In this episode, I talk with Jay Silverman, an award-winning filmmaker known for his emotionally resonant work. Jay discusses his journey into feature filmmaking, which began with "Girl on the Edge," a deeply personal film inspired by his daughter's recovery through equine therapy. His latest film, "Camera," is another heartfelt project influenced by his experiences as a father of a daughter with impaired speech. Jay shares how his work has become a vehicle for expressing the lessons and wisdom he's gained from these personal experiences, driven by a passion to touch others through his storytelling.
For over 40 years, Jay Silverman has excelled as a leading Director, Producer, and Photographer specializing in award-winning films, television, digital, and print campaigns.
Jay’s narrative films have been awarded numerous Best Feature and Audience Awards at festivals across the country. His current dramatic feature "Camera", stars Golden Globe, Emmy, and Grammy Award Winner Beau Bridges, Jessica Parker Kennedy, Scotty Tovar, Bruce Davison, and Miguel Gabriel. It will be released on Amazon and iTunes on July 23rd, 2024. His first was the multi-award-winning dramatic feature “Girl on the Edge”, starring Peter Coyote, Taylor Spreitler, Mackenzie Phillips, Elizabeth Peňa, Gil Bellows, Rex Lee, Amy Davidson, and Amy Price Francis that premiered on Showtime. His second is the charming romantic comedy “Off the Menu” starring Dania Ramirez, Tony Award Winner Santino Fontana, Makenzie Moss, and Maria Conchita Alonso, which premiered on HBO & Amazon. His third is the true story drama “Saving Paradise” starring William Moseley, Johnna Braddy, Mary Pat Gleason, Bill Cobbs, Paul Dooley, and James Eckhouse currently on Tubi and Amazon.
Jay Silverman Productions: Jay Silverman Production’s mission is to use the power of storytelling to inspire and entertain with a message that is uplifting for society. As an independently owned and operated entertainment production company that develops and produces independent films and television shows, we believe we have an important responsibility to use storytelling to make the world a better place.
Watch Camera: https://linktr.ee/camerathemovie
[00:00:00] Jay: Recently, somebody told me my movie is a little too sappy and I'm going, you know what? That's okay. That's a compliment because sometimes we need to see films that inspire, that's not just explosions or people transforming into a ghost or what have you.
[00:00:20] Carole: Welcome to Wisdom Shared, where people on the front lines are the experts and where connection inspires change.
Today, I have as my special guest, Jay Silverman, an award-winning filmmaker. He started his feature film career with the film Girl on the Edge, a very personal film about his daughter's journey to recovery using equine therapy. His newest film, Camera, is now streaming on demand. As a father of a daughter who has impaired speech, telling the story depicted in the film Camera is very personal to him.
A lot of how Jay works these days is from his heart and he has the talent and resources to share with the world some of the lessons and wisdom he has found. Hi, Jay. Welcome to Wisdom Shared.
[00:01:09] Jay: Thank you so much. That was a wonderful introduction. I'm very grateful.
[00:01:14] Carole: Well, I have to confess, I've listened already to many of your podcasts that you've been on as a guest, and I watched three of your movies and I have to say, I feel as though I know you already.
You have so much wisdom and in one hour, I wondered to myself, what are the best questions that would be the most valuable to my audience? So, you have used your talent, your resources, and your family experiences as a way to make a mark in this world. So, where to start?
[00:01:45] Jay: I want to say this right at the beginning of this conversation. I had a very special thing happen to me at a screening last week. I was standing at the front of the theater. This group of women were the first to enter. And the very first thing they said is we're here to see Camera. And I go, fantastic. And they looked at me and they said we came all the way from Santa Clarita just to see this movie.
These women drove two hours in traffic to see the film. And I was inquisitive on trying to understand what drew them to see an independent movie. And it was really incredibly fulfilling to know that without intention, of course, I'd like to provide wisdom when people watch a film about a young child that's got a disability, but it's a whole nother thing to realize that it opens up a whole category of interest for people that want to learn.
And I said, what specifically drew you to see this film? And they said, well, we're a group of parents that stick together and provide wisdom and share with one another. I have two children that are Down syndrome, one woman says. I have another child that's got a speaking disorder.
I think the same thing that I wanted to achieve with both of my incidents with my three daughters, which was, you need somebody at least two or three steps ahead of you that can look back and go, don't worry, it's going to be a turn coming up but you'll get through it.
