020: Unexpected Sources to Find Your Next Gig

Elizabeth Dell Producer

020: Unexpected Sources to Find Your Next Gig

Producer Elizabeth Dell once studied to be a doctor but an unexpected source led her to a film career focused on China.  She tells how you can tap into these unexpected sources to find your next gig.

She also offers advice on growing your network and the pros and cons of casting overseas Chinese.


Preroll: This is China Hollywood Greenlight podcast. Episode # 20


This is Caryn McCann, the host of the China Hollywood Greenlight podcast – a podcast about creating & distributing content for both Hollywood and China.

Any links mentioned in the podcast can be found in the show notes at chinahollywoodgreenlight.com  / podcast and look for this episode which is # 20

If you like the show, please go to iTunes, subscribe and leave a rating. These rating and reviews really help spread the word about this podcast and will attract more great guests..

A quick update on what I’m working on.

  1. AFM – the AFM wrapped up a few days ago so I’m busy sending out scripts to various companies. I was very encouraged that female-led films are the hot ticket. Also many companies told me they can’t get their films into China and are keen to hear more about my Chinese co-productions.


  1. MORE TALENT: I’ve discovered more producers and talent that would be perfect for my projects thanks to my conversations at the AFM – so I have lots of homework ahead.


  1. LOW BUDGETINDIES – I watched the movie called Destination Wedding which was produced by my guest today – Elizabeth Dell. It’s a great films with witty dialogue. I was very impressed that the film had major stars (Keanu Reeves and Winona Ryder) and yet they were able to keep the budget low. How? Because the director primarily focused on just these the two main characters (a lot of 2 shots) – they were able to shoot the movie in just 10 days. Producers and financiers love this kind of script. And it’s a real accomplishment as a writer to pull it off.

Before I introduce Elizabeth – I’d like to start out with a motivational quote to encourage our listeners to continue on their path to achieving their own green light. And today’s quote is from…Charles Kettering and he said: “There exist limitless opportunities in every industry. Where there is an open mind, there will always be a frontier.”

Today’s guest is producer Elizabeth Dell. Here is the interview.

Caryn McCann: Elizabeth is a creative producer working in both feature films and digital.  She recently produced the Romantic Comedy Destination Wedding, starring Keanu Reeves and Winona Ryder, which was released theatrically in Summer 2018. She also just wrapped production in Jamaica on feature comedy The Swing of Things. Elizabeth is half of the sister-team of The Dell Sisters, with Writer/Director Emily Dell. Additionally, she is the CFO and co-founder of Array Entertainment, a slate fund focused on female-driven, commercial, genre films.  Moreover, she is also the Chair of the International Committee for the Producers Guild of America (PGA).  Elizabeth actively consults for US and Chinese entertainment companies, including production services for Chinese companies filming in the US, site evaluations for Chinese films, etc.

Additionally, Elizabeth has produced 100+ episodes of digital content for the major platforms with influencers and brands including Purina, Verizon, Anheuser-Busch, and Jeep China.   Elizabeth produced B-GIRL, a narrative hip-hop dance feature distributed worldwide which is featured on Showtime, Encore and Starz networks.  She is a regular speaker on producing, China, entertainment, digital media, and entrepreneurship.  Elizabeth and her sister are featured in the National Women’s History Museum.  Wow. She has a Chemistry degree from Amherst College and a Masters in Public Health from UC Berkeley.

Well, Elizabeth that’s a wonderful introduction. But know there might be a couple other things that you’d like to add well, first of all, let me say thank you for coming on the show today.

Elizabeth Dell: Absolutely thank you for having me and I’m excited to talk

Caryn McCann: Now I told the audience just a little bit about you why don’t you tell us a little bit about yourself personally and your business.

Elizabeth Dell: Sure, so I am a producer. I am both a creative and physical producer. So that means I’m kind of very hands-on. I’m both involved in establishing a project and the development of it and the story and the cast but also in the execution of the contracts and the negotiations and schedules. I kind of I like to have my hands on everything and I tend to produce features. I mean feature film is really my home generally in the kind of sub-five million dollar US budget range. And then I got involved with China about five, six years ago now and starting with a project that I developed with the China Film Group that my sister and I developed at the China Film Group.

And then through that also got pretty involved with China on behalf of the Producers Guild of America. Up until about a year ago, I was the head of their what’s called their China Task Force which sort of leads outreach between the Producers Guild and Asia. And then within the last year, I was asked to step up a little bit further and to chair, one of the co-chairs to the two chairs of the international committee for the Producers Guild. So, that I’m doing that now.


Caryn McCann: That kind of leads me to my first question. But let me let me rephrase it my first question is usually why do you want to work in the China Hollywood space?

What came first the China Film Group cake or the PGA task force?

