Kevin Douglas (00:06):
Today on the Entrepreneurship@DU Podcast,
Leif Soederberg (00:11):
I think this has sort of been definitely the biggest project that I’ve ever taken on. What that allowed me to do is really learn a lot about how to get footage in this type of setting.
Kevin Douglas (00:22):
A DU Film professor is taking students out of the classroom to produce a documentary web series.
Sheila Schroeder (00:30):
It’s a constant process of making each other better, and I think that I’m really proud of that fact that we’re able to be honest with each other. We’re able to take that feedback and incorporate it.
Kevin Douglas (00:43):
Today we’re chatting with Sheila Schroeder Leif Soederberg and Zyann Rogers, three of the five filmmakers behind Breaking the Turf Grass Ceiling. I’m Kevin Douglas,
Leif Soederberg (00:54):
Kevin Douglas (00:55):
Is the Entrepreneurship@DU Podcast.
Hello, welcome to the Entrepreneurship@DU podcast. Today we are chatting with three of the five member team from DU Film that produced Breaking the Turf Grass Ceiling, which is a new documentary web series that you can watch right now on YouTube today in the studio we have Sheila Schroeder, who’s the executive producer and director of Breaking the Turf Grass Ceiling. We have Leif Soederberg who acted as cinematographer and lead editor, and we have Zyann Rodgers, who is also an editor with the project. Sheila Schroeder is a professor in the media film journalism study School. Leif Soederberg was a graduate in 2022, and Zyann Rogers is expected to graduate this year, 2023. I want to thank each and every one of you for coming to the studio. Sheila, leave. Zyann, thank you for coming in.
Sheila Schroeder (01:54):
This is great to be here.
Leif Soederberg (01:56):
Yeah, excited. Thank you.
Kevin Douglas (01:57):
I want to start just by asking you about the film and the web series itself. Could you describe and summarize what the project is and how it came about?
Sheila Schroeder (02:07):
Sure. I’ll give that a stab. Last summer, I was invited to be part of a Women in turf team. Now, what is a Women in Turf team? Well, it’s a group of volunteers who assemble for big turf events, and in this case it was the US Women’s Open Golf Tournament at Pine Needles. I went as a social media storyteller and I was able to bring along an assistant, and that assistant last summer was Leave Soederberg.
Leif Soederberg (02:41):
Yeah, it was a fantastic opportunity. Sheila reached out to me, so I had some free time. I was not in my, or at my last quarter I had off. Yeah, and it was an amazing experience. Got to meet all these amazing women that are really strong and trying to break the turf grass ceiling, as we call it. And I think it was, again, a really cool learning experience, not only in film, but in terms of life experience, learning, just a totally different perspective that I had never seen.
Kevin Douglas (03:15):
And then Zyann, how did you get involved with Du Fillman with this project specifically?
Zyann Rodgers (03:20):
Yeah, professor Sheila, she reached out to me because I think you trying to reach out to me the day after last day of class, and I dipped out. So she reached out to me over email and asked me if I wanted to join, and I agreed. So
Kevin Douglas (03:34):
I know this is the second project, right? The D or do You film has produced two short films in the past. This is the third project of DU Film, and I want to hear a little bit how this differed from those two and if you were involved with either one of those, and if not Leif and Zyann, what this experience was like in terms of experiential learning and what you feel you’re going to take away when you go into your next project.
Sheila Schroeder (04:00):
So just a little about Project Du Film. So film is an acronym that stands for Film Initiative Linking Mentors. So it all started back in 2015 when I finished a screenplay that I really wanted to produce. And so I reached out to my alumni base and said, I need some help with this. This is a narrative film, narrative films, you know, need people who are specialists. And so I brought on several alumni and recognized the opportunity for student students to be on that set. So we went up to Netherland, stayed up there four nights. It was like four nights, five days, and shot what was then our first project DU film project, which was called Happy Effing Valentine’s Day. So with Valentine’s Day coming up, very relevant. And then two years later I had another screenplay, this one called Scary Lucy, and we expanded the project.
