Robin Hamilton shares her inspiring shift from journalist to filmmaker, blending activism and art.
Guest:
Robin Hamilton
Website: https://www.aroundrobin.com
LinkedIn: https://www.linkedin.com/in/robinhamilton123/
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Host: Marco Ciappelli, Co-Founder at ITSPmagazine [@ITSPmagazine] and Host of Redefining Society Podcast & Audio Signals Podcast
Website: https://www.marcociappelli.com
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Episode Title: 🎙️✨
From Newsroom to Lens: Robin Hamilton’s Journey Through Documentary Filmmaking and Social Activism
Episode Intro:
Hey everybody, Marco here, and welcome back to another episode of Audio Signals. Today, we're diving deep into the heart of storytelling—but from a compelling perspective that bridges journalism and visual creativity: documentary filmmaking. My guest today is Robin Hamilton, an Emmy-award-winning filmmaker and former journalist who passionately blends her craft with advocacy to inspire meaningful social transformation.
Robin's journey is truly captivating. Her films highlight powerful yet often overlooked figures who have significantly shaped history and society, bringing crucial attention to race, social justice, and women's contributions. Through heartfelt projects like This Little Light of Mine: The Legacy of Fannie Lou Hamer, she sheds light on historical figures whose stories resonate deeply today, reminding us of ongoing battles for civil rights, voting rights, and human dignity.
In our conversation, Robin shares the evolution of her storytelling approach—from quick-hit news reporting to the immersive world of documentaries. We explore how she discovers compelling stories like that of Odessa Madre, dubbed the "Black Al Capone" of 1950s Washington D.C., revealing complexities that challenge societal expectations and question how talent can flourish—or falter—based on opportunities provided. As Robin explains, choosing the right visuals, music, and narrative angles is critical in creating documentaries that truly engage, inspire, and provoke thoughtful reflection.
We'll discuss Robin's meticulous creative process, from initial inspiration to final production, and her bold decision to direct her films independently, driven by passion rather than convention. We’ll also explore why authentic storytelling matters so much to her—and how it can profoundly move audiences.
It's all about stories, storytellers, and using narratives to ignite meaningful change—one compelling film at a time.
Ready to explore the impact of storytelling through documentaries? Let's dive in.
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Marco Ciappelli: [00:00:00] Uh, hello everybody. Welcome to another episode of audio signals podcast, where we talk about storytelling and story and, uh, storytellers, which are the one that tells the story. And as I always say, It's about many things that we do in life, especially when they're creative things, but also when we go around and we present ourself in a certain way, the way we dress, we tell a story, the way we talk, we tell a story.
And of course, then there is the profession of telling stories and that's writers, photographers, painters, songwriter, and videographer. There are also journalists in our case, my guest, Robin Hamilton, and she has a lot of story to share. And we're going to talk about something that it's, I think is the first time that we get to the stories from this angle, which is the, the documentary [00:01:00] side of things and how important it is to maybe.
Promote social changes, which is something that i'm really passionate about so I think it's enough robin. Welcome to the show. I'm so excited to have you. Yeah
Robin Hamilton: so much, Marco. I'm, I'm thrilled to be here. I really, really appreciate it. I feel so fortunate. I'm, I'm one of the first. So that, that makes me feel like,
from
Marco Ciappelli: You, you can, uh, you can get it started from, from these angles, I will say, you know, so I'm, I'm excited about that. So let, let's start with that. I, I like to ask the first question that don't take it too philosophical, but who is Robin?
Robin Hamilton: Yes. Thank you. Good question. I did my homework. I heard other authors who answered and some of them went on these long winded answers. So for me, I'll just say I am a filmmaker, a journalist, a passionate storyteller who's curious about life and the world and what makes people tick. [00:02:00] And on a personal level, I'm a wife, a sister, a daughter, and a doggy mommy.
Marco Ciappelli: There you go. I got three. So there you go.
Robin Hamilton: Oh, good for you, right? You fall in love with them.
Marco Ciappelli: Yeah, absolutely. Absolutely. So that that's that's a good start. But as you say that I mentioned at the beginning, you also started as a journalist. And and I think that's that's a very important piece of of this story. Because being a journalist and telling a story as a journalist, I feel like it's not.
Not necessarily the same thing as telling a story from a creative perspective, but I think you can mix the two and be a better storyteller because of that. My opinion. What do you think?
