Actress Joanne M Kelly On The Five Things You Need To Create A Highly Successful Career In TV & Fil

Actress Joanne M. Kelly On The Five Things You Need To Create A Highly Successful Career In TV & Film

…The most important relationship you’ll ever have on a set is the relationship with yourself. That’s something I wish I had known from the beginning. When I first started, I used to think that when people directed me, it meant I was doing something wrong. I’d take help as criticism, and it took me a long time to learn that wasn’t the case. Another thing I wish I had known is how to handle unhelpful or negative comments. Earlier in my career, people could be quite cutting and cruel, treating you like an object, as if you’re not intelligent or even present — just a set piece they move around. Instead of feeling less than because of that energy, I wish I had realized how important it was to have a strong relationship with myself. Now, I’m unfuckwithable because I know my worth. I don’t care if someone thinks I’m a good actor — I know I’m a good actor. When I was younger, that wasn’t the case. I had huge moments of insecurity and self-doubt, and I still do sometimes. But I’m definitely in a better relationship with myself than I used to be…

I had the pleasure of talking with Joanne M. Kelly. Joanne, born in Bay d’Espoir, Newfoundland, Canada, has carved a notable career as an actress in both film and television. Known widely for her portrayal of Secret Service agent Myka Bering in the Syfy series Warehouse 13, Kelly has established herself as a versatile performer capable of bringing a wide range of characters to life.

Kelly’s journey into acting began in a rather unconventional setting. Raised in the rural environment of Bay d’Espoir, a small community with limited exposure to entertainment, Kelly was not surrounded by the cultural stimuli typically associated with fostering an acting career. Her childhood was marked by outdoor activities like snowmobiling and boating, and it wasn’t until she discovered her mother’s old English literature books that the world of acting opened up to her. By the time she was seven or eight years old, Kelly had already immersed herself in Romeo and Juliet, igniting a passion for the performing arts that would define her career.

At 17, Kelly left her small-town roots and moved to Nova Scotia, where she attended Acadia University on a full academic scholarship. Despite her parents’ initial surprise — given her lack of formal acting experience — they eventually supported her decision, allowing her to embark on a career that would lead her to significant roles in both theater and on-screen.

Kelly’s early career was marked by a series of supporting roles in Canadian television and film. Her first major role came in 2002 with the film The Bay of Love and Sorrows. This was followed by appearances in the made-for-television movie Mafia Doctor and the film Crime Spree. She continued to build her résumé with roles in the television series Jeremiah and the mini-series Slings and Arrows, showcasing her ability to tackle diverse characters.

The turning point in Kelly’s career came in 2009 when she was cast as Myka Bering in Warehouse 13. The series, which ran until 2014, allowed Kelly to reach a broad audience and demonstrated her ability to balance action with character-driven storytelling. The role not only brought her critical acclaim but also provided the stability that many actors in the industry rarely experience, allowing her to establish a lasting presence in the world of television.

Following her success on Warehouse 13, Kelly continued to take on challenging roles, including the lead in the independent film Runoff (2014), where her performance was widely praised. Her television work has been equally varied, with appearances in series such as Vanished, The Dresden Files, City on a Hill, and Godfather of Harlem. More recently, Kelly has been seen in the Emmy-nominated series Severance and has continued to contribute to projects that align with her passion for storytelling.

In addition to her on-screen work, Kelly has remained connected to her theatrical roots. She has taken on roles in Shakespearean productions and contemporary plays, including Romeo and Juliet, Julius Caesar, Macbeth, and Proof. Her performances on stage have underscored her range and depth as an actress, with roles such as Lady Macbeth highlighting her ability to handle complex and intense characters.

In recent years, Kelly has begun exploring new facets of her career, including writing and directing. She has expressed a desire to produce stories that resonate with her, emphasizing the importance of storytelling as a means of understanding and reflecting the human experience. This shift into producing and directing represents a natural evolution for Kelly, who has spent over two decades honing her craft and now seeks to shape the narratives she feels passionate about.

As Joanne Kelly continues to take on new projects and expand her influence in the industry, she remains a figure of resilience and adaptability. Whether through her teaching, which she views as a way to give back to the next generation of actors, or her commitment to her own creative projects, Kelly’s career is marked by a dedication to the art of acting and storytelling that continues to inspire those around her.

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Yitzi: Joanne, it’s an honor to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share with us a story from your childhood and how you grew up?