We had, I think it was close to 25 people as a part of our crew. And then we had cast on top of that. And it was a much larger, longer opportunity for students and alumni to work alongside with each other. Both were narrative, short narrative films. Both films have been very successful, won awards and festivals and things like that. And I had been looking for ways to expand the project. We had another film ready to go in 2020, and we all know what happened then Covid hit and that project went by the wayside. It was another narrative project. And then along came the opportunity to go as the US women’s open and serve as a social media storyteller telling the stories of women in the turf, which the need by the way is really great. Women make up about 2% of that industry. And so I saw it as an opportunity to combine my desire with Project Du film, which is designed to change the face of filmmaking in front of and behind the camera. So here was a chance to tell stories about a group that is very much in the minority. So going to pine needles and serving as a social media storyteller. I saw an opportunity to do more just back to my own roots documentary filmmaking. And it was only after we got back from pine needles that I turned to leaf at some point during that week. It was probably Thursday or something like Thursday or
Leif Soederberg (06:50):
Friday in the week.
Sheila Schroeder (06:52):
And I said, we have enough material here to make a series. And he agreed. And so when we got back and started thinking about, well, what would that look like? I found some students, Leif decided to stay on with the project, thankfully, and we added Zyann, we added Davis Maer and Kira O’Neill, who’s no longer with the project just because she moved away. But it became apparent to us as we were logging all this footage that we shot out in pine needles, that we really did have material for a multi-episode web series that it turned into 15 episodes, is a little beyond my expectations. I was thinking maybe six. And this crew that I assembled worked really hard with that footage and really started to see themes emerging. So that’s a little bit about kind of project. Do you film how that has evolved into something that we now know as a documentary web series
Kevin Douglas (08:05):
With such a small team? I imagine there was a lot of collaboration at every level, conversations about once you decided how many episodes there would be, how they would be split up. And I would love to hear maybe if you’ve been on film sets before, where you got to serve as a PA or any experience before this, and what sets this apart in terms of the autonomy you had or the involvement you had in the creative and the collaborative process?
Leif Soederberg (08:32):
Yeah, sure. I’ll take that first. I guess for me, I think this has sort of been definitely the biggest project that I’ve ever taken on, especially being just me and Sheila there. You mentioned autonomy, and I think this probably is the one that I’ve had sort of the most autonomy of outside of school projects, stuff like that. And I think what that allowed me to do is really learn a lot about how to get footage in this type of setting, right? Documentary is very different from filming a feature film where you have everything set up, all the lighting and everything, you have to adapt to your circumstances. And that was a huge challenge for us in shooting this. So really learning how to get set up quickly, work under pressure. These people had very little time with interviews and stuff like that, and making sure to get enough coverage in order to get the whole thing together. And then from an editing standpoint, it was really a collaborative effort in terms of deciding what the story would be for each episode. We each took on different episodes and took a stab at them, and then we collaborated with each other, got feedback, and really made them the best we could. So I think, yeah, it’s been an amazing experience doing the full process from start to finish of producing this documentary. And yeah, it’s the best experience I’ve ever had. I think in terms of, yeah,
Zyann Rodgers (10:06):
I’ve worked on the short film Lemonade for my Capstone narrative, but this is completely different. Cause I was mainly on the editing side post-production. So getting new experiences and constantly getting feedback for what I’ve done and how I should improve is very beneficial to me and the experience. And even though it’s been challenging at so times, I’ve struggled trying to figure things out, I, I’ve really enjoyed the whole experience overall.
Kevin Douglas (10:36):
I actually saw Lemonade at the presentation. It was Last Springs Capstones, right? Yes. It was very good. Congratulations on that. Thank
Leif Soederberg (10:42):
You. We also helped work on that film too. Yeah, right,
Zyann Rodgers (10:44):
Kevin Douglas (10:46):
That’s what I love about, especially the creative community and the film community. So you’re doing one role for one project, but a whole nother role for another project, and you’re all just helping each other out. Exactly. One thing that Entrepreneurship@DU with their courses and what we’re trying to give with our students is that experiential learning element. And it’s not just sitting in a classroom, but it’s being on the field or being behind the scenes at a startup, at a company, seeing the way things get done. As filmmakers yourselves, I’d love to hear what, with this experiential project, making this documentary web series, what is one lesson you will take away as you embark on your next film creative project?
Leif Soederberg (11:25):
Yeah, sure. So my other interests, I mean, I’m really into film. I think in terms of where I want to go with film, I’m leaning more towards the post-production side, but I love every aspect of it. So I think in this project, really, I don’t know, one big lesson I learned, I guess is that’s a tough one. I’ve learned a lot of lessons, I guess. And
Kevin Douglas (11:53):
I guess one of the big ones is to have patience. I guess really sometimes when you’re editing something, it doesn’t seem like it’s going to work out. And with patience and with collaboration, you can really find new ways to make it good. And yeah, I think that’s a big lesson. And yeah,
Zyann Rodgers (12:20):
I think I’ve mostly want to also lean in post-production editing. And a big challenge or a big thing that I’ve learned is even though you’ll, you’ll experience challenges and you’ll always struggle. You just got to keep moving on. You can’t let something discourage, you just got to keep on trying no matter what, if you want it to be good.