[00:03:19] Carole: What's the movie about?
[00:03:20] Jay: The movie is about a little boy who just recently lost his father. And his mother and him moved to a small little fishing village. And he has a speech issue. He's mute, specifically created by damage that was done to his vocal cords at birth. They enter this community and they encounter not only a high level of disregard, but this inability to be able to feel welcomed. The child is bullied. The mother is treated with disrespect. And they're just trying to get over a hill.
And ultimately, what transpires in the movie is the little boy uses a camera as a tool to communicate. You discover that this little boy is taking wonderful pictures on the beach. But it's not until a couple minutes later that you realize that the camera doesn't even work. And to me, that was the lightning that's struck in my mind, because I was a photographer for 35 years, to see that this child with a mute disability was able to communicate using his camera as a tool.
So without revealing the entire story, you know, it's a wonderful story about an old man played by Beau Bridges, who comes to the rescue after this child has been bullied and, little by little, they become acquainted and a mentorship starts to form and it's at that moment that you start to recognize they both need mentors.
And to me, the movie isn't some movie you sit down with the family and laugh. This is a deeper thinking film. It is an independent film about a struggling little village and about how human beings are affected by things that have nothing to do with each other, has to do with the big picture. And then you wake up one day and a little kid has this incredible ability to switch the thinking of the whole community.
That, to me, is possible, and I've seen it happen in real life. And those are gifts you don't see anymore. You know, all you see is misinformation today. This is the real thing, you know, and that was important to me. Somebody that I highly respect says, you can't have your protagonist wandering around town all by himself.
And I said, well, what do you mean? He goes, well, you know, it doesn't seem like the mother's a very good mother. And I know that he had good intentions of giving me this advice, but I disregarded it because I wanted the character to be real and in a small little fishing village, people leave their doors unlocked.
People let their children, you know, this child is almost 10 years old. Can he stay home during summer and keep himself safe? Well, I think a lot of parents presumed that's the case and I don't think that it puts the spotlight on anything other than the complexity of raising a child all by yourself and juggling a job and then on top of it having a child that's got speech complications.
[00:06:37] Carole: So that person who said that to you was concerned about the character who's the mother that she would come off as being a bad mother, but you got so many feelings of empathy actually for the mom in that regard, and she did her best and her best still couldn't be enough. And that's exactly the truth many people face.
So I love that you were so truthful there. And there was a day and an age when it wasn't so unusual for kids to be walking around. Right now, it's like, oh, no one does that. But in the past, it was probably more common anyway.
[00:07:06] Jay: Exactly. But you know, the man, Jamie Murphy, who wrote this movie is from a small town in Ireland. And it was originally themed as an Irish film, but we modified it with him to make it more universal. But you know, that's the wonderment. My partner and I have a passion for watching European fare. And all of the movies that we watch depict just incredibly similar things that we all live with. I don't care if you watch a movie that's in Korea or in Bangladesh, human behavior, generally speaking, is Identical.
It's just in different worlds. I just have to say I watched a magnificent film, independent, about a boy that was on the spectrum and he was a drummer. The challenge that this movie conveyed that was extraordinary was the mother was overly protective. And what ended up transpiring in the movie, little by little, the mother started to let go, and next thing you know, the child bloomed.
So there's that angle, which is a whole separate thing because I cherish my children, and sometimes I'm reminded by people very close to me that, Jay, it's time to give them some rope.
[00:08:23] Carole: What's the name of the movie?
[00:08:24] Jay: The movie's called I Used to Be Famous. What makes it so great is the idea that it feels real, you know, and we all want to protect our children.
[00:08:35] Carole: Did you consider a child who is mute to be the actor in your film?
[00:08:40] Jay: Absolutely. It's very interesting because the last movie I made, which is called Saving Paradise, had a pretty significant character in the movie that was on the spectrum. I think it's important to not as a filmmaker fall into the category of just solving it by having somebody pretend like they are on the spectrum.
So we said, let's reach out to a casting agent. The guy was unbelievable. And when I say unbelievable, I call him Mr. Steves, he played the character of George in my movie. And I have no regrets hiring him and most importantly, I think a lot of people find him to be one of the best characters in the movie.
In the case of Camera, young Miguel Gabriel did have speech issues when he was young, he had stuttering issues. He had issues to the point where he brought in speech counselors and acting coaches and was able to regain his confidence enough to ironically become quite a successful little voiceover person for Disney movies. And I'm talking about Lilo and Stitch and big prominent Disney films.
