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The award-winning producer of March of the Penguins shares his insights.
Available on Apple Podcasts and Spotify Podcasts.
Imagine if everyone left the movie theater, not only feeling inspired, but also connected to one another and the planet and ready to make a difference.
In this episode, we sit down with acclaimed film producer Adam Leipzig, former president of National Geographic Films and creative force behind environmental classics like March of the Penguins and A Plastic Ocean. Adam shares how powerful storytelling moves people from climate overwhelm to meaningful action, from reusable cups in the campus café to plastic bans and rights-of-nature laws around the world.
Together, we explore how film can balance urgency with optimism, why emotion drives climate action more than data alone, and how each of us can take “micro actions” that add up to real change.
In This Episode:
- Why big issues like the climate crisis can feel hopeless, and why that feeling is wrong
- How March of the Penguins evolved from a nature film into a story about family, humanity, and a warming planet
- The ripple effect of A Plastic Ocean, including its role in more than 150 laws on plastic bags, straws, and recycling practices around the world
- What PFAS “forever chemicals” are, and the story behind the short film Sludge and poisoned farmland in Maine
- How filmmakers measure “impact,” and why emotional connection is the foundation for policy change, beach cleanups, and personal behavior shifts
- The new reality for creatives: why building your own audience is now part of the job description
- How Adam stays hopeful while telling hard climate stories and why every solution must leave viewers with something they can personally do next
Micro Actions You Can Take After Listening:
- Swap one single-use item in your daily routine for a reusable option (cup, bottle, or straw).
- Host a screening of an environmental documentary and open the floor for local action ideas.
- Learn whether your city, state, or country has any rights-of-nature provisions—and if not, what advocacy is already underway.
- Support filmmakers and organizations using storytelling as a catalyst for climate progress.
About Adam Leipzig
Adam Leipzig is a producer, filmmaker, and former president of National Geographic Films. A former senior vice president at Walt Disney Studios, he oversaw films including Dead Poets Society and Honey, I Shrunk the Kids. As a producer and creative executive, he has helped bring more than 35 films to life, including the Oscar-winning March of the Penguins and the influential documentary A Plastic Ocean, which has been used as a primary advocacy tool in passing plastic-related legislation in countries and communities around the world.
His recent and forthcoming projects include Sludge, a short film on PFAS and contaminated farmland, Nature’s Guardians, a new film on the rights of nature, and a forthcoming sea lion–centered film set in the Galápagos. Adam is also the author of a soon-to-be released book, Fearless Persistence: Creative Life, Creative Work, and the 10 Laws of Omics, focused on helping creatives, entrepreneurs, and change-makers sustain their work and their well-being over time.
Meet the Hosts
- Janet Kraus: I’m Janet, a serial start-up founder and CEO, a twin-girl mom, and wife to a fun and funny guy. I am on a mission to build healthier thinking in young people, stop toxic division, spotlight hopeful climate action, and advocate for safe AI.
- Cleo Carney: I am Cleo, a student at Harvard University, and I strongly believe that conversations, businesses and the private markets can create profound change. I also love to cook nourishing food, work out in nature, and find sustainable swaps for everyday items and habits.
- Victoria Riskin: I am Victoria. I’m always looking for the best life has to offer despite a turbulent world. I find comfort in the environment and joy in friendships. We have a great team of all ages at Bluedot who inspire me every day as we work together to build community.
- Ally Giebutowski: I’m Ally, a freshman at Lafayette College. I believe that a sustainable life is a happier life and that human connection is at the heart of it all. Every day, I try to weave greener, more intentional living into every part of my life, whether that’s in the college classroom, in the kitchen, or through meaningful conversations with others.
Transcript
Hosts: Victoria Riskin and Ally Giebutowski
Guest: Adam Leipzig
Adam Leipzig: These issues seem so big. Climate crisis? Okay, I'm just me, I'm a human. What can I personally do? I mean, really it's so big, I can't really have any effect on it, right? Wrong. You actually have an effect. There are micro actions that individuals can take. And then there are increasingly macro actions that groups and cities, provinces, states, and then nations can take and industries can take.
