Musicbed Podcast #005 with Director Camila Cornelson

---

Show Notes

Camila Cornelsen on Vimeo — https://vimeo.com/camilacornelsen

Camila Cornelse official site — https://camilacornelsen.com/

Mexican Pizza: The Musical — www.youtube.com/watch?v=5odcQsDqhOA

Todxs Nós (HBO) — https://www.imdb.com/title/tt11212828/

Copacabana Club — https://open.spotify.com/artist/1Jc794iJjp6CeNmHVy63OO

Greg Fraser — https://www.imdb.com/name/nm0292132/

The Batman — https://www.imdb.com/title/tt1877830/

Alfred Hitchcock — https://www.imdb.com/name/nm0000033/

Spike Jonze — https://www.imdb.com/name/nm0005069/

Iggy Pop — https://everyloser.iggypop.com/?ref=https://www.google.com/

Musicbed Podcast — https://linktr.ee/musicbed

---

Camila’s Musicbed Playlist

Looking for musical inspiration to write your next treatment? Need a song that brings emotion to your edit? Take a few minutes to listen to this playlist, personally curated by Camila herself.

Get Camila’s full playlist on Musicbed

---

Episode #005 Transcript

Christian Shultz

How long have you been in the States? In LA?

Camila Cornelsen

I got here in February.

Christian Shultz

Cool.

Camila Cornelsen

I’ve been coming and going a little bit from Brazil. I’ve traveled twice already since I got here.

Christian Shultz

How much of your time is spent just doing cinematography these days? Is it a lot of commercials or is it leaning more towards narrative stuff these days.

Camila Cornelsen

In commercials, it’s been very rare, because it takes a lot of time when you’re directing to write treatments and be part of the whole process. And it’s funny, I don’t know, I’ve been here for a very short amount of time, but in Brazil, once you start directing, you’re competing with other directors, so they won’t hire you as a DP anymore. It’s a market thing. It’s really hard to keep both. So the last few years I was working as a DP more on narrative projects. I did these two shows for HBO and Disney. And I also did a feature film during COVID, with a couple of friends, like 12 days, indie film.

Because I didn’t go to film school, I feel I have a lot to learn with other directors. And narrative is a good place for me and for them as well, because they feel that as a DP that directs I can bring a lot to the table. I mean, usually directors that only do feature films or narrative, they don’t film that much, and I’m on set every day. So I think I can bring practical things that when you’re shooting a TV show, like on Disney, we were doing almost twelve pages a day. It’s a lot. So how can you speed up that process? And cinematography can help on that. Like, how can we rig the lights? How can we move from scene to scene?

Christian Shultz

What were some of those things that you – I mean, twelve pages a day is intense, to say the least. What were some of the things that you approach that with?

Camila Cornelsen

The Art Department made it so perfect that we could the set was kind of 360, so the camera could move everywhere. And me and the director, we wanted to go with a steadicam. So most slides were practicals. We had a few lights that we could hide, but we did a very good pre-light before starting and then I remember at some point that we needed to speed it up a little bit more. So we were blocking the scenes in a way that we didn’t need to do master, a medium, and a close-up we were kind of doing in one shot.

But we needed to rehearse a little bit more. But I remember that after the second week, we got a rhythm that was very good and I was bringing a lot of ideas to to the director on how we could manage our time and still have, you know, beautiful images and performances and everything else.

Christian Shultz

It’s always the tough thing with narrative stuff, when you get like halfway through, you’re like, “man, I’m just getting this rhythm,” and then you’re almost done, and you’re like, “gosh, I wish we could have figured this out beforehand.” It’s always a struggle.

Camila Cornelsen

Yeah. First season, it’s always a mess. I think you need the second season to adjust things.

Christian Shultz

Yeah. You grew up in São Paulo.

Camila Cornelsen

No, I grew up in Curitiba. It’s a city in the south of Brazil, a little bit below São Paulo. I used to go to São Paulo a lot, and I was a bit Brazilian to live there because São Paulo is so big and it’s massive. It has a New York vibe. But then I started to work in the film industry, and where I live, you know, it doesn’t exist. So I moved to São Paulo in 2012, and I stayed there for ten years.

Christian Shultz

I think me and you have a very similar upbringing in music and playing in bands and traveling I’m sure. What was your sort of transition from music and finding film. What was your story for that?