Joanne: Well, I grew up in Bay d’Espoir, Newfoundland, in Canada. You can probably hear that little twang in my voice — it’s a Newfoundland accent. I could really lean into it and talk like this, but I won’t freak you out. I’ve Americanized my voice, as you can tell. So, yeah, I grew up in a small town of about 700 people. We didn’t have cable or movie theaters, so I wasn’t exposed to much entertainment growing up. It was a very rural upbringing. There’s a lot of hunting there. I spent a lot of time on snowmobiles and in boats with my dad out in the country. I learned to shoot probably when I was four or five. I didn’t hunt, but my dad did, and it’s a big part of life there — moose hunting season and stuff like that. But I did spend a ton of time outside, and I was quite a tomboy. I really didn’t want to be a girl. I even prayed I would turn into a boy when I was 12, but it didn’t happen.

When I was about seven or eight years old, I picked up Romeo and Juliet. My mom was an English teacher, so she had kept all of her books and course materials from school. I started reading it, and it was like I had been struck by lightning. Whatever world those words came from, I wanted to be in that world. I didn’t tell my parents about this desire because they were, like most parents, really focused on math and sciences. Coming from such a small place, they wanted me to travel, to leave Newfoundland, to get off the island. They wanted me to be educated off the island because they weren’t. My dad was the oldest of ten and grew up in poverty. Even though we were middle class — both my parents had jobs, which in Newfoundland means you’re middle class — they wanted more for us.

So, my brother and I both got full academic scholarships to study math and science. He’s a chemical engineer now and works for Roche. I got a full ride to study engineering, but in secret, I recorded myself performing Antigone on my boombox and sent it to a university. To my surprise and delight, they offered me a full scholarship.

So I then told my parents, and they were shocked. They were like, “What do you know about acting? You’ve never even seen a play. What do you know about acting?” And I was like, “Nothing. But I really feel like this is something I’m supposed to do.” After not a few tears and some harsh words, they capitulated, and I went off to school. I mean, I had secured a scholarship, so there wasn’t much they could say to stop me.

I went to Acadia University on the east coast of Canada, in Nova Scotia, but I didn’t really fit in there. I was a scholarship kid, and most of the students had a lot more money than I did. I felt like a bit of an outlier, and I didn’t love the program. I didn’t really understand the arts at that point and just didn’t fit in. But I did have a lot of fun.

When I graduated, I auditioned for Shakespeare in the Park and landed the role of understudying Juliet. I got to perform at the Minack Theatre in Cornwall, England, for Romeo and Juliet. It’s probably the most beautiful theater in the world, made out of stone and built by a woman named Rowena Cade in the 1800s. It looks out over the ocean, so just as Romeo and Juliet were dying, the sun was dipping. It was truly an amazing experience. From then on, I was completely hooked on professional acting.

And then I bartended and scraped up enough money to move to Toronto. When I got there, I thought about working at Stratford or Shaw, one of the big theater festivals, because theater was a big love of mine. But those festivals were in very small towns, and I had just gotten out of a small town. I wanted to see the world, so I decided to pursue film and television instead. I started auditioning, and I got really lucky. I did a couple of independent films, then went to LA and did a pilot with J.J. Abrams and Don Rickles, who played my grandfather. That’s when my film and TV career kind of took off. It’s been a wild ride.

I lived in LA and did a sci-fi series in Toronto, an American series for five years called Warehouse 13. That was amazing. It gave me some stability in a very unstable business — I bought a home, which a lot of actors don’t get to do. When that finished, I moved back to LA, but I decided I didn’t want to stay in Los Angeles. I have a theory that there are East Coast people and West Coast people, and I’m definitely an East Coast person. I felt mature enough to handle New York, so I moved here in 2017. I was here during COVID, and I feel like I’m a New Yorker now because I didn’t leave. A lot of the Canadians I knew went home, but I’ve been here ever since.

I’ve been so blessed. I worked on Godfather of Harlem with Forest Whitaker, who’s amazing. I did City on a Hill with Kevin Bacon, who was the best. I worked on Severance with Ben Stiller. And I just keep whittling away at this crazy profession, trying to do the thing I love. I audition a lot, and I get a very low percentage of those jobs, but there’s nothing I’d rather do. It just makes my heart sing.