Victoria Riskin: Hi everyone. Welcome back to Bluedot Living Podcast, where we imagine if people were actually making progress on climate change because they actually are. Every episode we talk to great people in the trenches doing big and small things to make a difference. Who do you have to bring to the table this week, Ally?
Ally Giebutowski: It's good to see you all again today. I want us to imagine if everyone left the movie theater, not only feeling inspired, but also connected to one another and the planet and ready to make a difference.
Today I bring forth Adam Leipzig, who is an acclaimed film producer, former president of National Geographic Films, and the creative force behind powerful environmental documentaries like March of the Penguins and a Plastic Ocean.
He received his bachelor in literature at Yale University. So mom, this is an exciting connection for you. And he began at Walt Disney Studios where he rose to senior VP of Motion Picture Productions, and he oversaw films like The Dead Poet Society and Honey I Shrunk the Kids.
Adam has dedicated most of his career to using film as a catalyst for awareness and action, and I am personally excited to see how he balances environmental optimism and action that is critical to create change within a documentary.
I think it will be exciting to dive into how storytelling can create real environmental change, and as a storyteller myself in the world of musical theater, I think this is incredibly important now and in the future. Lastly, I do hear he has a new movie in the works, so I'll be excited to hear more about that.
So without further ado, I think we should begin this debate. Personally my stake in this. Like I mentioned, I will be excited to connect with him on the importance of storytelling. I think that is definitely something that I will like to bring to the table, but I will open it to you all.
Cleo Carney: Well, I think Ally's a clear shop for this because I know she has a background in musical theater, which I very much do not. I was, I was a stage manager once.
I think Ally will have that creative dimension she can bring to this, which would be really helpful.
Janet Kraus: Well, as her mother, I can tell you that, growing up, between her and her twin, there were a lot of movies but definitely March of the Penguins was on in our house. Which is why I think when we knew we had him as a guest, Ally, you jumped at the opportunity to provide his intro.
AG: I did it. I did. It's true.
VR: That's great. So you know, I don't like always voting for myself, but I might in this case. I'm not sure I'm the right one but I think he is a wonderful creative spirit. Brilliant. And unlike conventional Hollywood executives, he's always looking for the best, how to do the best and have the most impact. He's a rare character in that sense. So, I guess I'd love to just be at the table with Ally.
CC: If I'm not mistaken, you have a background in films and producing. Yeah. I mean, you are from LA.
VR: It's my birthright. I grew up in Hollywood and I was a filmmaker myself, so I know the real deal.
CC: And your mother was a wonderful actress. Would you like to tell the audience who she was?
VR: Do you think people know about King Kong?
JK: Um, I think maybe.
AG: I think they do!
VR: Do they maybe know the actress Fay Wray, who was carried around in his paw endlessly? The big ape was in love with her.
JK: I was gonna say Vicki's background in Hollywood, her dad was also a film writer and producer. So I kind of feel like, Vicki, you two will just bond and you'll bring to life points of view on this subject that you and Ally would just have a lot of connection on that. It feels kind of right to me.
AG: This is exciting!
VR: Stay tuned. We'll see you soon.
The Interview
Victoria Riskin: Welcome, Adam.
Adam Leipzig: Thank you very much. It's so good to be here.
VR: Tell us about yourself.
AL: Well, I am just a curious person and my curiosity has led me to fruitful and meaningful roads and relationships from theater, to film, to education and teaching and writing and mentoring. And one of the things that I really love about what I'm able to do is that I'm able to work with really terrific people on projects that are interesting, and everything that I do is different. So I learn something with everything that I do.