Camila Cornelsen

Well, actually, it’s very crazy the whole thing, because my dad is a still photographer, my mom’s a producer, and they met in a concert, my mom was playing the keyboards. And they were very musical. In our home environment, there was always a lot of music. And my mom was a piano teacher when I was a kid, but we had a car accident, and she lost some of the movements. So we sold the piano, and I couldn’t learn anymore. And I was a bit frustrated by that; I kind of always wanted to be in a band.

And I remember that there was this place that I used to hang out with my friends. And I saw them like, “Let’s form a band, do some music,” and I was like, “Can I join, please?” And they were like, “Do you play any instruments?” And I said, “No.” “Do you sing?” I said, “No.” “What can you do?” I said, “I don’t know, I can dance. I can do whatever you want me to.”

But it started, for me, it was a lot of fun. Like, I wanted to be there for fun. And I remember the first rehearsal, I took the microphone and started, you know, making up lyrics and performing. And it was very nice and we played together for almost eight years. We toured here in the US, in London. We performed in the biggest festivals in Brazil, like Lollapalooza Brazil, we did a lot of things.

Christian Shultz

What was that band called?

Camila Cornelsen

It was called Copacabana Club. Music is really hard to make money. You have to do other things. Unless you’re mainstream, you get there. So I remember when I was almost 30, I was a bit upset. I don’t see myself as a musician. Like I played the synth, I sang, but it was not a musician. So it was, okay, what can I do in my life?

And then because I had the still photography in my background, and I knew a lot of lighting and camera and all that stuff, my partner by then said, “Why don’t you go to do cinematography? You’re so good at it, I think you just need to learn how to move your camera.”

And then I searched for a few classes, because I was almost 30. I thought, “If I go into university right now I will have like four or five years. By the time I really get into the industry, I’m going to be like 36.” So I did some short classes. I went to London for a film with a BBC senior who wrote a lot of books. And it was like a 10-day class in 16mm. And then a few months later, I went to Barcelona to study as well. I did one month. And then I started shooting.

I came back to Brazil and did a music video and worked at a post-production company, like getting to know directors. And so it was something that started small. I started doing a few things, and then I was doing big advertising with 200 people on set. But for me, it feels it was a very natural process. Like now I’ve been doing films for ten years. So it’s a long time.

Christian Shultz

I love that story of you being like, I need to do something, and I’m gonna hustle and learn it for myself. I wanted to mention the movement, though, what you talked about. Because I think that is one of the more fascinating parts of your work. I’m a huge fan of your work, the way that you move the camera is very specific to you. I’m very curious how you found that.

Camila Cornelsen

Yeah, I think there’s two things about that. The first one is that I graduated in civil engineering. I was 16 and I got into university from 16 to 17, and I finished engineering at 20 to 21, so I was very young. But I’m saying that because I feel that part of me it’s like very geek. I love gadgets. I love cameras. I love robots and numbers and things that move, you know. I love the challenge of learning a new tool. I think that for me is very exciting.

And the second thing was that I remember I was DPing for my partner. It was an advertisement, but doc style. And we were traveling around Brazil, and I remember that we had to do a scene that I was just walking with with a subject, walking with the girl, and it was in Bahia. It’s very hilly, I had to go up and down. And when he was in the edit room, he told me my camera movements sucked – it was really bad.

Christian Shultz

This is your partner saying this?

Camila Cornelsen

Yes. Like, if you really want to do handheld, you better learn better, because it’s not good. And that was like, heartbreaking, in a sense, but at the same time was very good that someone close to you can be brutal, honest, and make you improve.

So I remember I was, “Okay, I need to do this better.” And I was watching a lot of master classes and doing Pilates and finding my core. And after that I really think that I got in a place that I love doing handheld, I love doing it. And it takes time for you to understand how the camera – because the cameras, they’re heavy, they’re big, they’re square, they’re not very fit for our bodies. So you have to find a way where your body can handle it, and you can bring the movement with you and with the character. So it was a long process to learn how to move my camera, but I love doing it.

Christian Shultz

Yeah. What are some of the gadgets that you find yourself using more times than not now?

Camila Cornelsen

It’s funny, because in advertising I feel that, once you use some tool and the market sees you using that, and then you get a lot of projects that want you to use that same tool. So I think that like last year, I used a lot of the robot camera that moves a lot. And I think I did five or six projects that had it.

Christian Shultz

When you are concepting and pitching to clients or agencies or something, how do you describe movement in your treatments? How do you go about really depicting, or making a visual for them?