Yitzi: You probably have some amazing stories from all the different artists you’ve worked with. You have so many different credits. Can you share with the readers one or two of your favorite memories, favorite anecdotes from your professional life?

Joanne: I think one of my favorite anecdotes is from a long time ago when I worked with Harvey Keitel. Being from where I’m from, when he walked into the room, I just thought, “Oh my God, this is the coolest man alive.” He had on a fedora and had just come back from Italy, where he was narrating an opera. I was sitting on my trailer step because we were supposed to do a scene together. We were supposed to play love interests, but when he saw me, he decided I was too young, so that scene got cut. I was devastated because I really wanted to work with him, but it didn’t happen in the film.

One day, I was sitting on my trailer step, reading, and he pops his head out and goes, “Hey.” I’m like, “Hey.” And then he goes, “Want to come over?” I was like, “Okay.” So I walk over, and he invites me into his trailer. He was so sweet — he left the door open so it wouldn’t be weird for me, you know. He had this beautiful cheese spread from all the stuff he had brought back from Italy, and he offered me some. We sat there discussing Shakespeare for about two hours before he was called to set.

That was one of my favorite experiences. Harvey is such a beautiful soul — so gentle, despite the ferocity of his work. He really made me feel seen, safe, and taken care of. You hear a lot about the bad things that men do in this business, but there are also some really special men. That was definitely one of my favorite experiences.

The other one that pops into my head is from my first job with J.J. Abrams when Don Rickles played my granddad. I was really shy — it was my first time in L.A., and I was completely overwhelmed. Just this little girl from Newfoundland, you know? There were some really big personalities on that show, and Don was the biggest.

He had a show in Vegas, but I remember one of the crew members’ parents was sick, and Don said, “Give me your phone,” and then, “Call your dad.” So the crew member called his dad, and Don spent an hour on the phone with him in the hospital, just making him laugh. He was so kind, so generous, so lovely, and so caring.

I had been avoiding him — I was so intimidated. Whenever he looked at me, I’d look away because I was afraid of him. I remember he looked at me and said, “Not such a bad guy, am I?” Those are some of the stories that really stick with me — just really heartwarming moments.

You would never think that, but, you know, nurturing is not a word you hear thrown around a lot about men. I’ve also seen the other side of that and been in many situations where that wasn’t the case. But those two moments really stand out in my mind because there was such kindness and such an open heart. They had nothing to gain from it, other than just being open-hearted and kind.

Yitzi: So you’re saying there were times when people were the opposite of that, when people were mean to you?

Joanne: Oh my God, absolutely. I’ve been in this business for a long time, so yeah, I’ve faced my share of inappropriate comments and behavior. I remember one time I was doing a screen test or a wardrobe fitting, and all the executives came in and started commenting on my body. It was just one of those moments where you think, “How do you even react to something like that?” I remember thinking, “I’m going to give them my mom’s stare.” My mom was a teacher and vice principal, and when she was mad at you, she’d look at you like she was disappointed in you. So I just looked at them like, “Who raised you? You should be ashamed of yourselves.”

There are so many people in power who use that power in very awful ways. I was lucky because I was educated. A lot of actors don’t have the education I had, or the support system. My parents have been married for 55 years, and I come from a good family. I remember my manager calling me a couple of times, saying, “So-and-so wants to meet with you at this hotel.” And I’d be like, “No, we’re not meeting at a hotel. That’s ridiculous. We’ll meet at a coffee shop.” I was so naive that I was actually smart — I didn’t realize I was turning down opportunities by doing that, but it just didn’t make any sense to me. So, in a way, I navigated through all of it pretty savvily without even knowing it. I had no idea I was losing jobs because of it.

Yitzi: So you really lost a job because you didn’t want to meet in a hotel? That’s so sad.

Joanne: Oh my goodness, yeah. It is sad, but I think it’s important to understand that those times were different. We can’t judge the ’80s through a 2024 lens — it’s not fair because the culture was different then. I mean, we can judge it, but we also have to leave room to learn from it. If we just other it, we don’t recognize when it’s happening in passive-aggressive or different ways now. These issues still exist; they just exist differently. Trust me, we haven’t eradicated the problem. I’ve still had horrid experiences on sets even after #MeToo.

But, you know, it is what it is, right? Life isn’t easy, nor is it fair, and I don’t expect it to be, especially not in this business. If you want a fair industry, you should probably look somewhere else. I think Susan Sarandon said that once in an interview — she was like, “If you want to be part of an industry that’s fair, this is not it.” I took that to heart.