Ally Giebutowski: I am a proud theater kid and I also love the art of storytelling. I think it's very important. I wanted to start with a quick anecdote because senior year I was in a marine biology class and I remember watching your film A Plastic Ocean and something very specific that I remember was that it was the first moment in the class that I could tell every person in the class was dialed in, they were focused in, and there was this overall connective energy that I think the class experienced.
That was one of the first times that I really noticed just how much a documentary can have an impact on people. And I thought you did a great job with that. I wanted to commend you because you conquered the hard task of holding the focus of my generation, which happens to have a very short attention span.
So, can I commend you on that?
AL: Well, thank you. That's so meaningful to me. I really appreciate you telling me that story.
VR: I've heard that from so many young people saying ‘I saw A Plastic Ocean. And that really changed how I think about what I wanna do with my life and how I feel about the environment.’ So, huge impact.
AG: Well, I wanted to start off today with the March of the Penguins because I remember seeing this as a very young age, around seven, eight, maybe nine. I was very moved by it as a child, the visuals, the music, the story. I remember feeling entertained and inspired to do something. And then I read that you said, great films can change the world. So this is a big responsibility, and I wanted to talk to you about that awakening that you had in yourself and what that taught you about the power of filmmaking and why it's so important.
AL: Well, I love that you don't ask small questions.
You know, I am not sure that a single film, a single song, a single story, changes the world. But I also know that the world doesn't change without films and stories and narratives. I believe that people, politics, countries, social actions, legislation, it follows the narrative. The narrative doesn't follow them.
And I think that when we set forth a story, it's like we're setting forth stepping stones that people can choose to walk on. And if we do a really good job in placing those stepping stones and make them entertaining and relatable and charismatic. And something that people really want to explore and experience themselves, where they can see themselves in it, they'll walk along that path.
So, that's my philosophy about it. And it is a responsibility. I think that we, I think we have a great responsibility for what we put out into the world. The worst motivation to put things out into the world is just to make money. The best motivation is to make the world a better place.
VR: You are kind of a standout in Hollywood, if I might say. I think a lot of people go into filmmaking 'cause they have a creative passion, but then they can get very easily caught up into the business and the status and the awards. And you've, you've made 35 films, Adam, I just thought I would throw that out there. But you've always been driven by what matters most to you. And that's impressive.
AL: I mean, look, all those things are great and I think if people get status and awards and money and great cars and beautiful houses, fantastic. I'm all for that. And I think all of those things are transient and perishable. So, I also think it's great to focus on what is more enjoying.
AG: I think that you strike a really good balance between that relatable aspect and that inspiring part. And I wanted to ask you, clearly we can't all relate to the survival of a penguin, but we can relate to humanity and the planet. So what moment did you realize that the film you were making, March of the Penguins, when did you figure out that it wasn't just about the survival of penguins and more about humanity and the planet as a whole?
AL: Oh, as soon as I saw it, it's a family story. It's about a mom and a dad and a baby. And what we love is that the dad has to sit on the egg. To make the baby hatch. We love that gender dynamic in the penguin population.
Also, I just think they're beautiful. They're graphic animals. They're just black and white with a little bit of yellow. So it's visually gorgeous and I think it's really you know, I think, I just think it's visually compelling. But it's ultimately just a family story.
And I'll tell you something sad about that penguin colony is that it’s not there anymore.
VR: What happened?
AL: Climate change, warming oceans, warming temperatures, ice sheets melting. That colony doesn't exist anymore.
VR: Wow. Adam, when you did A Plastic Ocean, I know you got lots and lots and lots of footage and in which you found the story. We've talked about that in the past. Of course, that's your gift as a creative producer that you know how to find the story. But I understand if it's true, tell me if it's true, that there were lots of new environmental laws that were enacted on the heels of that film. Is that true?