Kevin Douglas (12:41):
I think it’s a really good piece of advice, especially for one common thread of every conversation I’ve had with this podcast is when you face struggles, when you face challenges, maybe it can feel like a wall, but you push through it and you end up coming out on the other side growing from it. No better way than to just do it, because when you sit in a classroom and talk about it, it’s all theoretical. So it’s pretty powerful. You get to be on the ground with these women. With this documentary, I want to hear a little more about the relationship of producers to a film project, because I know you mentioned to me, Sheila, that there’s also the opportunity with this to see how a pitch is made to producers or a little more of the business side when it comes to putting together a series, pitching, a series like this. I know you have some corporate sponsors that you had to get on board with this project, and I want to hear from all of you what takeaways there have been in that regard, and Sheila, how you’ve seen students grow on the back end, the business side of the film industry.
Sheila Schroeder (13:42):
Yeah, I could definitely speak to the producer Lee side. And I think one of the things that I’ve really tried to do with this team is pull back the curtain on the things that a producer does. So we usually start every meeting and we meet every Monday. There have been some times where we’ve met a couple times during the week, but I give them a rundown of the things that I have done that week as a producer. And that might include a pitch that I made to a funder. It might include securing photos, talking to the women in turf team, collaborating with them. There’s been all sorts of things that I’ve talked about in terms of technology release dates. We have a conference coming up, what does that preparation look like? We created a postcard for that conference, working with a designer, coming up with our logo, all of those things.
I’ve really tried to be open and transparent, excuse me, and help the students understand just there’s this whole level of things that happen on the back end while they’re working very hard on editing the episodes and that sort of thing. And I’m trying to do some of that myself, but there’s always this other lifting going on that the producer has to take on, or the producer slash director. So that has been, I hope we haven’t talked a lot about that, but I hope that’s been a really educational part of this whole process, how you build out that series and how you get people to see it. We were just talking a little bit earlier about setting up a Twitter calendar, and that’s something I’m learning about too. I’m not an expert by any means, but our audience is really Twitter based, so that’s the social medium that we’ve gravitated toward. But I’ll let them sort of answer some of those other questions that you had, which you might have to repeat because I went on a little
Kevin Douglas (16:06):
Bit. Yeah, yeah, absolutely. And I’ll say this as someone who is currently experiencing this from the theater industry, and I thought I would be so averse to anything on the producer side, anything that wasn’t creative I thought would be my worst nightmare. And to an extent that’s still true. But I recently started a theater company with some friends, and we’re in our third production going into our fourth production this summer. And I’ve learned relationships with theaters, relationships with businesses. It can be very challenging pitching a production or getting the resources to fund a production. All of that, from my perspective, I’ve now feel much more confident in, even though it’s still not my favorite. And as people who have been on the post-production side or writer directors side, what takeaways have you found with Sheila helping pull back the curtain from the producer’s side, from the business side?
And do you see yourself doing more of that in the future, now that you’ve gotten a taste? Have you caught the film business bug, if you will? Yeah. Well, I think one of the biggest things Sheila shared with us that a lesson I took away is, you know, don’t know until you ask. So you have to put yourself out there. And I think that’s something I struggle with. I’m not the most outgoing person. And so I think that was a big lesson takeaway for me. And in terms of whether or not I’m going to be more in the business end, I think I will have to be either way. I mean, you have to sell yourself at least if you’re going to get a job or get a role. So in the film business, it’s all about that networking, all about finding places to work.
Leif Soederberg (17:48):
And I think, yeah, it’s definitely been a big takeaway for me. And yeah, it’s an amazing experience.
Zyann Rodgers (17:57):
Whenever we meet and she tells us there’s a new sponsor on, I always get proud. I feel like, yeah, this is the real deal. This is, we’re representing so many different people and there’s so many people counting on us. So I feel even more proud being a part of this experience whenever she tells us us. Yeah. And so came on and so might have a deal with them. So yeah, I’ve just been thankful for that kind of experience. And personally, I really want to be in the business type, but I feel like eventually I probably will have to least say I would sell myself so.