It’s easy for people to become embittered because this industry is so difficult. But I have safeguards in place, and I just love it so much. I can’t imagine being miserable in it, you know?

Yitzi: That’s great. So that segues to our next question. It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting and the lesson you learned from it?

Joanne: This is a lesson I still haven’t fully learned — I struggle with it. But I think it’s a great story. I was doing a screen test for Warehouse 13, the sci-fi show I eventually ended up getting and doing for five years. My co-star and I were in the middle of the scene, and I had a line where I was supposed to say, “Stop being such a showboat.” Instead, I said, “showbot” He immediately started doing the robot dance, and I got mad at him and punched him, saying, “Get your shit together. This is a screen test!” Then the head of the network was like, “That’s the show!”

So, I think the lesson here is that in life, sometimes we want to be perfect, but it’s the mistakes that actually allow us to succeed.

Yitzi: None of us are able to achieve success without some help along the way. We love hearing stories where someone more advanced creates an opportunity or opens a door for someone who’s not there yet, and that changes their career. Do you have a story where you did that for somebody else, or someone did that for you?

Joanne: You know, I’ve tried to pay it forward because I’ve had so many moments of kindness in my career. I’ve shared a couple of stories with you, but there are many more. There are some extraordinary human beings in this business, truly extraordinary. For me, my way of giving back is through teaching. I’m really hands-on with my students — I call them “the kids,” even though some of them are my age.

I always tell them to email me if they’re on set, if they have any questions, or if they run into anything. They have my contact info, and they know they can reach out. A lot of young actors do reach out to me, asking things like, “Hey, this person said this. How do I process it? What does it mean?” It’s about being an ear, being supportive, having objective eyes, and sharing my 25 years of experience in the industry. I’m able to tell them, “What that person said is not indicative of your talent or where you are.” I try to provide the support I wish I had.

I don’t have kids, and I’m not married, so this is my way of nurturing the way I felt nurtured. I really want my students to have a support network they can lean on in times of self-doubt, self-criticism, or whenever they need it. I really try to instill in them a healthy sense of self-love because the relationship with yourself is the most important thing you can have in this business. And that, I believe, is unshakable.

Yitzi: Perfect. You have so much impressive work. Can you share with our readers the exciting projects you’re working on now? And where do you see yourself or hope to work on in the future?

Joanne: Well, I’m swinging for the fences, I’ll tell you that much. I just finished my first feature film, and I want to get funding, star in it, and direct it. I also want to start producing more. Having been in this business as long as I have and reading as many scripts as I do, I feel like I’ve put in my 10,000 hours. I really want to facilitate stories that I believe in, stories that can affect change. The art of storytelling is so important — we’ve been telling stories since we could paint on cave walls. It’s how we see ourselves; it’s part of the human experience.

Good storytelling needs good shepherds, and as I get older, I’m really feeling the pull to step into that role. I’m not quite sure how to do that yet, but creating two TV shows and a feature film seems like a good place to start. I recently started directing a one-woman play, so I’m just beginning to explore this part of my career. I always knew I would eventually step into this realm, and now I’m ready. So, this year, I’m really diving into it.

Yitzi: Have you met producers?

Joanne: I have, yeah. I’ve met so many producers over the years. My scripts have even been with companies like Forest Whitaker’s and were with a team who had a deal with HBO for a while. So I’ve definitely met producers, but making the leap from acting to producing is an interesting one. I’m still figuring out how to navigate it. I was never much of a networker, which hasn’t necessarily served me well. I’d be invited to industry parties, but I never went because they didn’t really interest me. I think I was so young that I didn’t realize networking was part of the business, and it just kind of freaked me out. So I never met people that way. But I have worked with so many amazing individuals, so there’s a large pool to draw from.

Yitzi: Amazing. I’m sure you’re going to get many more amazing parts. You’re so visible in some of these highly reviewed shows. Severance is on the lists of the best shows of all time.

Joanne: I know, I know. What’s crazy is I never watched it. I think there are some shows I just save for a rainy day, you know? Plus, I have such a hard time watching myself — it’s not fun for me. So, yeah, I haven’t seen it.

Yitzi: In your opinion, what was it that captured people’s hearts and minds about Severance?