Robin Hamilton: absolutely. You're spot on. Well, I will say that as a journalist, you do have to be creative. You are telling, you're explaining something to the public in a [00:03:00] way where you have facts, so you can't really be. You don't want to manipulate that but what you can do is be creative in the way you present it to the public so that it can engage people if it's something that maybe is on the more drier side you can, but it's important you can find a way to make it more appetizing.
There are ways to be really creative as a journalist I remember I was working as a reporter, years ago, and I was doing broadcast news, broadcast television. So we would often have a 5, 11. Or, if you worked the morning shift, you would have a 5, 6, 5 a. m., 6 a. m., 7 a. m. news hit, as they would say. And then another at noon.
And what often happens is you have to cover one specific story and tell it. In a specific time frame, often a very short time frame, and I would [00:04:00] have to be creative about how I told the story, where did I get my sound bites from, and how could I use words that were a little bit more creative. So I would carry, one of the photographers made fun of me because I would carry a thesaurus with me.
Whenever I was trying to find new ways to find different vocabulary words to spice up something that often happened that often seemed mundane. Things like a busted water pipe that would close a street and you would have to tell the same story at 5, 6, 7 and noon. And and it does force you to think on your feet.
It does force you to be creative. So there is there is some creativity there. But the reason why I pivoted to filmmaking was because I was finding myself doing a lot of either crime and weather, which was, is very much of a grind when you are doing local news. And I occasionally would be telling human interest stories, great feature stories, but those were very few and far between.
Therefore, I decided I really want to [00:05:00] break out and do longer form pieces where I can uncover stories that maybe people aren't talking about, aren't thinking about, people who did amazing things in history and activated social change. I thought those were the stories that deserved being covering, deserved being covered, and I wanted to find a new way to put those stories out into the world.
Marco Ciappelli: Were you inspired by some other storytellers that did this in the past? There is a brighter, I mean, there are many examples of people that made. Change is possible because of that and, uh, you know, anybody you were looking up to while you decided to pursue this career,
Robin Hamilton: It's interesting. I didn't really think of anybody else who had made a transition in this way. That was hard for me to find. And I still haven't really found anybody who did things quite the way that I did. But what I will say [00:06:00] is that I, I kept finding stories of people who just weren't being covered, and it was more, I felt more compelled to share their stories in, with the tools that I had, and it was really the subjects that inspired me, not people who are in the same industry, if that makes sense.
Marco Ciappelli: Yeah. No, no, no, no. I mean, and I didn't necessarily think about, uh, somebody that was a journalist and turn it into a filmmaker, but, you know, other filmmaker, right? That have made important documentary for creating changes and social changes that,
Robin Hamilton: Yes. Yes. Yes. I have to say, I love, I'm a big fan of Ava DuVernay. I think she's such a talented filmmaker. She's so thoughtful. And she really does create work that does make you think and that does inspire change. So that, that is someone that off the top of my head. Then, you know, ironically enough, she started in news herself.
She
Marco Ciappelli: [00:07:00] See?
Robin Hamilton: associate producer. Yeah. Yeah. She had started off as a producer
Marco Ciappelli: find the connection. The connection right there. Alright, so tell me, tell me about your first project, maybe, and the others that you've done. I know you actually got an Emmy Award
Robin Hamilton: Oh, thank you.
Marco Ciappelli: Your creation, for your creative input. And, um, Yeah, so we can get a flavor as a, as the audience of what you've done.
Robin Hamilton: Yeah, absolutely. Thank you. My first film was This Little Light of Mine, the legacy of Fannie Lou Hamer, and that film is about the civil rights activist, Mrs. Fannie Lou Hamer, who grew up in Mississippi, extremely poor, didn't have more than a sixth grade education, and she was to be destined to pick cotton for the rest of her life.
And then workers from the North came down during the 1950s and activated [00:08:00] people to learn about their rights as citizens, to learn about the importance of the right to vote. I learned about her story because I was in, in undergrad, I was in college and I, read this book by Kay Mills, This Little Light of Mine, The Legacy of Fannie, The Life of Fannie Lou Hamer, rather, The Life of Fannie Lou Hamer.
And I was so impressed and moved by what this woman had done with all of the odds that were stacked against her. And I started my journey as a reporter after college, but it was one of those things where A figure or character can get stuck in your mind and they don't let you go. That's how I describe Mrs.
Hamer. She just got into my soul and just stayed with me. And I would, the odd thing is, I would meet people who knew her. I had worked as a reporter in Boston and in 2004. When I was still early reporting in my career, [00:09:00] I had met people who had been with her when she testified in for the Democratic National Credentials Committee at the 1964 conference and When I was in Boston, it was celebrating the 40th anniversary of that moment.