Camila Cornelsen

Um, I don’t know, I feel that my treatments, the way I try to approach not only the movements, but the whole thing, I feel that I always need to find something that is emotional to me in a sense. I know it’s advertising, and in the end, we’re selling things and products. But I think it’s important for me as a drive to always find something that I really connect with.

And I know that I bring a lot of myself in the treatments, I’m very personal on my treatments. It’s funny, because every time I write a treatment, I write it in Portuguese because I feel that I’m more emotional when I can write in Portuguese and then I translate it to English. So I always do that process, because I feel that the words I choose in Portuguese, they are more personal. I don’t know.

Christian Shultz

Well your English is great, by the way. I don’t think you have anything to worry about.

Camila Cornelsen

Oh, thank you.

Christian Shultz

One thing that’s really interesting is, at least from the work that I’ve seen, you do shoot all of your directorial stuff, right?

Camila Cornelsen

Yes.

Christian Shultz

Is it 100% of the time?

Camila Cornelsen

100%.

Christian Shultz

Maybe tell me why you do that.

Camila Cornelsen

It’s funny, because – well, I come from still, and then cinematography, and I started directing, now it’s been almost five years. And it’s not that I don’t trust another cinematographer, but I’ve never worked with one.

Christian Shultz

Yeah, okay. Interesting.

Camila Cornelsen

And it’s weird, because I feel that when I think about a project, it starts with the image. And it starts with the still image. Like, how the light is coming here and hitting your face. It’s a very natural thing for me. I don’t know if it’s a lack of communication that I can’t really describe that, but I just know how to do it. I feel it’s so organic to me. But I’m in a growing, you know, process in directing as well. Maybe at some point I will understand that I need someone else helping me.

Christian Shultz

I don’t know if I agree with that. Because it’s really special. It’s pretty rare to see it on that level, the level that you’re doing it. I wonder do you rely heavily on your G&E department to execute some things so you can transition to being a director for a moment?

Christian Shultz

Yes, yes. I mean, in Brazil, I think I created a perfect team. A lot of projects I do stills, film, and cinematography and direct. And for example, my gaffer, he comes from stills and I brought him to the film set. And then for example, when I need to have a strobe for the stills and a continuous light for the film, he does both at the same time.

And it’s funny, because we look at each other, and he knows what I need. He’s moving to the US. Yeah, because it takes time for you to build a team that you like, that you rely on. So for now, I have done films here that I didn’t really need a big team, that were more doc style. So for now I’m good. But I know that I need to build that relationship with a good team here.

Christian Shultz

Yeah, for sure. Why do you think that you were drawn to the type of movement that you do and in your commercials and stuff?

Camila Cornelsen

When I started editing, on the edit room, I was like, “I lost the shot, I should have did a transition or followed the character a little bit more.” And I don’t know, I feel that knowing what I need on the edit room, I’m always shooting a little bit more, or I know exactly where is the starting point and ending point. But because everything is in my mind, I kind of know how to make that better. For example, if you have a very wide lens, you don’t need to move the camera that much because it’s so wide, it’s always going to be moving already in that lens. So I don’t know once you have that in your DNA, it kind of helps you.

Christian Shultz

A little more like technical gear talk a little bit, but what lenses do you find yourself using, going towards?

Camila Cornelsen

It’s funny you say that because when I was a still photographer, I loved the 85. It was always the perfect lens for me, I loved it. And once I started filming, I remember the first feature I did with this friend of mine – director – I was always very concerned about the framing. It has to be beautiful, it has to be perfect.

And one thing that she taught me was, you have to be careful about the beautiful frame because it doesn’t always have to be beautiful. Sometimes you have to do kind of an ugly frame. Not ugly, but it has to help the story. And if the character is suffering or is in a bad moment, you can do that beautifully, but you have to portray it in a way that shows that this character is in pain. And that’s when I started thinking about going wider. And I feel that the last couple of years I’ve been using a lot of wider lenses like 25th, 35th. It’s really hard to to shoot in very wide lenses when you’re doing passion projects or films with low budget because –

Christian Shultz

You see too much.

Camila Cornelsen

You see too much. It’s so hard to hide the thing that you want to see. So I think it comes as well with the budget, because I just shot this TV show for Disney last year, and we were looking to go with the wider lenses but sometimes it was just impossible. Like our reference was The Favorite.

Christian Shultz

Yeah, the like eight millimeter sort of –

Camila Cornelsen

Yeah.