AL: Yeah. By our count, which is probably incomplete, that film is responsible as the primary advocacy tool for changing more than 150 laws around the world. There are national laws in India, Australia, and New Zealand. If you live in a state or a province where there are plastic recycling requirements, plastic straw legislation, plastic bag legislation, it is probably because that film was used as the primary advocacy tool for the people who are advocating for the legislative or regulatory change. It's also been responsible for thousands of individual community beach cleanups or plastic cleanups. So it's really gratifying and even though the film was released about eight or nine years ago it's still in circulation and people are still watching it and seeing it and requesting screenings of it from the nonprofit foundation that financed it. And so it has this enduring life.
AG: That’s wonderful.
VR: We're all struggling today with the amount of plastic that still comes into our lives and how to even reduce it by 10, 15, 20% in our own homes because it's so abundant and everywhere. People of your generation, Ally, are really aware of this.
They're making better choices but it's hard sometimes.
AG: That's a good point. And I will say, this morning I got a smoothie from Eco Cafe here at Lafayette College, and it came in a reusable cup that I bring every morning for my smoothie and also a paper straw, which has caused some controversy there among the Lafayette students. Some people don't like how quickly it gets soggy but I think that's a very minor detail in the world.
AL: Yeah, there are also metal straws that you can bring and are also reusable, just like your reusable cup. Some people say, ‘You're not four, you don't need a sippy cup or a straw,’ but I think some things are great with a straw as long as it's a reusable straw.
AG: I agree.
AL: I think they just, they just work and taste better. You know, I recently. In the past year produced a short film called Sludge, which is in the festival circuit in private screenings. It’s not on streaming yet. It's a short film about PFAS. And it centers on farmers in Maine, who 20 years ago were told, ‘Hey, we have this fabulous deal for you. We have sludge sewage waste, which has been cleaned and purified, and you can use it for fertilizer and it's free.’ And they said, fantastic. We need free fertilizer. It's good for our economics. And they used it. And then it was discovered how many PFAS were in them and then the plants grew with toxic chemicals in them. And their land is now untenable. You can't grow it on it anymore.
So that's a film that I just executive produced. Matthew Modine was also an executive producer on it, and it's doing a series of private screenings and and it's been running the festival circuit for the past year.
VR: So Adam, if you don't mind my asking, is there any way of getting rid of PFAS?
AL: You can't get rid of them, that's why they're called forever chemicals. I mean, I don't know, maybe in several million years when the sun explodes and the Earth is destroyed, they'll go away. But certainly not during our lifetime.
AG: With all of us as well.
AL: Yeah, or our great-great-great-great grandchildren's lifetimes. They're still gonna be here. And I cannot properly pronounce what the acronym PFAS stands for, but they are the remnants of plastic and other toxic elements, which have been put into industrial and packaged products and industrial waste and processes, which then move into our water supply, and which then never go away.
AG: It's all connected. It's always all connected, and I think people forget about that. So it's good that you're bringing that awareness.
AL: Yeah. And you know, one of the things that we say in A Plastic Ocean, one of the scientists that we interview says, you can't filter the ocean. It's too big. We should do everything we can for remediation, but the first thing we have to do is stop putting it in..
You gotta stop these things at the source. You can't put PFAS into the environment. You can't put plastic into the environment. I am not anti plastic per se. There are some things that plastic is great for. I'm against putting plastic into the environment.
And one of the things that we show in that film. And which has advanced significantly in the years since that film, are companies that are responsible for the full lifecycle of plastic. So if you create something that is made of plastic, you also have to be responsible corporately for what happens when it's done with its use, and to take it back into the system and keep it from going into the environment.
I think in Vermont there's a law now that they're trying to hold, for example, Exxon responsible for cleaning up the toxic impact of plastic and fossil fuel made products.
Ally Giebutowski: Adam, I just wanted to connect back to something you said earlier when we were talking about the responses to A Plastic Ocean and all of the laws and policies that came out of it. So, there's clearly a spectrum of responses from my class when we watched it, and I felt that energy to creating this change and creating these laws and policies.