Elizabeth Dell: Oh the China Film Group project. That was that was definitely the first introduction I had. It was um and that was as many things are in my experience in the film industry that was kind of a happenstance. It was it was the connections of good people finding a new way to kind of work together. I had my sister and I have a very good friend who is a producer and who we had run into one day. And she we were talking about things. And she sort of said oh you should meet my friend Robert. and I think the impetus for this was your younger brother is teaching English in China. Robert is Chinese. That is as much connection as I need. Robert is good people. You are good people. You guys sit down and have a coffee.

And I said okay sure. Because in my experience you always take the meeting when it is good people that you like or like their work or work ethic. You like who they are and they tell you to meet someone who they really like working with or think is great. You take the meeting because it always leads in ways you don’t expect it to so I did.

Robert was at the time had just finished the master’s in producing at USC the Stark producing program there which is probably one of the finest producing master’s degrees there is. He had previous to that have been working with the China Film Group. He was asked by them when he came to the United States for his advanced degree to keep an eye out for American filmmakers that might be young and hungry and might be open to working in China.


So he asked me if we had a project. And my sister and I said well I’m sure we could think of something. When we actually have a couple of ideas already that were very well suited and so and that that kind of one thing led to another led to another. And then we were in a development deal with the China Film Group. The project that unfortunately never got made was developed for about a year and a half with them. And there were trips out there was a lot of things but unfortunately, it never went into production. But it was it was quite an introduction to China and that kind of started the ball rolling.

Caryn McCann: Well that’s very that’s amazing. That’s great. Now you have a quite the unusual background for a producer. I mean Public Health and chemistry. But let’s talk about you’re producing. What are two or three main tasks – now I know there’s no such thing as a typical day. But just for the audience because some of them are experienced some of them are just starting out. What are two or three main tasks you do on a tip quote typical day?


Elizabeth Dell: I would say maybe the better way to answer that for me is to talk about what are the goals of a particular day? If you’re asking what the tasks are honestly I’m usually sitting in front of my computer writing a lot of emails. And that’s if I’m not physically in production if I’m not actively on a set. A large part of my day is on is on email.

But I think the more interesting question is sort of what’s the context of what I’m trying to do? Any typical day as an independent producer I have projects in a lot of different stages. I’m always trying to develop a number of things to see what’s the next thing that I’m going to do. And trying to get things that I adore, projects I really believe in off the ground and made.

And then I’m usually also in post-production or in marketing and distribution on projects that are complete.  You certainly hope so most of the time and so I’m usually tracking those two things that I’m working on at any given time. It’s with the list of projects that I’m working to get developed. It’s what’s the status of that? Checking in with partners, checking in with potential partners or potential financiers.


Trying to set up a lot of meetings and see what I can do.  One of the most important things to remember in the film industry is that it’s a really collaborative industry. Nobody can do this alone. So a huge part of what I’m always doing is figuring out who my partners are, what work they’re doing. How I can bring in new partners. How can I bring in new people into the mix for any given project?

Caryn McCann: That’s good advice. That’s good for the audience to know. You always have to be connecting with future partners. Get yourself out there. And yes it is a lot of computer work. It’s a lot of liaison with people who are either in LA or in China. But speaking of business partners, in the intro you mentioned your first introduction to China this gentleman, Robert. How do you now find your business partners and how do you suggest the listeners find a Chinese partner? For example a Chinese producer or an American producer interested in the China Hollywood space?


Elizabeth Dell: Well I think that it’s always the majority of how I have met my business partners has been networking. And not specifically like a kind of formal networking where you have to sign up to be introduced to someone or something like that. But informal networking and specifically friend-to-friend networking. I think that there’s but you used you’re doing it in the context of larger events around Hollywood or around China.

So for instance, this was a very specific introduction to my original partner in China with the China Film Group. But once that was done I made a point of going to a lot of events sort of focused on China. Whether those were conferences or whether those were receptions or whether those were screenings. Trying to go to those and get to know people.


Usually, in the beginning, I would know one person and then I would see that person. Then at another event, they would introduce me to someone else. Then I would see someone that I knew and with someone, I knew and introduce them. It’s a lot of finding the faces you know and then connecting the dots. Being really open to meeting interesting people who are doing interesting things regardless of whether they are specifically doing something that you want done. I think that there’s a tendency to say I need a producer so if I’m in a room I’m not talking to anyone who’s not a producer.

I think that that’s I don’t want to say dangerous but that’s short-sighted right because everybody connects in very interesting ways.

And it’s usually, honestly the strongest connections we have are usually the people we work with. And the people we are lifetime friends with and the chances that those if you’re talking to a producer that there are others like that the person. The people they know are other producers is good but not great. Because as a producer myself, I occasionally partner with other producers. But I’m much more often working with writers, directors, composers, and actors. Because I need to work with a lot of those on every project. I might not necessarily be producing with ten producers on any given movie. Sometimes you are but a lot of times you aren’t.