Christian Shultz

It’s funny because you said earlier you don’t have to move the camera that much. Because when Yorgos uses the 8mm, he just does this.

Camila Cornelsen

Yeah.

Christian Shultz

And the whole world… it’s amazing.

Camila Cornelsen

Yeah, there’s a lot of things you have to hide. Yeah.

Christian Shultz

Other than focal lengths, do you go towards like more vintage stuff?

Camila Cornelsen

Yeah. I mean, I grew up with my dad basically in the laboratory.

Christian Shultz

Like a darkroom?

Camila Cornelsen

Darkroom, yeah. We were developing. I was 10 years old and I was helping him. The first projects I worked with him as an assistant, we were doing large format,

Christian Shultz

Like 8×10?

Camila Cornelsen

Yeah.

Christian Shultz

Okay, cool.

Camila Cornelsen

And it was a very long process to do it. Because it was like, okay, we frame, then we kind of take the picture, develop, and then you see, oh, there’s something missing. And then you go back, and then you do it again. And it takes three, four days to do one image. And I love this I love like thinking about the frame. And when I’m doing stills, even if it’s for a job for an advertisement, I don’t photograph that much. I leave the set with, I don’t know, like 100 pictures, 200.

I love thinking about the image and shooting on film. And I think that, of course, because we do have to shoot a lot of things in digital, because of the time that we have, I’m always – going back to your question – I always like to go to vintage lenses because we can break that sharpness a little bit. I love being a little bit softer.

Christian Shultz

Do you have any sort of interesting stories from your time here in America so far? Anything super-American happened to you?

Camila Cornelsen

Oh, well, I went to shoot Dolly Parton.

Christian Shultz

In Nashville.

Camila Cornelsen

Yes.

Christian Shultz

No way. Like stills or?

Camila Cornelsen

No, this was a crazy project that was released last week. And we did a musical for Taco Bell with Doja Cat and Dolly Parton and we filmed all on iPhone.

Christian Shultz

No way.

Camila Cornelsen

Yeah.

Christian Shultz

What a mash-up.

Camila Cornelsen

Yeah, it’s like a 10-minute musical shot in New York.

Christian Shultz

Why were you shooting all on iPhone? That’s interesting.

Camila Cornelsen

Well, because the musical was for TikTok. So they wanted to have an image that felt like it was done for TikTok, for TikTok users that was natural to the platform. And the time that we had to edit and everything, like the whole package, I think it was the best choice. And I feel very comfortable shooting with iPhone. I’ve been working with Apple for a couple of years now. And I do crazy edits on my phone. Like, crazy. Yeah.

Christian Shultz

What’s your opinion on the move into more vertical video, even with advertising? Have you noticed that sort of uptick in requests and stuff?

Camila Cornelsen

Yes. It’s funny, because – I don’t know, we have our phones with us all the time. It’s the first thing we see and the last thing we see in the day. And we have it with us all the time. And it’s funny how lazy we are. Why can’t we flip our phones? Why? We just can’t. I mean, it’s so weird. Like, we can spend an hour sometimes like going from, you know, short video to short video to short video.

Christian Shultz

It’s very engaging. It’s very entertaining. Do you think about the future, when VR and AR have the capacity for us to tell stories inside of them pretty easily? Like what do you think about –

Camila Cornelsen

Very, very engaging, but we can’t really watch very serious content on the vertical. I feel it that there is this, you know – it’s hard to frame. Like, okay, we have our body, our body’s vertical, but once you have two bodies or three bodies, it’s hard to fit in a vertical screen. So I think we have a challenge that will last for a couple of years. Maybe at some point our cell phones will become something else. Glasses maybe and then we have to rethink it.

Camila Cornelsen

I don’t know, I feel we’ve we have a few to experiment a lot, and I love the idea of trying new things. For example, last year I was able to try the Unreal Engine in a project.

Christian Shultz

Like the LED walls?

Camila Cornelsen

Yeah. That was very nice. But the thing is, the one I used in Brazil, we didn’t have that many receivers, because you need one thing in the camera that sends the signal to the other receivers. And then when you move the camera, the background moves with it. I know that here – well, it’s Hollywood they have everything. So I really want to try here.

But it takes a lot of time for you to build the images that you need on the background, so it’s only for projects that have time. You can’t really do it if you have to deliver a film next month. It won’t be possible. So I think we need also to bring creatives, agencies to learn the system and understand what we can do, because then they can plan ahead and, “Okay, this project can be done that way, and we can use that as a tool.”