Joanne: Well, as I mentioned, I haven’t seen it. But with a cast like Patricia Arquette, John Turturro, Adam Scott, and Chris Walken — who wouldn’t want to watch Christopher Walken do anything? I’d watch that man paint a wall and be thoroughly entertained.

My time on Severance was brief — I was in and out. They called me because they had replaced someone and asked if I could come in and do the scene with Adam. It’s not usually what I do, but because it was Ben Stiller directing, I said yes.

There’s something almost magical that happens with good work, and it doesn’t happen often. When I walked onto that set and looked into Adam’s eyes, I saw what he was doing with his hands, and I thought, “Oh, he’s in it.” You can feel it — the magic. It’s almost like a delicious shiver that runs through your spine. It happens in theater a lot, when the hairs on your arm stand up. I think the deepest part of us knows something special is happening. I really felt that on that set, so it didn’t surprise me when everyone freaked out about the show. I felt it too, you know?

Yitzi: You’re also in The Godfather of Harlem. What lessons do you think our society can take from the themes of Godfather?

Joanne: Don’t judge a book by its cover. That show is doing something quite extraordinary — it’s like a history lesson, but entertaining. What’s so exciting about storytelling right now, and about that show in particular, is that these stories weren’t being told 10 or 15 years ago. We’re really diving into an extraordinary time in New York, especially Harlem. Harlem was extraordinary, like a Paris of its own.

The people and activists who helped with the civil rights movement were extraordinary human beings. There’s a lot to learn there, especially as we come up on an election year. The history of this country is beautiful — beautiful and ugly. And to move forward, you’ve got to look back.

Yitzi: You’re probably most well-known from Warehouse 13. It says you were in 64 episodes, which is amazing. How would you compare and contrast your personal character with the character you played, Myka Bering? How are you similar, and how are you different?

Joanne: I used to get so mad when Jack Kenny, the showrunner, would say, “Joanne is exactly like her character.” And I’d be like, “Jack, you have no idea!” I was not like Myka. I’m a free spirit, and especially back then, I had a real wild side. I remember one day, I was exhausted, and Eddie was like, “Why are you always reading? Why don’t you want to laugh at my jokes?” And I was like, “A, I’ve heard this joke a million times. And B, every day, I have to come to work and put a giant stick up my ass!” Myka was wound very, very tightly, and it was challenging to be the straight man for that long.

In ways we’re similar, I will say I love Jack Kenny for trying to incorporate things about me into the character. He wrote that Myka was a Shakespeare fanatic and loved to read, both of which are true about me. He did that with all of us, really, winding our personality traits into the story. As the show went on, he’d say, “Let’s loosen her up, unwind her a bit, so you can relax.” He’s a very kind man.

So, yeah, I’d say I’m a hell of a lot wilder than Myka ever was. But there’s a similar studiousness and perfectionism in both of us. And being a perfectionist is not fun — there’s a reason why Brene Brown exists!

Yitzi: This is our signature question that we ask in all of our interviews. You’ve been blessed with a lot of success over the years. Looking back to when you first started acting, do you have five things that you know now that you wish somebody told you when you first started?

Joanne:

1. The most important relationship you’ll ever have on a set is the relationship with yourself. That’s something I wish I had known from the beginning. When I first started, I used to think that when people directed me, it meant I was doing something wrong. I’d take help as criticism, and it took me a long time to learn that wasn’t the case. Another thing I wish I had known is how to handle unhelpful or negative comments. Earlier in my career, people could be quite cutting and cruel, treating you like an object, as if you’re not intelligent or even present — just a set piece they move around. Instead of feeling less than because of that energy, I wish I had realized how important it was to have a strong relationship with myself. Now, I’m unfuckwithable because I know my worth. I don’t care if someone thinks I’m a good actor — I know I’m a good actor. When I was younger, that wasn’t the case. I had huge moments of insecurity and self-doubt, and I still do sometimes. But I’m definitely in a better relationship with myself than I used to be. So, that’s one thing.
2. Two, you’re your own worst critic. All those things you see as wrong with you? Nobody else sees them. We’re often much harder on ourselves than anyone else ever would be.
3. Three, life is a process, not a result. Enjoy where you’re at and try not to get caught up in the drama of failure or success. They both contain huge pitfalls and can warp your reality to trip you up.
4. Four, there’s nothing that a good laugh can’t cure. Seriously, laughter is one of the best remedies for just about anything.
5. And five, the sun is always going to come up tomorrow, no matter how today went. Every day is a new chance to do it differently, to do it better. And if you don’t, that’s okay too.

