was really nice to me.
Kamari Somers (15:11):
And so, he's always been a really close friend to me, and I met him on that job, and he was the first person who was open to teaching me, and just giving me that space to grow and everything. So, he was the first person who taught me how to do paperwork. And then, I ended up filling in for him when he had to be offset for a few days. So, I got the opportunity to bump up and be a staff PA for a day. But a lot of it was just talking to the ADs, learning as much as possible, letting them know that I was there for whatever they needed, and just being a helpful presence, but I guess they liked me.
Fanshen Cox (15:47):
And on that Kamari, we'd like to give our listeners an idea of a salary range, of what you could make by doing these different positions. So, whatever you're comfortable with talking about what you make, and then also how you survive on what you make, because you're not making the big bucks yet, but you will be so.
Kamari Somers (16:09):
When I first started, the going rate for PAs in Pittsburgh, which is a smaller market, was one 150 for 12, and then over the years...
Fanshen Cox (16:20):
That's for 12 hours of the day?
Kamari Somers (16:20):
Mm-hmm (affirmative).
Fanshen Cox (16:20):
Sorry.
Kamari Somers (16:22):
So, then as I was moving up, and there was more competition, because there were a lot of shows in town at the same time. So, once I moved up to Mindhunter, and I was a staff PA on that job and it was eight months, so they were trying to be more competitive with their PA rates, to hold people in for that amount of time. So, I got bumped up to 175 for 12, and then, I was kind of sick of Pittsburgh, so I left and I worked on The Harder They Fall, and I ended up getting a higher rate, which is 210 for 12.
Kamari Somers (16:50):
And then, once I came back, I was kind of able to use that as leverage.
Anya Adams (16:54):
Negotiation.
Kamari Somers (16:55):
Right. To be like, okay well, this is what I was making, plus my travel fees, so I can't work for less than this basically. So, on this job I was making about 210 for 12, as a show runner's assistant. In retrospect, I should have asked for more, but that comes with experience. So, I'll know for the next job.
Anya Adams (17:17):
And how often do you just work 12 hours?
Kamari Somers (17:21):
No, overtime is where all the real money is.
Fanshen Cox (17:23):
Yes.
Anya Adams (17:26):
People need to know, these entry level positions, you're not working 12 hours, even though you're negotiating 12 hour salary, you're working way longer. And it's a lot, it takes stamina.
Kamari Somers (17:38):
Definitely.
Fanshen Cox (17:40):
Kamari, are you someone I mean, we have so many different kinds of people that work on set, and some folks have periods of time on set where there's not a whole lot to do. We had a guest who's a field photographer on set. And she talked about when you think you have downtime, you should still be out there looking for shots. Do you have that same kind of what would appear to be downtime, but you would fill it in? Or do you also just need those breaks? Take advantage of those breaks when you get them.
Kamari Somers (18:11):
Definitely depends on the day. Especially, when I was a PA, if I'm shooting on an exterior location downtown with 200 extras, there's not going to be any downtime, but if I'm on the stage, and it's kind of low key and I'm doing the bells, that ring in between rolls and cuts, then I was writing through all that downtime. I was using that time to write, and while I was on Mindhunter, I was also in grad school. So, I was using that time to do assignments and things like that while I was at work. And just because I didn't want to not waste my time, but I didn't want to have a whole day and be like, I'm exhausted and all I did was stand around for 16 hours. At least, I can use my brain for something else while I'm standing around.
Fanshen Cox (18:59):
We're so excited to be in season three, because a lot of the folks we had on season one, all because they were on Sista Brunch are now fabulously thriving in the world.
Anya Adams (19:09):
Absolutely.
Kamari Somers (19:09):
They are.
Fanshen Cox (19:13):
And other reasons too, but let's talk about your screenwriting, and I love that your point is that you didn't have to give up on screenwriting in order to be hired, to work professionally, to make enough money to kind of survive on. But what are you your kind of hopes and dreams as a screenwriter?
Kamari Somers (19:33):
As a screenwriter, I want to make stories for black people. That's my number one goal. I just want everybody to know that there are different types of black people, and there are a myriad of ways that we can be represented. And that's what I want. I want to speak up for the nerdy black girls. That is my charge.
Fanshen Cox (19:54):
We love that girl on this show.
Kamari Somers (19:56):
That's what I want. So aspirationally, I just want to tell stories, and I'm not really sure in what capacity that's going to be in yet. I like features, I like TV, I like animation a lot. But I know that obviously, my path is going to take a lot of turns, and I'm open to anything that comes my way, as long as I'm in the room. Keeping it real, I know I've been around now, and I'm like, okay whatever door's open, I'm going in there. I'll figure out once I'm on the other side of the door, but I know it's better than where I was. So, figure it out.