Christian Shultz

Yeah. I love seeing how they utilized it, and how Greg Fraser utilized it for Batman.

Camila Cornelsen

Yeah, I always try to watch things in a perspective of a person that doesn’t know anything about that. But it’s so hard. I mean, I love Batman, but for me, it looks like a perfume commercial. It’s so perfect.

Christian Shultz

So slick.

Camila Cornelsen

Yeah, all the images are gorgeous. And then you’re, “Okay, this is just too good.” And it’s weird. I love going to a very raw, natural light to shoot, but at the same time, I love being on the stage. When I can control every aspect of the shooting. It’s a very strong contradiction for me.

Christian Shultz

Your work utilizes color in a very interesting way. Is that something that you think about early on in a project? Is it something that you make specific in a treatment? How do you think about color?

Camila Cornelsen

I love to see the colors as they are. I think that when I started with film, even being the cinematographer, I remember in Brazil, there was this trend that all the films were very washed, like no contrast. It was almost like the raw file that they got from Arri. And I was very annoyed by that. Like, why is black not black? Why is green not green. Why? I couldn’t understand.

So for me, it’s very important. I feel that I’m always very picky on choosing colors, especially shooting on film, like reds usually are very red. Kodak red. It’s always very deep, saturated, and strong. Like the reds, the greens, and the blues. They are very present.

Christian Shultz

Yeah, like a Portra 400, I’ve never seen anything as good as just a still or a medium format shot of a Portra 400 or something. Obviously it’s a little warm. But, I imagine you’re like wardrobe department is like very specific. And do you travel with a specific sort of wardrobe? Or do you still have to find people?

Camila Cornelsen

No, yeah, it’s funny, because when we’re working with advertising, wardrobe is the only department that everyone thinks they can say something about it. Like, you wear clothes, so you can say something about the other person’s clothes.

Christian Shultz

Yeah, it’s almost like if they got to just dress the characters, it would look very similar to them.

Christian Shultz

Yeah. So I usually try to work with stylists that can understand that wardrobe is the only department – because if I choose a 50mm or a 65, the client won’t say, “I don’t like that lens.” Or if I choose a very new lens or a very old lens, they might say, “I would like that to be a little bit more sharp.” But you know?

Christian Shultz

You’re right. They would never say anything,

Camila Cornelsen

But if your T-shirt is blue, and I hate blue, I’m gonna say, “That T-shirt is not good. Can you bring me a yellow shirt?” So wardrobe, I think it’s always a subject in advertising. I feel that here, the clients I got to work with were super nice, and I didn’t have this this thing with them, but I remember working in Brazil was always something.

Christian Shultz

Do you think that the agencies and clients and brands that you work with see the cinematography side of you as almost like an added benefit, to have someone who does both?

Camila Cornelsen

Funny you say that, because in Brazil, it was very hard for me to pop the bubble of cinematographers. Like, it was always that the agency wanted to work with that DP, and it didn’t matter who the director was, but they wanted that DP. So for me, it was hard to, you know –

Christian Shultz

It’s interesting, so it’s almost like the visual nature of it was more important.

Camila Cornelsen

Yeah, a lot of times, yes. But here, I feel that people are not used to having a director/DP. So every time I get a project, everyone asks, “Who is going to DP for you?” And I say, “Me?” And then people, “No, you can’t do both, because while you have to talk with clients, you have to be doing light.” And I always say, “Well, if they hire me because of my work, I have to DP myself because I don’t know how to translate my vision to another DP. So I have to do it. And you have to give me the team and all the things I need to make it work, because this is how I do it.” I know it’s different, but so far, so good.

Christian Shultz

Is it that they just don’t look close enough to see who shot it as well? Because it feels – you have so much work that you’ve directed and DP’d that’s incredible. It would feel to me, if I was on the agency side, it wouldn’t be as much of a shock, because you’ve proven yourself so many times. You know what I mean? That’s got to be frustrating a little bit.

Camila Cornelsen

Yeah, it is a bit, but I think that it’s something to fight about. Like, well, if they want me to have another DP, then I shouldn’t do it. It’s not that I want to be like, “Okay, so it’s this or that.” But I can’t promise I’ll deliver the same thing if I’m working with a person that I’ve never worked with.

Christian Shultz

What was the main reason other than working in America that you made the jump to –

Camila Cornelsen

To the US, you mean?

Christian Shultz

To the US? Yeah.