And so I was meeting people who actually knew her. So, her story kept coming up in my life. And then I met someone who had actually gone to jail with her when she was fighting for social justice. And I finally said, I really want to interview you. I want to do something. I don't know what it looks like. I don't know if it's a screenplay or something.
And I had tried a screenplay. And Um, you had a guest on earlier who, um, was really entrenched in the screenplay life. He was a really fascinating interview. And, um, I just didn't have that type of experience and exposure. [00:10:00] So what I did was I said, I'll make a documentary because the screenplay wasn't going anywhere.
I wasn't connected well enough. And I reached back out to this person and he had passed away. And that's when I realized I have to hold onto this piece of history. And tell her story before other people who knew her, worked with her, lived with her aren't available to tell her story either. And what's significant about doing this film about Mrs.
Hamer is that in this country you can see all of the things that she fought for are still very much in danger today. Whether it's women's rights, voting rights, labor rights, fair wages. you know, feeding the hungry. They were all stories that she was fighting so hard for, issues she was fighting so hard for, that we are still facing today.
So often people ask me, why is it important to tell her story? Why is it important to kind of [00:11:00] stick to this history lesson? Because I think not knowing your past, you are unprepared for the present and the future. You need to know what people were up against. And she's also a source of inspiration.
Whenever you get very discouraged, I have her as a beacon in my, in my room. I have a big poster in my room of her, because she stands as someone who represents resilience and determination at almost any cost.
Marco Ciappelli: Yeah. So you, you decided to talk about someone that you really admire and it kind of, and I'm going to say comes easy, but definitely the passion is, is there. Right. So, which brings me to, it's kind of like what you said at the beginning, even telling the news about local crime or, or the weather or wherever it is, you were trying to give a different, your own angle.
Right. So your own, your own creative and way of telling the story, because [00:12:00] again, I talk a lot with people in my other podcast, maybe that are science communicator, like people like Carl Sagan,
Robin Hamilton: Oh yeah.
Marco Ciappelli: just, which is one of my favorite ever because he knew how to just grab the attention and tell a story and makes understandable something like astrophysics, which people would just be like, what?
I don't have the brain for that, but you do. So there is a way that you tell a story and it resonates, right? So, my thing is, when you decided to tell this story, um, you need to decide which angle am I going to take. What's the metaphor maybe that I'm going to go with? It's not just about, here's the mic, talk.
Right. It's, and then you're doing visually. So you need to think about the shots. You need to think about the lights. You need, tell me about that process.
Robin Hamilton: Well, what I do is I [00:13:00] start thinking about who is the center of this story and then who is orbiting around this figure. And in my research, I found incredible pictures because you do have to think about the visuals. The visuals matter. So, I researched pictures and old interviews that she was in and, and pictures of, uh, or scenes from during that time.
And then I found people who knew her, and one of the most One of my most favorite interviews was a woman who was a student at the time, and she's now in her 70s, and she had pictures of when she was a young, young lady in college on a sharecropping field, interviewing people to help them register to vote.
And she had very vivid stories of what Mrs. Hamer was like. So I thought about [00:14:00] how visually people would be making an impact in the story. And then I did certain things like, um, you think about the type of lighting, the mood lighting that you want. You want something that's not too dark, because Her story is hopeful.
It's, it's, it's painfully sad, but she's, she's someone who provides a lot of hope. And then with the music, I know that with some of your other colleagues, you've, you've talked about music, which I really appreciate. I wanted the score to be more piano, because the piano, there are different tones in the piano pieces that I have throughout.
So everybody uses bluegrass when they talk about the South, like the blues, bluegrass, when they talk about the South. And I just feel like that's so cliche. And for telling Mrs. Hamer's story, I wanted something that showed strength, but also um, a fragility. also, um, an elegance about her [00:15:00] because there was something that was very, um, resilient and strong and stately about this woman.
And that's how I, I fused all of those elements of what you hear, see, and feel when you're putting that story together. together. And then I got a great tip from a wonderful story editor who unfortunately has since passed away, Louis Erksine. He was wonderful. Um, he told me when you put a film together, think about who you want to hear from the most.
Who is it that you want to hear from? And it was Mrs. Hamer, of course. And so, he would have me lay out my scenes with little post it notes, and with different colors. And Mrs. Hamer would be put in the little map of where my scenes were laid out. And if we, if I didn't have enough of the right color of her post it notes, that means she was being, she was getting [00:16:00] lost.