Anya Adams (20:38):
Well, and it's so true, what you're saying too. You just have to just put yourself out there, and do it because if you don't, you're not going to move forward, especially in this industry. Because you stepped through that door, and eight out of the 10 people in there, probably don't know what they're doing either. Or doing the same thing, you know what I mean?
Kamari Somers (20:58):
Absolutely.
Anya Adams (20:59):
You really have to push yourself forward, which is an awesome way of thinking for you to have. Especially, where you are now, because that's how you're going to get the most experience I think.
Fanshen Cox (21:08):
Yeah, for you to be on set and getting that kind of physical production experience, feeds into your strengths as a writer. Because you are there seeing, how does what I put on the page play out, when you actually get on a set.
Kamari Somers (21:24):
Absolutely.
Fanshen Cox (21:24):
And I think, a lot of writers just tend to kind of isolate themselves into the process of writing, and then they have a bit of a rude awakening when their writing tries to go on a set. I'm assuming in your programs, did you ever film something yourself kind of independently that you've written?
Kamari Somers (21:46):
Yes. Nothing that I'm really proud of. If I'm being honest.
Fanshen Cox (21:51):
Be proud that you did it.
Kamari Somers (21:52):
Things get buried okay?
Fanshen Cox (21:56):
We won't post it on our Instagram, but it's important that you did that.
Kamari Somers (22:03):
I definitely worked on some web series that my friends were making and asked me to write for. I worked on shorts, when I was in school, and it was definitely a process. And I think, coming from there, and then seeing how it works on a larger level was a really eye opening experience. And now, it's had the reverse effect where it's like, man I can't make anything because I know, you know the quality, what it could be and then you get kind of stuck. It's kind of intimidating in that way. Once you cross that barrier, it's like, I can't. How am I supposed to go back now? So, that's kind of where I am now trying to figure out, how do I make a low budget short, that I'm proud of.
Anya Adams (22:48):
Girl you got to let that go.
Kamari Somers (22:49):
That I will show to people.
Fanshen Cox (22:49):
Thank you Anya, tell her.
Anya Adams (22:54):
Lets talk about, where did insecure come from? Come on. You got to let that go.
Fanshen Cox (22:58):
I couldn't agree more.
Anya Adams (22:59):
You got to get out there and do it, man.
Fanshen Cox (23:01):
No doubt.
Fanshen Cox (23:06):
Hey it's Fanshen, and you're listening to Sista Brunch, we will be right back. And if you haven't already, we would so appreciate it, if you would follow us on Twitter at sista brunch, and on Instagram at sista brunch podcast.
Anya Adams (23:29):
Kamari I have a question for you about code switching.
Fanshen Cox (23:33):
Nice.
Anya Adams (23:34):
Because I want to talk to you about, you did Mindhunter, The Harder They Fall, you don't need to point fingers or anything, but just let's talk about code switching in this industry, and how helpful it is for us to move through spaces, and whether you have any words of wisdom for folks that are hoping to step into this world, what they need to think about, as they take jobs on different sets, I don't know. You want to speak to that a little bit? Just a little.
Fanshen Cox (24:03):
How you navigate that?
Kamari Somers (24:03):
How do I word this? Telly[crosstalk 00:24:13].
Fanshen Cox (24:13):
But listen, we got black women listening to this, so we're good.
Anya Adams (24:16):
We want to know.
Fanshen Cox (24:17):
This is the place.
Kamari Somers (24:18):
The best way I can describe this, is with an anecdote. I was on A League of Their Own, with a person that I worked with, who I see every day. I interact with them every single day. And we all went out afterwards at one day, on a weekend or something. And I was talking to them, just cavalier, I was being my real self. And then, the next Monday they were like, I had no idea how much you hold back at work. And they felt kind of bad about it.
Kamari Somers (24:54):
I'm so sorry that you have to do that. And I kind of was like, that's life. I was like, this isn't new to me, this isn't just for this production, that's my life. I've always had to do that. So, I was like, you don't have to feel bad. Just don't be a jerk. Create a safe space where people feel comfortable around you, and then you will see the real people. But on the other side, you need to know who you can be real with, and who you got to protect your yourself with. And if you're not sure, play it safe. I mean, for me, I put out little testers, and then I see how they react.