Kevin Douglas (18:33):
Well, you just said about that pride, when you hear of a new sponsor that’s joined the team, that’s something also a through line with a lot of the people I talk to is the ownership you get when you take on this much responsibility in a project. And this being a five person team that’s assembled this, I imagine there’s just so much you get to take, not even just credit for, but take pride in, and you get to share that with your teammates. I think that’s a pretty powerful thing.
Sheila Schroeder (19:01):
We each have our own, what we’re calling our own episodes, but we bring those episodes to the team, we give each other feedback, we go back and we re-edit, myself included, and then we bring it back again. And it’s a constant process of making each other better. And I think that I’m really proud of that fact that we’re able to be honest with each other. We’re able to take that feedback and incorporate it. And sometimes it has to come just really fast. I, I’m thinking of the promo for this weekly, he sent me a promo. I was like, okay, these four things we need to just do, I didn’t have time for. Here are all the great things about it because there were really wonderful things. But I think we have a shorthand now where we all appreciate what each other’s doing, but we also understand that with a series like this, there are deadlines and we just have to meet those deadlines. So that, I really appreciate that about my team.
Kevin Douglas (20:08):
I find that that kind of pressure brings out the best in everyone. It can certainly be stressful, but when you come out on the other side, you realize almost the adrenaline carries you through when it’s like, oh, we need to get this out now.
Sheila Schroeder (20:22):
Certainly sometimes it does. And with our deadline approaching next week for our first episode, and then every week after that episodes dropping, we’ve, we’ve still got a lot of work ahead of us. So TikTok, right? Yeah.
Kevin Douglas (20:38):
I want to take us a little bit back to the creative side of the process, and especially the difference between documentary filmmaking and narrative filmmaking. Because it sounds like both of you came from a narrative background, and it sounds like primarily you also had a narrative background. Is this the first documentary?
Sheila Schroeder (20:56):
No, my first projects all the way through grad school were documentary. So it’s probably where I feel most at home
Kevin Douglas (21:07):
From my experience working some in both, primarily in narrative, the flexibility and almost the improvisation that comes with documentary. You go in with obviously a agreed upon topic and subject, but based on the conversations you have, you notice new themes arise, you notice new narratives among the subjects of the documentary you didn’t even think of when you first started out. And I would love to hear how things evolved throughout the shooting process and also from the editing process. What changes happened in reviewing everything that you had captured?
Sheila Schroeder (21:42):
Well, we actually shot for seven days,
Leif Soederberg (21:45):
Sheila Schroeder (21:45):
Believe. Yeah. Yes. It’s Sunday to Sunday, so eight days. And one of the lessons that I learned, this is not a new lesson or anything, but I think one of the things that we discovered that would work better for us on location, we were talking to some of the team members doing interviews and things like that, pulling them aside, and those went well, but we didn’t have the personal relationship that one member of the women and turf team had with everybody there. She was a part of the team. She was there the first year. She was very well connected. Her name is Kelly Lynch. And Kelly started doing some of the interviews with the team members. And because of her personal connection with them, they were much more willing to kind of open up. Did you see that leaf?
Leif Soederberg (22:45):
Oh, yeah, absolutely. I think, yeah, Kelly sort of has this, I guess, touch about her, or she’s really good at connecting with people, and I think she’s a great interviewer. And so we were very fortunate, I think, to have her there to get so much great stuff out of these women. Really, a lot of ’em were able to open up a lot. We had some tears shed. And that for me was really inspiring, and I hope will be really inspiring to the people that watch,
Kevin Douglas (23:14):
I’m excited to experience that. I didn’t know there’d be tears involved. Oh,
Sheila Schroeder (23:18):
There’s a whole range of emotions mean these women are unicorns and they think that they’re the only one who, and in some states they are in fact the only female superintendent in the whole state. I mean, can you imagine being one of hundreds and you’re the only one? So in the first episode, the origin story, Shelia Finney, who is a member of the Women and Turf team, and also a director of member services with the Golf Course Superintendent’s Association. She talks about when she first came into this profession, she was one, and this isn’t very long ago that, but she was one of 58 superintendents in the world. I Wait, can you imagine that? I mean, we talk about the posity of women and people of color, L G B LGBTQ members in film, right? That’s kind of where my mission started changing the face of film in front of and behind the camera, because there are problems in the film industry, but when we started talking to women about being in the turf industry, especially in golf itself, that the lack of women there is really strong. And so for them to share those stories of finding another female golf mechanic, I mean, really, I feel for them, and I’m honored to be able to tell those stories.