In other people talking about her versus just hearing from her. So if, does that make sense?
Marco Ciappelli: it does make sense to me. I mean, people don't, people don't think about all the details that goes behind and, you know, I, I, through my wife, actually, I, I, I am connected to the movie industry as well, and it blows my mind. The things I've learned that happened behind the camera, right? Is that you don't think about when you're watching the final product, which is also a very important thing to talk about is all that goes behind.
But then in the end, people shouldn't be worried about that. They, they need to be immersed in the story, right? But there is so many details, the music, the light, the photography, the angle, that everything. Yeah. So it makes sense.
Robin Hamilton: Yes. And that's, and I appreciate you saying that because so much thought goes behind it, but you want it to be so good that nobody thinks about it. You don't [00:17:00] even realize it. You're right. And so if someone's talking about it, then that means maybe you didn't do something.
Right.
Marco Ciappelli: Right, unless they're experts and they're critics and they're really like dissecting what
Robin Hamilton: Right. That's right.
Marco Ciappelli: be a good thing. Um, how about the, the other project that you've done? Because I know you talk often about women and, and so that's the choice. But what
Robin Hamilton: Yes. Well, you know, it's funny. I didn't plan on doing films only about women, but it just so happened that so often their stories are muted or forgotten. So. I ended up, that's how I found out about Mrs. Hamer. I did one about Mary Church Terrell, who was a suffragette in Washington, D. C. at the turn of the century, and she helped desegregate lunch counters.
I did a story about two artists in Alexandria, Virginia, which is right outside of Washington, D. C., who recreate these doll houses, these miniatures. [00:18:00] To show the friendship love community that they created and the backdrop was against Jim Crow. So it's almost like watching little, little figures tell the story of history.
So you have this juxtaposition of adult issues, but childlike innocence. And then my favorite, I shouldn't say my favorite. All of my films are my favorites, but I did one about Odessa Madre. The film is called Odessa's Reign and she was a 1950s gangster. She was a numbers runner who became one of the wealthiest women in DC during that time running a really lucrative underground lottery.
And what I thought was so fascinating about her was that she, she was a very smart woman, but conventionally, she did not look like she belonged to the socioeconomic class that she was a part of. And there were also limited opportunities for Black women. She was also [00:19:00] gay. She was also very heavyset. And so she had all of these I hate saying the issues because they were just traits, but they were considered bad traits at the time.
Right, right. But they were considered flaws at the time. But she had a brilliant mind. And with those skills, she carved out this life for herself. And she was able to embody this bravado, this strength that rivaled a lot of other, you know, gangsters in the area. People called her the Black Al Capone in D.
C. Right? And so she's fascinating. She's a fascinating character and I think there's a lot to be learned about her, not to glamorize crime, but to talk about. What makes somebody tick? And also, what happens when you leave talent behind? She was incredibly talented, and if she had other means, who knows what she could have been.[00:20:00]
Marco Ciappelli: right. And I think that's, that's an important angle because you can look at the story from, from different angle. And this is actually an interview I did with a musician. He's a classic guitar player. A really, really good one. And we were talking about the fact that when you Play a song you play three different songs now.
I'm gonna try to remember correctly Like one is the way you play it and one is the original song Maybe if you're doing a classical piece and then the other one is what? What people perceive because the audience may hear a different story than you when you're having in your head. And I, I think you can apply that to music, but also to what people are going to get when they see your documentary.
So people that look at your documentary and watch it and understand the gangster may be finding a, why is she talking about? Somebody did this against her. Well, you're not getting the point. [00:21:00] Right. The point is she had talent and as you said, she could have applied and given the opportunity somewhere else.
So, you know that that must be some kind of Frustrating in, in, for every creative person that is telling a story to think like, how am I going to do it in a way that everybody get my point, but without dumbing it down so much that I lose all the creativity and my own view, like,
Robin Hamilton: Yes,
Marco Ciappelli: did you draw a line?
It's a
Robin Hamilton: That's a great question. And that's why I loved listening to your, your podcast because, um, one of the, a number of the authors that you have have talked about, you know, writing authentically from your heart, but also how do you appeal to, you know, a [00:22:00] mass audience and what do you do? What is the fine line between? You know, making it work. And, and I still haven't quite figured that out, because At the end of the day, you do have to make something that people will see. The irony is that when I first did the film about Mrs. Fannie Lou, I didn't really know if anybody was going to see it. I was probably still going to be reporting, and I thought, you know, I just want this to be a love letter for her, and if it gets on a local station, I'll be happy.