Kamari Somers (25:41):
And then, once I kind of weigh it off of that, I'm like, okay, I know I can talk to you about this, but I'm probably not going to talk to you about this. Or if something goes down, I'm not going to you or you, I'm going to this person over here, who I know will one, understand what I'm saying. And then two, actually take care of the problem. Because it's one thing, if someone listens to you about an issue, but if they're not going to do anything, it's almost a waste of time. And I'd rather not take off the guard if there's no results that are going to be made. But I mean, it's definitely hard, kind of navigating that. And this job in particular was a little different, because I was interacting with more execs and higher level people.
Kamari Somers (26:23):
And it's weird because when you come from the AD department, in that department everything's very technical, everything moves so fast, on you, everything is back and forth all day. Whereas, when you're kind in the [inaudible 00:26:35] suite, everything's kind of fun and it's casual until it's not. And then it's like, I don't really know how to play it here. I'm just going to observe. I'm very observant, and I watch people, which is one of the reasons why I really like to write, is because I'm like, I have all these characters in my head because I'm just watching people all day long. I've just become very aware of how everybody moves, and the decisions that they make, and kind of how they treat people. Because I know that if they're going to treat someone like that, they're probably going to treat me like that at some point, and I shouldn't be surprised, when it pops out.
Fanshen Cox (27:11):
I feel like what we're saying is, in this era right now, in which we find ourselves in this entertainment industry, we need to be trilingual. And we hope we are all planting seeds, so that, that won't have to continue to be the case. So, Kamari with you writing black stories for everybody. I think, we should say it that way. Because they should be watching our sorts, and they really do. So, but we are writing it from the black games, from our own experiences. And I think, we are more and more coming into a time, where we're seeing this broad range.
Fanshen Cox (27:48):
It's no more essentialist representations of blackness. We are broadening the range. And yet, you were saying where you are, there are times where if you want to have a career, or be paid professionally, at this point you're going to need to be able to do both or all three or whatever it is. But also, know that there's a group of all of us that are out here, working towards a place where we truly can be fully ourselves. That's lovely. I'm excited. And we going to support you in your screenwriting.
Kamari Somers (28:23):
Thank you.
Fanshen Cox (28:23):
Are there ways that our listeners can support you, and find you and kind of keep track of what you're up to.
Kamari Somers (28:30):
Definitely.
Anya Adams (28:31):
So they can say they knew you [crosstalk 00:28:32].
Fanshen Cox (28:33):
Exactly. Because we make magic on this podcast.
Anya Adams (28:39):
We make [crosstalk 00:28:43].
Fanshen Cox (28:42):
My personal Instagram, kind of where I'm posting more work stuff these days, and my personal stuff, that's kind of where I'm updating my life is, at black panther 727. And it was there before the movie came out, way back in 2011. Don't judge me. Back in the day. And then, I have a bookstagram also, which is for my books that I read, and I kind of post about, what I'm reading at the time and kind of book club things and things like that. And that Instagram page is called pages are portals. It's kind of just [crosstalk 00:29:17] page.
Anya Adams (29:17):
I love that.
Kamari Somers (29:19):
Just for people who want reading recommendations and things.
Anya Adams (29:22):
What are you reading right now?
Kamari Somers (29:23):
Right now I am reading Sabrina and Karina, which is a collection of short stories by this author who's Latinx and Mexican-American, and indigenous also. And it's really good so far. So, it's really awesome.
Fanshen Cox (29:44):
Love it.
Fanshen Cox (29:45):
Kamari thank you so much.
Anya Adams (29:47):
You are the best.
Fanshen Cox (29:47):
You all support her. Keep an eye out. Let's follow this journey that you're on, and we will have you back when you start to blow up in another realm, as a [crosstalk 00:30:00].
Anya Adams (29:59):
Kamari is a force.
Fanshen Cox (30:01):
Yes, clearly. Hire her and know that she is screenwriter. So, that's what you really got to hire.
Fanshen Cox (30:17):
That was our conversation with Kamari Somers, visit sistabrunch.com to find out more about her, and how to support her upcoming projects. Follow us on Instagram at sista brunch podcast. We're also on Twitter at sista brunch and on Facebook, at facebook.com/sistabrunchpodcast. Also, don't forget, please just helps us so much, if you subscribe, rate, review our show on iTunes, on Spotify, soon as this show ends, your support is so important to us.
Anya Adams (30:48):
Our senior producer is Sonata Lee Narcisse. Our show producer is Brittany Turner. Our executive producer is Christabel Nsiah-Buadi. We acknowledge, that the land we record our podcast on is original land of the Tongva people, for those of us in Los Angeles. Can't wait to see you all next time. Take care until then. Bye.