Camila Cornelsen

I don’t know, I grew up in this small city, and I remember growing up with my mom, we both couldn’t sleep at night. And we joined together to watch movies up until late, and I remember the first film I watched that I loved was Birds.

Christian Shultz

The Birds, like Alfred Hitchcock?

Camila Cornelsen

Alfred Hitchcock. I loved it so much. And I remember the impact that had in my life. Because like, just after we watched it, we went to the beach, and when I got to the beach, there were a lot of seagulls and birds – oh my God, I can’t leave the car. But it’s funny, because until I started really doing cinematography, I never thought I could do that. Because we didn’t have a film school in my my city.

My dad was a photographer, but I never thought I could operate a camera, like was never on my radar. Like never ever. And the first time my partner asked me, “Why don’t you DP?” I was like, wow, I can do that. I could do that. And it started to encourage me to really start doing that. And it’s funny, because until I was I don’t know, like 20-something, I never thought that the US was the place for me. I always had in my mind that I wanted to live in Europe. But, I don’t know, as I started to grow older and started to work in the film industry, it made sense to come here.

I started working narrative as well, and I feel like, well, this is the place. So it didn’t made sense for me to come here before I really got a career. So now I’m going to be 40 this year, and this is the first time I could, you know, have that experience. So it takes time.

And I feel that right now, it’s the best time that I could do that. If I was younger, I don’t know if it could have happened. Yeah. So it’s good. I feel that I have the maturity to be here right now, because L.A. can be really challenging as well. There’s so many good people in this industry. It’s very competitive. And everyone is an artist, everyone is a DP, a writer, an actor.

So if you’re not confident enough, you can get here and just get lost. So I feel that I’m right now in a place in my career, in a moment that I just know, okay, this is what I can deliver. And this is where I can make a difference. And it’s fine.

Christian Shultz

Do you have a truth or a quote or something that you try to approach every project with?

Camila Cornelsen

Yeah, I mean, it’s not something that it’s in my head all the time, but I feel I only do projects when I’m ready to do them. I mean, I think that my journey tells this in a very strong sense. I started as a photographer slowly, I started to do cinematography slowly, I started to direct and I feel I give each step the time that it needs for me to learn what is the next step? I feel that I’m ready to direct something narrative. I’m working on a script. Like, I’m not a writer. I know that. So I have to work with someone else to write something for me. But I feel with all the experience I gathered, I could do a narrative right now. Like I know I can. So this it’s more like a question that I do every time.

Christian Shultz

Yeah, and not rushing things. Yeah, being patient.

Camila Cornelsen

I feel that getting here and getting to know people, and people get to know me, because it takes time. I remember being in São Paulo – when I got there, I wanted to stay three years and I ended up staying ten. Because it takes time for like the community, the environment to get to know you, to understand that you’re there, you live there, you do your things, so I know it will take – I expect that it doesn’t take that much time, but yeah, it’s nice to land here and have all these new people getting to know me and know my work, and I really appreciate it.

Christian Shultz

Maybe the last thing – I want to see if there’s like one good story that you have from your band days. What’s the craziest story that you have from that time?

Camila Cornelsen

Oh, my God, we had a few. I met Spike Jonze in one of our concerts. We were performing in this big festival in Brazil called Planeta Terra. And I think that that year, Iggy Pop was playing, it was a very good lineup. Yeah, it was the first big festival that we were performing. We were a very small band and playing in small gigs and then suddenly we have this big stage, and it was like an amusement park, we were playing in front of the roller coaster.

And my partner was doing a backstage making of for us, and then Spike Jonze passed by, and it was, “Oh my god. Like that was so amazing.” That was kind of a spark for me to start thinking about engaging in that film industry. Yeah.

Christian Shultz

Yeah. Beautiful. Camila, thank you so much.

Camila Cornelsen

Thank you, Christian. Yeah, it was really nice. I’m very glad that we did it.

Christian Shultz

Next time on the Musicbed podcast:

“You know, I got the call for Cannes. I was like, this is a scam. Like, there’s no way, it’s like the odds of getting in is like, there’s no way we actually got in. I kept getting this call on set from this random number, this +33 number. I’m like, Oh, it’s just another scam call or – it’s a robo call. I kept declining it, like, four or five times over three days. And then he emailed saying, hey, why aren’t you answering your phone call? I want to talk to you. And then I called him back and he said, oh, we’d love to accept you into the program. I’m like, oh, wow, incredible. But in the back of my head I’m like this is still a scam.”