And it ended up getting picked up nationally and going on PBS throughout the country, which was such a great win. And the same was with Odessa Madre, Odessa's Reign. What was funny about that was someone had the audacity to write in to me, to write to me, And send me a nasty email about why are you glorifying and glamorizing a woman who made all this money off crime and she hadn't even seen the film yet.
So you just saw an ad for it. She hadn't even seen it. [00:23:00] But, um, but that's a really good question. And I think the hardest thing too is When you write from your heart, you really have to be okay not taking so many things personally. And, uh, you have to, you have to let that go. That's why I was fascinated with the author that wrote the book for his daughter who was at camp.
Marco Ciappelli: Oh
Robin Hamilton: that, uh,
Marco Ciappelli: Yeah, he wrote a letter to her like stories every night.
Robin Hamilton: Yeah, yeah, and he said, you know, I'm not even gonna think about what other people are thinking. I just want her to like it. I just
Marco Ciappelli: a one on one, right?
Robin Hamilton: Yeah it was a one on one and there is something to be said with if you're just writing from your heart. That's really, that's the most authentic thing you can do. And yes, it may hurt if other people criticize it, but if you're going, coming from a really genuine place, then that's really what matters.
Marco Ciappelli: there's always gonna be those people There's always gonna be you go [00:24:00] to the best restaurant in the world with the best chef and they're gonna say I would have put another ingredient in there, you know, well then go cook it yourself, you know
Robin Hamilton: Yes. Yeah, exactly. Exactly
Marco Ciappelli: Well, that that's obviously it's kind of like when you do a statistic that's You know you eliminate that you eliminate the really good comment too and and then you see what Most of them say, but I think you were successful with that because honestly, you didn't think about much about the audience.
You tell the story the way you wanted to
Robin Hamilton: Thank you. Yes.
Marco Ciappelli: that's what people probably appreciate it and
Robin Hamilton: Yeah. And that's, and that's how I, I try to go through my decisions on who I pick as a subject or how I figure out what my next creative pursuit is going to be. It's what really speaks to me. What really,
Marco Ciappelli: Now, [00:25:00] sorry, you do direct this as
Robin Hamilton: Yes. Yes, I did.
Marco Ciappelli: What's, what's your background there? You just went out there and did it?
Robin Hamilton: I did. I,
Marco Ciappelli: I love it.
Robin Hamilton: I, I did. And I have to say people have asked, Oh, did you have imposter syndrome? And the answer is no, because I used to, when I was a reporter, I did used to think, Oh, am I not, am I not this or that? And I was never very good at kissing. Kissing ass.
Marco Ciappelli: Mm hmm. Mm
Robin Hamilton: I wasn't making it up the corporate ladder.
I just didn't do it. I can be pleasant and professional, but I'm just not going to suck up. And I just got tired of people telling me I wasn't enough. And so when I finally got an opportunity to do this story with Mrs. Hamer, I figured, well, I'm I've already had, I've already had the training as a reporter.
I know what it's like to work under tight deadline and keeping things engaging with the public as a [00:26:00] journalist and putting images to words together and doing all that. And I'll just treat this as a really long feature piece long. I say a half hour, that's what I've done. A half hour is long when you've worked in local news and your pieces have to be a minute and a minute and a half.
So a half hour was long for me. But I felt like I already know how to do this and what really confirmed that was when I would go to certain film festivals and I would be sitting on panels and, you know, people would be all puffed up talking about what they did. And no one had the same experience that I had.
I wasn't meeting anybody who had had to transfer their skills over to film in that way. So when people were saying, Oh, it took me eight years to do this film or whatever. And I'm thinking. I don't want to spend eight years on just one thing. Like I want to get it, get it out to the world. I want to do that.
Marco Ciappelli: I love it. I mean, you have it inside and you have the experience to do it but you [00:27:00] also have, you know, it's kind of like that, I don't know. You have it. You either have it or you don't have it. I mean, you can learn things but, absolutely, you can always get better. There's always going to be somebody that teach you things but, you know, if you have that inside you, you'll know.
Right? You'll, you'll know. So,
Robin Hamilton: Yeah.
Marco Ciappelli: you think you're gonna apply this to something like a, I don't know, a feature film? Are you tempted by experiencing a, like, a more complex storytelling?