So, it wasn't as if I hired somebody that had no knowledge of what it's like to carry a disability, because in this particular case, he was bullied when he was young because he stuttered. He was bullied because he was unable to connect two sentences without looking like he was stuttering. And that was one of the best parts of working with his mother and him was the fact that not only had he overcome that, but it was really critical for me to hire a young person that had the ability to transmit visual information that sometimes would involve page after page of emotions. And it's one thing to write on a page that, you know, he feels rejected.
It's another thing to turn the page and he's hesitant on accepting help from a third party. And then when he finally accepts it, he's still reluctant. You know, how do you tell a child to do that unless the child had experienced some of that on his own. You know, I'm not going to mince words. You know, there's all sorts of pressures a filmmaker has in modern filmmaking today.
I want to integrate my entire cast. I want to create characters that are unexpected with unexpected cultures. Otherwise I would have made a movie about a white boy. This boy is mixed. His mother's mixed. The character that you start to engage in is mute. And when people hired me when I was in my fifties to do stuff that, you know, I was competing against young people in their twenties.
They didn't hire me because I was quote unquote, the best visual solution. They hired me because I'd been there before. So they don't have to worry is he going to pull it off? Recently, somebody told me my movie's a little too sappy and I'm going, you know what, that's okay. That's a compliment because, you know, sometimes we need to see films that inspire, that's not just explosions or people transforming into a ghost or what have you.
[00:12:02] Carole: Absolutely. I mean, compared to what's usually the commercial films, having a real true human story in this day and age, if that's called sappy, then being human is sappy.
[00:12:13] Jay: You hit the nail on the head. I will tell you something, and it is super important to me as a filmmaker that the theme of my movie is two people that are kind of broken, that help one another, and there forms a kind of mentorship.
But, you know, I was lucky enough to have a mentor and that's why I'm here today to have had the success enough to be able to make movies and it's just not in the vernacular like it used to be. But we had a screening in Morro Bay where I established the movie in California and, you know, it's kind of like Boston or what have you, a nice little fishing village.
And we had a screening there and 1,800 people came. We had to open up two screenings. I'm not lost for the fact that it was a biased crowd because they were seeing their own town depicted. However, most of the people that showed up were retired people over 65. And almost everyone that walked out of the theater had an instinct to share with me that not only did the film help them with what they feel is missing today, socially, is sharing stories and making movies that emote an interest.
And if somebody watches my movie, whether it's a mother or it's a senior individual, and gets stimulated by the fact that, you know what, I think I'm going to call my, in my case, I lost my sister a couple of years ago. It's interesting for me to engage her son who's only 23 and showing him some wisdom, eventually I think he'll thank me and appreciate what I've done. And it's just words.
[00:13:56] Carole: It's interesting because this film, Camera, it's about a lot of things. Hope, dedication, mentorship. And the other theme that I really appreciated was the idea of intergenerational connection and growth and how that can work both ways. And it's something that right now is on my mind that if we're all lucky enough to become an elder, more or less, we're going to have challenges. Whether it's a disability or just a challenge. Younger people benefit from all the wisdom. It was a beautiful thing to see.
As a kid, I always enjoyed seeing films like that. I remember being inspired as a child of these kind of intergenerational connections and special relationships,
[00:14:36] Jay: My sweetheart, her nephew, seven years old came to the screening. We were worried that maybe he was going to get edgy and want to leave. And well, all of a sudden people are turning cause he's crying. And we said, are you okay? He says, all I could think about is my grandpa. It brought tears to my eyes because I know his grandpa and he has something with his grandpa that is such a gift. In this particular case, I'm telling you, this little boy is special because of his grandfather and that grandfather does exactly what Beau Bridges does in the movie. He's strict and he's filled with wisdom.
[00:15:15] Carole: Have you ever thought about making a documentary?
[00:15:19] Jay: Yeah, absolutely. That probably will be the next stage of my career for the only reason that I want to continue to tell stories and I want to continue to help the culture. And one way to do that is by producing and engaging in documentaries.
[00:15:40] Carole: The music was beautiful. I wonder how did you decide what music to use? Was it original music? And what's in your head about using the music to help complement the actors?