But I wanted to ask you, how can you actually measure impact? And what do you find most important? Is it policy change? Is it behavior change? Is it awareness? Is it a little bit of both? And how does that change how you make the documentary?
Adam Leipzig: I'm gonna start with the end of that question first because I actually don't think I'm competent to answer the first part. The, the end of that question, how does it change how I make a documentary, is that what I'm really looking for is emotional connection, and I think that all action comes from emotion.
It’s great and it's important to have data. I tell this to people when I work with them at so-called data-driven companies. All the time you think you're working for a data-driven company, really, your management is making emotional decisions. And then in nanoseconds, they find the data to justify their emotional decisions.
And that doesn't mean the data's unimportant. The data's really important. You gotta have correct data and it has to be accurate, and it has to be monitored, and has to be supervised, and it always has to be correct. But ultimately there's a lot of data in the world and people move because of an emotional connection that causes them to take this action instead of that action.
And the reason I'm not competent to answer the rest of those questions is that really, I'm a filmmaker, I'm a storyteller. I don't do advocacy work myself, per se. I'm not really well suited for it. I am suited for making the stories that people like you and other people who do advocacy work can use for your purposes.But I'm not suited for it. I, frankly, don't have the patience for it. I don't love the meetings. I find it lugubrious. I don't love trying to get every special interest group on the same page just so we can agree on one thing. I'm just not good at that. But I am good at making movies. That's my part, and the rest is your part.
AG: I like that.
Victoria Riskin: Yeah, I think that's right. It's like a handoff, right?
AG: It's true. You have one responsibility and we have that other one, and that's to bring it and, and take it from the class, the marine biology class and bring it to the lunch room table and not leave it in the classroom. So, that's the work that we have to put in. And we appreciate the work that you put in so we can make that work happen.
AL Thank you for doing it.
AG: Yes, of course. And on another topic. It's very clear that you're very good at balancing the relatable part and the optimism. And I'm curious, how do you balance the urgency of the climate crisis with optimism that motivates people to act rather than despair?
Because I think that in this world right now, it's very clear that we just want to cling on to hope, right? We wanna see the survival of these penguins. We wanna see change happening. But there's also a level of urgency. How do you balance that?
AL: Nobody's gonna take any action unless there's hope, unless there's a promise of something good to come. Cause if there's no such promise, we're just gonna give up.
March of the Penguins was not the first movie that showed penguins in Antarctica. And A Plastic Ocean was definitely not the first movie that showed that there was plastic in the ocean. But I made a very specific choice in that movie, which is the last 20 minutes it’s all about solutions. It's all about hope. And I think that unless you give people solutions that are actually individually actionable, there's no point in doing it.
And, when I say individually actionable, that's the other thing that's really important because these issues seem so big. Climate crisis? Okay, I'm just me, I'm a human. What can I personally do? I mean, it's so big, I can't really have any effect on it, right? Wrong. You actually have can effect. You had an effect today when you brought your reusable plastic cup. There are micro actions that individuals can take. And then there are increasingly macro actions that groups and cities, provinces, states, and then nations can take and industries can take.
You know, when we were making A Plastic Ocean, one of the choices that I made was that we were not going to villainize industry because we need industries’ cooperation. Industry moves faster than governments. Industry can make faster and bigger changes than governments. And in fact, coming off of that film, 80% of the shipping lines in the world changed their recycling practices. They're not just dumping plastic bottles into the ocean anymore. Dow Chemical changed its chemical processes off of that film. And if we had, if we had put a target on industry and say industry bad, that wouldn't have happened. We need, we need everybody, you know?
I mean, I think that McDonald's sells more salads than anybody else in the world, right? And when Walmart decided to adopt and sell organic food, it transformed the organic food industry because suddenly organic agriculture had a giant market. So industry and corporations can be our friends, and they're our allies in transforming things.