Kevin Douglas (24:59):
That sounds like the experience of helping tell the story and listening to their stories throughout the way will have a lot of lasting power for each of you. And I think I speak on behalf of myself and hopefully everyone listening that I’m sold. I’m very interested. Is there anything from either the finished series episodes, just the way you’ve constructed it, or a process of shooting editing that stands out as a personal favorite memory? Maybe it was a day on the course that was especially good weather and you had a great conversation, or any standout memories take away from this project?
Sheila Schroeder (25:39):
Well, I can speak to one. It’s not even going to be in the series, but if you’re a superintendent in the golf industry, you are up before dawn. And at events like this, you are finished off on the course after the sunset. So these are very, very long days. And I remember, it might have been Friday, Saturday, not exactly sure which day, but I was standing on the number one tee box at the US Women’s Open on the course itself. And so I just started filming myself walking up the first fairway. Now I’m a huge golf fan. If I remember being asked the question, if you could be anything, I said I would be a female golf professional. So this has been sort of a long time dream of mine, but I couldn’t even, I was pinch me. I am standing here taking the walk that every single woman in this most important golf tournament in the world is going to take today. And I just, I couldn’t believe it. And I choked myself up. I was just talking to the camera about that. Like I said it, it’s not going to be in the series, but you asked for meaningful moments, and that was a really meaningful moment for me. And maybe Leif, you might talk about the frame, the time lapse that we, the couple of time lapses we got.
Leif Soederberg (27:11):
Yeah. So again, getting up super early, we had to be out on that first tee box to get us, we wanted to get a big time lapse covering the full sunrise. And I remember Sheila was sort of talking about the whole experience with me reminiscing. And she said that since the pandemic, it’s been really, really tough for us filmmakers to really have that passion and ignite that fuel to go out and film. And what Sheila told me is that this project, as she’s been doing, it helped reignite her passion. And I think for me, it’s helped spark that even more for me as well. I felt sort of bigger part of something bigger than myself with this, which comes sort of a huge responsibility. I feel like a responsibility to these women to tell their stories, but also it’s a great gift that they trust me with that and us with that. So I think that think is the most powerful takeaway I’ve had.
Sheila Schroeder (28:14):
And maybe Zyann, you could talk about the field trip episode. I mean, it’s been very difficult, but I think the breakthroughs that you’ve had on that really show what you were talking about earlier in terms of you got to stick with something.
Zyann Rodgers (28:33):
That episode has been molded and changed so many times. I can’t even, it’s so many different drafts, but I pretty much struggled. Cause I don’t think we knew exactly what type of where we want to go with it. Exactly. So me trying to edit some something, we don’t know what we want to do. It’s kind of hard. But yeah, I think now we’re hopefully finished with it. It’s not get changed anymore, but yeah, it is very informative experience. Yeah.
Sheila Schroeder (29:04):
Well, in two Zyann’s credit, I gave her an out. I said, sometimes as a creative, you just get to a point where you’re like, well, I don’t know. And I gave her the out and she said, no, I want to stick with it. And thank goodness she did, because I think that’s going to be a really good episode.
Kevin Douglas (29:22):
I’m very excited to see it. There’s a couple rapid questions that we ask all our guests, and it just gives us a little taste into how you view the world and how you view your own creativity, entrepreneurship, whatever you want to call it. And we’ll just go around this way. First question will be, how do you define success?
Sheila Schroeder (29:44):
These are supposed to be rapid fire questions, right? Yeah.
Kevin Douglas (29:46):
One to two sentence mags.
Sheila Schroeder (29:47):
How do you define success? Boy, this is a question I’d have to ponder for a couple of days. I honestly, does anybody else have an answer for,
Leif Soederberg (30:03):
I can take a crack at it, I guess. I think for me, it’s sort of a personal thing. Everyone has their own definition of success. So to me, what success is meeting your own personal goals for life, if you succeed in doing what you set out to do and you believe you did it to the best of your ability, I would call that success.
Zyann Rodgers (30:27):
Yeah, I wholeheartedly agree. I feel like if you can look back at your work and you’re proud of it and you wouldn’t change a thing, then that’s success.
Kevin Douglas (30:35):
We’ll go, we’ll go the other way this time. And the question is, what is the best or worse piece of advice you’ve ever gotten?