[00:15:54] Jay: Well, it's a great question because there are people, and I always found it amusing, that don't have any interest in exercising with music or without music. I am a huge advocate of choosing music that kind of soothes the brain, especially when you're exercising. And I would listen every day to the music from Cinema Paradiso, which is a very brilliant Italian film about a young mentor to a projectionist in old Italy. And it's just a magnificent film. And that was one of the tracks that I would introduce to Dave Holden, the composer of not one, but all four of my movies.
I think Dave is an extraordinary talent and complements virtually every aspect of either the writing, the direction, the set production and the cinematography. You look at this movie and you just go, my God, there's a connectivity there. That's my opinion. It sounds like I'm bragging, but it wasn't intended.
Dave has this capacity to tell a story with his music, without picture, that is just mesmerizing. One of the most incredible experiences of my career was when he completed his compositions for this movie. He hired an orchestra in Bulgaria. That was one of the most magical things I've ever experienced.
Watching a full orchestra play the soundtrack to something that I created. And it merges the two worlds. It was just extraordinary. You know, you're looking at the violinist, the oboist. He won't do it any other way. He won't use synthesizers or AI. He wants the real McCoy. We had this extraordinary ability to be able to see live musicians perform it.
I have to say this. To walk into a room with, I think there was almost 40 musicians and another 10 technicians, in Bulgaria, which I'd never been to before, and to witness them bringing my movie to life was beyond words.
[00:18:14] Carole: Do you think you would have picked this movie to do had it not been for your daughters?
[00:18:18] Jay: This is a good question. Bethany Cerrona, who found this script, knows what interests me and what doesn't interest me. The idea that she found a script that was about a young photographer was my principal reason for getting excited. And incidentally, in the original script, the kid did not have a voice impediment. He was not mute. He was deaf.
But, you know, this was the same year that the movie came out called Coda, and I did not wanna replicate that. And I have a daughter that's got a unique challenge that I thought would be a substitute. I mean, it's important to know that filmmakers, generally speaking, put a lot of themselves into their movies.
I don't care if they're big movies or small movies. And in this particular case, even though the writer was a fantastic sculptor of creating a great story, he knew nothing about photography and admitted it. And you know, I'd call him up and he'd go, I have no idea whether you put the film in the developer first or the hypo.
That's why I was so excited that somebody like you took an interest in this property because you understand the medium and that's part and partial with anything like, you know, doing a medical drama doesn't require you become a physician. However, you know, in my case, I can't even describe the words, you know, and I always got a kick out of this because working on the set with Beau Bridges and Bruce Davidson, these guys have been collectively, they've made over 500 movies and they talk and joke about giving long speeches about subjects they have no understanding of, and I love that.
But as a filmmaker, you know, the more you can embrace the subject matter, and understand that, I think the better movie you're going to make. And I mean, like I said, you don't have to tell me how to be a photographer or tell me how to show the boy how to be a photographer. I know what it was like, and it's scary, you know, or it's fulfilling or it's challenging, you know, whatever it might be.
[00:20:25] Carole: You really got to the heart of seeing it from the point of view of someone who's not necessarily confident. But nevertheless, is an artist. You only hear about the people that are discovered and that have this talent that they had since they were born somehow. Like somehow the part about the practice, the part about the mentors, the part about, forget education, life experience, the part about grief and happiness in your life, all those emotions that go into what you choose to photograph, that never gets really talked about.
[00:20:57] Jay: I was only 15 when I wanted to be a photographer and I had the luxury of having a mentor that brought in famous photographers from New York that shot for Life magazine and they would be strolling into Los Angeles for a shoot. My mentor would invite them to come speak to a bunch of children.
And when they came, we're talking about very prominent individuals. Richard Avedon came, Yousuf Karsh came from Canada. And this is a guy that photographed JFK, photographed Winston Churchill, and they tell the stories on how they made these pictures. And to me, you know, that's like pure gold, but that's what made me want to be a photographer at 15.
Versus I've got children that are in their twenties, they're just trying to figure out what they might want to do with their career. When I reflect back on my career, it's not that I was a quote unquote, brilliant photographer. I was just very competent at what I did, delivering what the client wanted. And prevented the guy from walking off the set. And I mean that really honestly. We're problem solvers and it just so happens, you know, photography is the tool we use.
[00:22:19] Carole: Could you explain your daughter's speech impairment?