VR: I really love that you're saying that because that's two things that are very core to the Bluedot mission. One is to give people hope by giving them ideas of what they could do with these micro decisions that collectively, if everyone does them, it makes a difference. And also to suss out the good companies or endorse the big companies that are doing good things because we want them to feel good about it and do more of that. So, that's very much aligned.
I just wanted to move a little bit into most picture of the picture industry is changing. I grew up in the industry, as you know, and I still love movie making and TV making. But it's a challenging landscape. And so as you're doing, and we're gonna talk about your new film shortly, how do we get these stories out there? How are you distributing? What are you thinking about the business model? I think you have some new ideas so I’m picking your brain.
AL: Vicki, every year I say it's harder than it's ever been. And every year that's true. Every year it's harder, right?
One of the macro trends across all creative industries in the past decade or two decades is that the obligation to find a market, to find an audience, has downshifted from the larger entities to the creatives ourselves. So, publishers don't really market books, individual authors do, even when you've got a big name publisher.
Individual authors are booking their own book tours and they're booking their own speaking gigs. And when we get to film and filmmaking, unless you are initially with a studio where you're making MCU movie 95, which is something I choose not to do because I enjoy them but it's not where I wanna spend four years of my life, as an independent filmmaker, you are responsible for actually bringing the audience along with you. Which both causes distributors to be interested because you're doing that lifting for them. They're not gonna do it themselves. Or you have created the pathways where audiences can see the work through the channels that you've devised. And we're doing both because we really have to, there's no other way to do it.
It does put us in direct contact with our audiences, which is kind of lovely. There's no intermediary between us and the people for whom we're making the films. And it also gives us a level of power.
VR: And control.
AL: Exactly. I mean, if you make a movie and you just throw it up on YouTube, who owns that audience? YouTube owns that audience. You don't have any idea who's watching your movie. You can't communicate with them directly. So when we are in the process of creating the audience base for our movies, we have the capacity to communicate directly with that audience. That audience has the ability to communicate directly with us. And that's very powerful.
VR: We want to have your new film as part of the ecosystem of Bluedot. We're very excited about it. Could you just tell us a little bit about the story and how it's coming? It sounds phenomenal and so I can't wait to see it.
AL: Yeah. And we're actually in the process, I think today we're doing our final mix, and later this week we're doing our final color grading of the film. So it's coming soon.
The film is called Nature's Guardians and it is about the legal principle of the rights of nature. And for people who don't know what that legal principle is, I'll explain it like this: we're recording this here in the United States and in the United States if somebody injures me, I can go to court and sue them and get damages. And because our Supreme Court has said that corporations are people. If you're a corporation, you can also take someone to court and claim damages. But what if it's nature who's damaged? Well, nature doesn't have standing unless there is legislation in place that says that nature also has standing. And that's what the rights of nature is.
There are now 25 jurisdictions around the world in which nature has rights. And where nature can be represented in court and go and sue for damages and get awarded damages. The short film that we've made, it's 24 minutes long, it's called Nature's Guardians. And, it takes four places in the world, Ecuador, Panama, Spain, and the state of Montana, where individuals have, on behalf of nature, used a legal process and gone to court and gotten redress to have things corrected or stopped or pollution stopped, or turtles saved in release or a lake have its pollution abated.
And, it is not the silver bullet for environmental justice, but it is one more arrow in the quiver of environmental justice. It's very powerful because it's something that individual citizens can do both to advocate for that legislative framework to obtain in the jurisdiction where they live, and then when it does, to take actions which that legislation permits.
VR: It's a wonderful concept. I think the more it gets sort of spread into this psychology of the public, it will have more hold. Of course, it's really an idea that comes from Indigenous peoples who've always felt that nature was animated to begin with and to be cared for.
And what about Lions of the Sea? How's that coming?