Zyann Rodgers (30:43):
Yeah, that’s a hard one too. I think one of the best pieces of advice I’ve gotten is probably just don’t give up. I know I keep saying that, but just don’t give up. Even though you did give me a o, I would never give up on something I couldn’t imagine. Just not trying my hardest. So yeah, that’s the best advice I’ve gotten.
Leif Soederberg (31:11):
Yeah, I think for me, somewhere along the lines of what I said about that, Sheila said earlier about putting yourself out there. You don’t know if you don’t ask. And the whole reason I’m in this project is because I was talking to Sheila about possible opportunities and she thought I would be good for the role, and I said yes. So I think really seizing the day, taking advantage of every opportunity you get has really, I think, got me as far as I have today.
Sheila Schroeder (31:43):
And I think for me, the best piece of advice, I don’t know if anybody gave it to me, but say, yes, you might be outside of your comfort zone. Someone might ask you to do something you don’t quite know how to do, but by saying yes, you open yourself up to opportunity.
Kevin Douglas (32:07):
And then finally, I want to hear what’s on the horizon. That could be personal, that could be professional, but Zyann, as you approach graduation Leif as an alumni, now that this project is airing, and Sheila, what’s next for you for DU film? What can people keep an eye out for
Zyann Rodgers (32:26):
Currently? Nothing. For me, I, I’m at that point where I’m like, I have no idea what I’m going to do with my life. I’m so, I’m worried to constantly like, oh, what am I going to do? How am I going to find a job? Am I going to make it? So I keep practicing constantly. I always edit all my own time so I can get better, but hopefully I’ll become successful and blow up. But right now is it’s just moving one day at a time.
Kevin Douglas (32:56):
I can respect that, especially approaching graduation. It’s like, let me get past this milestone, and then, yeah,
Sheila Schroeder (33:02):
Well, we’ll put it out there. Zyann, what Are you looking for a job as an editor?
Zyann Rodgers (33:06):
Yes, I am. Okay. A woman to hire me.
Sheila Schroeder (33:08):
Somebody hires Zyann. She’s looking for a job as an editor. Here we go.
Leif Soederberg (33:12):
Yeah, I am also on the job hunt myself. I got a couple of leads, but looking to work with either a production company or some other kind of company, right? In the immediate future for coming out with me, I’m filming or working on producing a music video with my friend. So that’ll be the next thing immediately. But beyond that, yeah, I’m looking for jobs in editing or in cinematography, any camera work. So yeah,
Sheila Schroeder (33:45):
Any listeners out there, students or alumni, faculty, if you need some work done on the video side, Zyann and Leif are your people. As for what’s next for me, certainly seeing this project through to the end, we have been in some very, very, very preliminary discussions about going to the 2023 US Women’s Open, which will be held at the Cathedral of Golf called Pebble Beach, which in the golf world is really a very sacred place, and a place that is number one on my bucket list in terms of golf. So fingers crossed for that. But I also just put in a grant application for another project that I’m involved in called Womanhood the series. It is a series of short films about the awkward and funny, but important moments in the lives of women. A collaborative project with a colleague out in San Diego who directed three short films in our first season of womanhood. I served as an editor on one of them, and I wrote one of the films. And this iteration, season two, we want to bring together women in STEM to talk about their experiences as women in the field of stem. So fingers crossed at that, something comes of that project.
Kevin Douglas (35:22):
And then finally, how can people connect with you on social media for breaking the Turf Grass ceiling, and where can people watch the episodes?
Sheila Schroeder (35:31):
Yeah, so our primary audience in the Turf World is Twitter, so that’s the best place to find us at Women in Turf Team. So check us out there, and all the episodes will be available for the world to see for free on YouTube. And again, find us there at Women in Turf Team. That’s where you will find Breaking the Turf Grass Ceiling, our documentary web series.
Kevin Douglas (35:59):
Excellent. Well, I want to thank all of you for coming into the studio, and thanks for chatting with me today about the film industry and the creative process. I wish you the best of luck in all of your future projects and endeavors.
Sheila Schroeder (36:10):
We cannot thank you enough. Thank you so much, Kevin.
Kevin Douglas (36:16):
The Entrepreneurship@DU Podcast was recorded in Marjorie Reed Hall on the University of Denver campus. You can find us on Instagram at du Entrepreneur, on Twitter, at underscore entrepreneur, and on Facebook at Entrepreneurship@DU entrepreneurship. At DU is part of the Daniels College of Business, which has its own podcast. By the way. Check out Voices of Experience available wherever you get your podcasts.