Robin Hamilton: I am. That's a great question. I actually am. Marco, I have, I have the bug. I just don't know. I haven't quite figured out where I want to take the leap. If that makes sense, but I, but I am, I mean, one of the things people ask me so often is when I did Odessa's rain. Oh, is that going to be a feature? Oh, are you going to make that a [00:28:00] feature length film, a live action film?
Oh, is it going to become a book? Um, and so I've thought a lot about what I want to do with her because she's another one where I learned about her just walking through the streets of Washington DC. I had a little bit of a break during my day. And I saw this small placard that said, this used to be the body house, that's what they called brothels and gambling places that Odessa Madre, the D.
C. Al Capone lived. And I thought, wow, this woman's so fascinating. And she just stayed in my mind for, for a while. And that's when I said, I got to do something more. And that's how she, I feel she is with me right now. I want to do something more. I want to continue the conversation about her. I just am not sure what it, what it looks like.
Marco Ciappelli: I don't know, I'm thinking The Godfather in my head.
Robin Hamilton: Right? I, I know. Well, I have to say, I love that you asked about, um, you know, threading the needle between, um, [00:29:00] what is going to appeal to the masses and what isn't. And I really, I fell in love with The Godfather when I, when I read it. And I know people have mixed feelings about it, but I just. I loved it.
And I read an interview with Mario Puzo. Um, and he said, you know, it wasn't even my favorite book. I had written a book, you know, I think it was The Fortunate Pilgrim. And he said, You know, that was one of my favorite books, but it wasn't, it wasn't being picked up. And I think he had worked for City Hall and maybe a local newspaper, but to make a long story short, he was just reading stories about gangsters in New York.
And he said, you know what, I'm just going to do, I'm just going to do the lowest like hanging fruit and make this book about, you know, this, the Corleone family and look at how successful, I mean, look at what a legend. He became, um,
Marco Ciappelli: you think people will go to him and say, Hey, you're just glorify a criminal
Robin Hamilton: that's right. That's [00:30:00] right. Probably right. But, but it became this and he's one person I wish if he had, if he was still alive, I would definitely love to pick his brain just about the writing process. And he's, he's a beautiful, beautiful writer.
Marco Ciappelli: Yeah. Yeah. Very cool. Well, this is a fascinating chat that we're having. And I really love it. I can see a lot of things that that in you that I kind of feel the same way. Like when you're like, it's like, when I do something, Yeah. I don't like to script anything because I'm not good at memorizing things.
I like to just go loose. Um, and, uh, you know, even the interviews, I, I know how to talk with my Italian accent and mistakes here and there. My wife make fun of me all the time, but I'm like, yeah, but I think about what I say, not how I say it that much. And I can get away with a murder with that.
Robin Hamilton: of can't honestly because when you have like an [00:31:00] Italian
Marco Ciappelli: I have an excuse.
Robin Hamilton: people love it though. It honestly, it has a lot of
Marco Ciappelli: I hope so. I hope so. But you know, and, and, uh, and with you, with these fascinating stories, I really want to know what you're going to do next. I want to see what you do next. And, and, uh, and I want you to come back and have
Robin Hamilton: you.
Marco Ciappelli: more, more moments to share stories with me. If you, if you would like to.
Robin Hamilton: Thank
Marco Ciappelli: And, uh, and I hope that people appreciate it. These short, hey, 30 minutes, see how fast they go,
Robin Hamilton: It goes by so fast. Yeah. Thank you, Marco. I really appreciate it. I would absolutely, I would absolutely love that. And, um, and I, and I would love people to come to, they can go to my, um, my website and see my films at aroundrobin.com and just see what I, what I do and the stories that I like to tell. And you totally get it.
You
Marco Ciappelli: yeah. Well, I, I, I think your stories were fascinating. The people [00:32:00] that you portrayed in your stories are also fascinating and, uh, I will obviously be more than happy to, and I will put all the links to your website
Robin Hamilton: Oh, thank
Marco Ciappelli: in the notes and I invite people to learn more about you and what you do and, uh, and leave us your feedback if you, if you have their own experience in telling stories and if you agree with what we said or not.
If you don't agree, we didn't do it. But if you agree we did
Robin Hamilton: That's right. That's right. Or just don't leave a comment.
Marco Ciappelli: We didn't do it. We didn't do it. All right. Thank you everybody. Stay tuned for another audio signals podcast Coming to you soon and robin. Thank you very much for spending time with me.
Robin Hamilton: Thank you. It was an absolute pleasure, Marco. Thank you.