AL: It's gonna come out with a new title. Which we'll be able to announce shortly. And the film is a very different film and it's really transformed as we've been working on it. It's a film which we have shot in the Galapagos Islands. It's a story of a sea lion and the sea lions colony and the challenges faced by the sea lions there due to climate change.
It’s a gorgeous film. We have the best underwater photographers in the world shooting this film. It's something that I'm very proud of and I will be very proud of it when it is ready and it gets released next year. But what's happened because of climate change is that there is one primary food source for those sea lions. They're amberstripes. They look like sardines, but they're amberstripe scads. And they live in these fish balls and they live and they mate and they propagate their species in cold water. They don't like warm water. And as the ocean temperature has risen, what they have to do is they have to go farther and farther from the islands, farther and farther into the deep water. And as they do that, they cross past the international protected zone, right into the nets of industrial fishing.
So the conflict of the film is for these amberstripes where the industrial fishing, and including illegal fishing, want them for ravenous human populations, ravenous international human populations, and the sea lions which need them just for their survival.
When we were in the Galapagos and I was diving with the photographers, the water was like bath water. It was like 70°F. Very comfortable for us humans. Really not good for sea lions and the fish.
AG: Because you can't escape it either, right? It's not like they can just decide when they wanna be in cold water or warm water. It's happening everywhere. I saw there was an article about Florida waters, being the temperature of a hot tub this summer. Which for us, we can just choose not to go in those waters. But you can't avoid that when you're a sea lion.
AL: Right. You can't avoid that. That's where they have to spend their time. And also it means that when they have to go get fish, they have to swim farther and farther and farther to go get them. So that's a drain on their energy, on their resources, on how much food they can use to survive.
VR: They're almost like climate refugees themselves, huh?
AG: It's true. That connection is very interesting between the fact that this is happening to humans, these climate refugees, and then happening as well to the animals. It's happening to everyone.
VR: You're always an inspiration to be with, I have to tell you.
AL: So are you all!
VR: So in our view, the one way we can move towards a more hopeful future is if we can imagine it. And it can be any kind of imagining from emotional, personal, practical. But we like to ask each of our guests, if you could imagine if everybody did something, felt something, did something. What would be your imagine if?
AL: Imagine if creative people everywhere had the ecosystem that they needed to make their best work. What would that mean and what would be shared? And I'll preview something to you. That's the subject of my next book, which will be coming out next year.
AG: You do not stop.
AL: You know, so for the entire Bluedot family and community, my next book which is called Fearless Persistence: Creative Life, Creative Work, and the 10 Laws of Omics is going to be coming out in the spring of next year. And it is for everybody who's listening. Whether you define yourself as a creative, as an entrepreneur, as an environmentalist, as a scientist, as someone who's seeking to make an impact. And it's about how do you live your life in this work emotionally, philosophically, spiritually, very practically. And then how do you join that to have a sustainable life for yourself?
It's a book that I've been working on for a number of years and really heavily in the past year and I'm delighted to be able to get it together and bring it out and share it with people.
VR: It sounds wonderful
Imagine if we all enjoyed our creativity, followed our creativity, and also our sense of kindness and goodness and worked together. I think it could be a wonderful medication for what's going on.
Ally and I wanna thank you so much for being with us. And we loved hearing everything that you're doing.
As a final comment I wanna tell the listeners that we're launching something called Bluedot Living Travel, and the reason we launched it is so people could come together and have a deeper dive into what is going on in various locations to address the climate issues and also to connect with each other.
So thank you, Adam.
AL: It's been a pleasure to be here with you today.
VR: Thank you for joining us on Imagine If from Bluedot Living. If you wanna explore our recipes, products for your home and lifestyle, and read interesting stories you can find us at bluedotliving.com. And for daily inspiration, you can follow us at Bluedot Living on Instagram.
If you enjoyed this conversation, share it and please add your thoughts in the comments on YouTube. I'm Victoria Riskin and we'll be back next week with more stories from great people doing amazing things in their little corner of the planet.