Yitzi: Can you share with our readers the self-care routines that you do to help your body, mind, and heart thrive?

Joanne: Oh God, yes, there’s a lot. I practice gratitude a lot, and I’m big on affirmations. I tell myself, “I love you” regularly, even when I’m not really feeling it. I’ll still say, “I love you.” I also pat myself on the back a lot and say, “You’re doing great.” My partner makes fun of me for it, asking, “Are you mothering yourself?” And I’m like, “Yep, I’m doing great!”

I journal frequently, and I’m a big fan of big thinkers. I love reading Marcus Aurelius, Ryan Holliday, and anything that challenges my thinking. I just finished The Swerve. I try to read things that expand my intellectual horizons.

I meditate every day, and I exercise six days a week. I have to — it really helps. I’ve struggled with depression and mental health issues in the past, and exercise and meditation have been crucial for me. I also see a therapist once a week for added support.

And walks — I’ve really come to love walking, especially living in New York. I do it a lot. So yeah, those are the things I do to take care of myself.

Yitzi: So Joanne, because of your amazing work and the platform you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?

Joanne: Pacifism, I think. It’s hard not to get emotional with all the conflict in the world. I’ve had the privilege of working all over the world — in Africa, in the Middle East — and I’ve spent time in places of conflict. I just don’t understand why we continue to let it happen. We are all mothers, sons, brothers, sisters, children — it makes no sense to me. We must hold industries that profit from arms dealing accountable. The United States is one of the biggest arms dealers in the world. We mustn’t forget that.

As humanity evolves, I’m constantly surprised we haven’t moved on from violent conflict. I feel like a country’s policy isn’t always reflective of its people’s beliefs. I truly believe that humans are good at their core. I think there’s a real need to shift this world to make it a place safe for everyone who lives in it, whether in Ukraine, Gaza, or places less in the Western consciousness, like Sudan. It’s all unthinkable and unnecessary. There’s enough in this world for everyone. Food scarcity, for example — there’s no need for it. There’s enough here. There’s so much wealth — why isn’t it dispersed more fairly? If I could get behind something, it would be that.

Yitzi: This is what we call the matchmaker question, and sometimes it works. We’re very blessed that prominent leaders in business and entertainment read this column. Is there a person in the U.S. or the world with whom you’d like to have a power lunch, collaborate, or share coffee? We could tag them and maybe help connect you.

Joanne: Wow. Oh my goodness, that’s a hard question to answer. So many women come to mind because I’ve never had a mentor, and I really, really want one.

Ava DuVernay — she’s pretty amazing. I remember watching The 13th and just being in awe. She tells stories that are important and can make a real difference in the world. I think she’s extraordinary.

Cate Blanchett — just because she’s incredible. I still remember her as Bob Dylan.

Nicole Holofcener — I remember watching Lovely and Amazing for the first time and realizing the power of a female gaze. I just love the films she makes. She’s in New York.

Ethan Hawke — He just did a movie about Flannery O’Connor with his daughter, which I think is extraordinary

Celine Song, who’s from Toronto.

The Safdie brothers.

Christopher Nolan.

Denis Villeneuve — he’s also Canadian, and what an incredible filmmaker. I mean, remember Prisoners? That movie was amazing.

Those are just a few, and the list goes on.

Yitzi: Amazing. How can our readers continue to follow your work online? How can they support you in any way?

Joanne: It’s interesting because I’m not on any social media. I decided a long time ago that it wasn’t something I wanted to put my energy into. It’s funny because my fans often ask me the same thing — they come to see my plays, and sometimes we’ll go have a drink after the show. They’ll ask, “How do we connect with you? How do we support you?” And I’m like, “I don’t know.” To be honest, I think when I’m trying to fund my feature, I’m going to have to do something then. So maybe just keep an eye out for me, because I’m going to need help at some point on some platform.

Yitzi: Thank you. Thank you so much. It’s really a delight to meet you. I wish you continued success and blessings.

Joanne: Thank you so much. If you need anything, just please reach out.

Actress Joanne M Kelly On The Five Things You Need To Create A Highly Successful Career In TV & Fil was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.