[00:22:22] Jay: My daughter came three months premature. She was in the NICU for almost six months and she had a tracheostomy and in the process of treating her for all the things that need to be addressed when you have a premature child, they constantly were intubating her, pulling it out, pulling it in, pulling it out, pulling it in.
And unfortunately that damaged her vocal cords to the point where all she really had was a hiss, you know, a whisper. And she's now 27 years old and she's lived with this challenge. I don't call it a disability anymore. It's just a challenge. And the saddest thing, you know, which is interesting for her at 26 years old to have encountered, is she was working and customers were harassing her because she had a mask on during the pandemic and people kept saying, well, you know, wth that voice, you must still have Covid. What are you coming back to work?
And I'm sure it occurs to all of you, just how infuriating and humiliating and battered you feel when somebody not only prejudges you, but is 1 million percent incorrect, and that's part of her journey is being able to understand that people prejudge. She's becoming more cognizant of what it might require for her to be heard and when she wants to, she can get it out.
I think it's a success story. In making this movie, I really wanted to show how people's first reaction, not necessarily their true heart reaction, is compromised, is not really fair. We all have different journeys. I'm delighted to be on a podcast that relates to issues that are unrelated to filmmaking, sharing information and sharing the thrill of knowing that when somebody sits down to watch this movie, especially with their young children, there's a connectivity and a hope. And that is why I made the movie.
[00:24:31] Carole: The film Girl on the Edge is an amazing film that I also want my audience to know about. There's so many kids right now struggling with so many things that they are sent to these wilderness camps to try to help them. Can you talk a little bit about Girl on the Edge?
[00:24:45] Jay: My daughter was barely 15 and all of a sudden she started missing school. All of a sudden she started experimenting with drugs. All of a sudden she started to not pass tests. I know this is a stupid analogy, but I can tell you wholeheartedly that I felt like there was nobody that I could talk to. And that's why I made my first movie. That's what motivated me to make Girl on the Edge.
You could go on the internet and kind of outline what I just described. And by the way, the internet in itself is a challenge because the minute you learn from somebody, which to me was an educational consultant who told me, you know, the only way that we're going to get your daughter help is to extract her from that environment.
All of a sudden, you start Googling treatment centers and they all say they're around the corner, but they're not. They're in Montana. They mislead you on the internet. And when you start to recognize the connection of human beings and somebody that's been through that experience before, you gain more confidence, you gain more understanding.
And you mentioned at the beginning of the show that the movie is about equine therapy. It's really about this extraordinary revelation that a treatment center that I sent my daughter to uses equine therapy to combat post traumatic stress. And I have to tell you, it was extraordinary for me as a father to see my daughter connect with something when she was so numb, which we later found out in therapy that it was much more complicated than anything she had shared earlier.
[00:26:22] Carole: Can you tell me a little bit about for your daughter what was it like to have a movie written from her dad about her?
[00:26:28] Jay: My daughter wasn't exactly keen. Years and years after I made this movie, she did say it was okay, but the movie is very personal. It depicts me, it depicts my daughter, it depicts my ex-wife, who was the stepmother, and it also depicts the treatment center.
When you make a movie, you open up the subject of A, credibility, B, well what about all the people that are abused when they go to treatment? I don't deny that. I did not encounter that type of abuse. I believe as I speak to you today that my daughter is vital and active because of that treatment center, regardless of her position that it also screwed up her life because she missed three years of her life. I don't deny that. Can't take that away. Can't give it back.
And there was always going to be one person that says, well, what about my daughter that was raped? You know, or what about my son that was kicked in the teeth? There's always going to be people that have an opposing view and opposing situations.
But to me, we were lucky enough to get celebrated with this film, many awards, and we were invited to speak to Congress. And my daughter came with me.
[00:27:47] Carole: What exactly did you talk to Congress about?
[00:27:49] Jay: We talked about all the good things that transpired. This idea that equine therapy was incredibly helpful to my daughter, both psychologically and physically. I think it was incredibly helpful for her to express to the public what she went through. And I think it was really meaningful to hear a journey that isn't all about all the things that are wrong with treatment centers. The wilderness was incredibly challenging, but it was an eye opener for her parents, myself and the stepmother.
Why? Because mechanically, you know, we didn't know nothing. We're not trained to tackle these kinds of challenges. And we were lucky enough to find the route that we traveled and I made a movie about it.
Well, I want to tell one little quick story. I became a very fortunate guy because I filmed Ray Charles and he and I hit it off, it was a big job for Powerball. What does that mean? You have to do 40 state's iterations because every state requires a different kind of sign off. Okay? So, Ray would not only sing a song, but at the end of the song goes, you know, Kentucky, we love you. You know, that type of deal. I had never worked with him before. So he comes in the studio, we meet and he walks down the hall.
And I say to him, I said, you know, this is such a pleasure, Mr. Charles, he goes, you call me Ray. And I go, okay. My name is Jay. You can call me Ray. So, he laughs. A, here I am shooting a legend. B, he's got a disability. He cannot see. And I said, we have a 40 piece orchestra here. We got the drums on the left and on the right is the violin section.
And then he stops me and he looks me. And of course he's blind and he takes his hand and he puts it on my elbow and he says, you know, Jay, I've been doing this for 60 years. And no one's ever done what you just did. They just dragged me to my mark on the stage and sit me down and call action.
Now that's a profound moment because nobody has ever taken the time to say to him, guess what? The whole left side of the stage is orange. The whole right side of the stage is blue. And you know what, Ray? And when you sit here and you play the piano, there's a spotlight on you coming from behind. He was just delighted to know that somebody cared enough to explain to him the visual aspect of what he was about to achieve
[00:30:38] Carole: What you did with Ray Charles, that's a connection you made. I'm guessing that in your mind, in your body, you became him. What would I need if you were him? And I don't know, I think that that's just remarkable and that's what we hope for. You know, that we create empathy then will allow you to understand from the other person's point of view, what's needed. And so, it's a beautiful example of that.
[00:31:01] Jay: Well, thank you. I appreciate it. It's a passion of most photographers to try to make a connection with whoever they're working with.
[00:31:10] Carole: What is your next movie?
[00:31:12] Jay: Next movie is called Yale. It's a true story written by a writer whose grandfather was a bigamist who happened to be married almost 10 times. They have not spoken. He abandoned them when she was nine years old and they're going about their lives separately. And one day she wakes up to discover her child is in desperation for an organ. And he will not survive unless he gets an organ with the same blood type. And the blood type is very rare. It would have to come from a family member.
So she has to do the unthinkable and that is reunite with somebody she despises. And the whole movie is really about this idea that this child will not survive unless he gets an organ and I've made it a purpose of that movie to awaken human beings to the fact that, you know, by choice, you can write on the back of your driver's license that you want to donate your organs.
Additionally, post-traumatic stress, which is what the protagonist suffers from because her dad abandoned her, is also an incredible, inspiring thing to see how through the evolution of the movie, she learns how to forgive. And I think that's extraordinary. All I can say without giving away the movie is that it's a very touching and emotional and really fun story because the guy is a little bit like Rodney Dangerfield, you know, he's got a quick tongue and a quick wit, but she's got her problems, too.
I do believe there was a point where my daughter, who I made the first movie about, was proud of the fact that she's helping others, sharing wisdom and giving people an opportunity to hear others talk about stories that they can relate to. You do this as a labor of love. I would just love for people to see this movie. It moves people to a place that typically a movie that you normally see doesn't. And that's incredibly important to me because that's why I made the movie.
[00:33:22] Carole: So if people want to go see, which I recommend they do, Camera, it's a beautiful, beautiful film on many levels. Where can they see it?
[00:33:30] Jay: Camera's available at this moment on Amazon Prime, Apple, Fandango, and many other outlets for rent or to purchase. It would be wonderful if your audience does watch it.
[00:33:45] Carole: Thank you so much for agreeing to talk to me on Wisdom Shared. I really appreciate it.
[00:33:49] Jay: Thank you so much.
[00:33:54] Carole: To hear more about the making of this film, look out for future episodes, where we'll hear from Miguel, who played the lead character, Oscar, in Jay's film, Camera. Miguel can relate to Oscar because he navigated his own challenges with speech difficulties and being bullied for it. With the undying support of his mother, Michelle, he went on to be a voiceover artist and lead actor. We'll hear from his mother, who will share how her son's challenges shaped his journey to success.
Thank you so much for listening to Wisdom Shared. If you enjoyed this episode, please be sure to check out all the other episodes. Go to caroleblueweiss.com or wherever you listen to podcasts. If you like what you're hearing on Wisdom Shared, please spread the word and share this podcast with your friends. Leave a review and subscribe so you can receive wisdom every month. Thanks for listening.