So very often you might be meeting with a composer and really like their work. And then they’re like oh by the way I have a producer friend that I worked with on that I did music for another project. And they might have really interesting insights about. Or  I heard this other producer I know is working on at this other company on projects like that. Maybe you want to find a connection there.  The information about what people want to do and what they’re looking for that is vital to finding someone who’s really invested in the thing you’re really invested in. That information can come from any source.

Part of the finding business partners is being really open to finding good people wherever you find them and let them lead. Being open to sort of that this conversation might not have the goal that I’m looking for. But it might lead that way inadvertently or may lead that way indirectly. Or may lead to something else that’s even better.

Caryn McCann: Exactly and that that’s a good point. Information or resources or connections can come from any source. So you really can’t just close yourself off to a roomful of people and say I’m only going to talk to producers. Now looking at your IMDB page, you’ve done a lot of work. Can you tell us a little bit about an obstacle you’ve encountered on a past project any past project? How did you overcome it and what did you learn?


Elizabeth Dell: I could I tell you about a project a very specific obstacle I’m in the midst of. So on my most recent film which I was a line producer on which was a project called The Swing of Things. It was also interestingly a romantic comedy kind of a romantic/broad comedy set at a destination wedding. But one very different than the Keanu Reeves and Winona Ryder movie. but somehow I’ve two movies in a row that are about destination weddings. We had spent a lot of time investing in a partnership with an airline in Jamaica in order to shoot a series of scenes that are set inside an airplane. And we were gonna do that in partnership with a Caribbean airline.

At the last minute, they decided they didn’t feel like this was an appropriate opportunity for them and they backed out. We ended up having to finish production in Jamaica when those scenes owed and we’re actually doing them in Los Angeles. I would say that it’s a problem. It is an obstacle that has in many ways been overcome because we have identified some standing sets and we have scheduled a shoot date in the next month and a half that where we will get everyone together and we will shoot the interior of the airplane here in Los Angeles.


But it was it was the learning about and it was an obstacle like. You have to scramble in production and how many things can go sideways. I understood in many ways the value of shooting everything in Jamaica but having come back and having to do an extra day now with a movie that had nine principal actors. We wrapped production more than we ramped up we think in my head now we wrapped production about four weeks ago. And it will be another five weeks before we shoot this scene because it was almost nine weeks to be able to reschedule a window when everyone could be in Los Angeles at the same time.

I think it was a real obstacle. figuring out what to do on the ground when all of a sudden we didn’t have a location and how are we’re going to rearrange it.  And I credit my director a lot for being on his toes. So we were able to come up with also some additional material that’s in the movie that we could use. We could we could capture on a day that we were not shooting in this airplane. You put everything in principal photography. You never owe scenes because getting everyone back again after the fact is just a monumental amount of work and so much more than it is to sort of tack a day onto the end of a schedule.

Caryn McCann: Oh, boy. Now that that that that that would keep you up at night.

Elizabeth Dell: it’s a fun thing to figure out.


Caryn McCann: If you could magically solve two current problems what would they be?

Elizabeth Dell: That’s a that’s a really a great question. Are we are you asking about a larger global scale or like two of my own personal problems?

Caryn McCann: However, you want to answer that it could be either way.

Elizabeth Dell: Well if we’re talking about magic I live I would say one global in one and one personal. On a global scale, I would love to be able to alleviate our current trade wars.

I’ve seen the repercussions in the film industry. I’ve seen a slowdown of partnerships and in the difficulties of things that were ready to go into production that is now uncertain again. The enthusiasm that was there is still there beneath the surface. But just everyone’s feeling very tentative about actually spending money and actually putting deadlines on things.

That’s really unfortunate because Hollywood and the film industry both in China and in Hollywood is perception. Even though it has nothing to do with the project, this trade war gets project slowed down. There’s a strong chance that that project doesn’t come back again because you lose time. You lose momentum. And honestly, my current projects are not like that. So I’m less concerned about them because there’s still time. There’s more lead time for this trade war to get resolved. But projects that weren’t this can be a real killer blow. Something that’s really hard to recuperate from. And that’s and that’s deeply unfortunate.

Caryn McCann: And a local personal problem?

Elizabeth Dell: If I could magically get more time yes I would do that time for both me and my sister we are doing a lot of fun things which is awesome and really exciting. But it means that you’re constantly juggling. And it’s sometimes and it’s all the work you can do to keep the current projects afloat. You sit there knowing that the ones you want to do next are not getting the love that they deserve. Because you don’t have enough time to devote to them.

Caryn McCann: Yes, and we all need sleep so yes I totally hear you. Now my next question is what sort of future projects are you looking for?  In the beginning, you said under sub $5 million US dollar budgets. Could you tell us is it film or TV? I know in your intro it was a lot of female-led genre films. Tell us about that and also what do you think the Chinese Studios are looking for?

Elizabeth Dell: So for me, it’s primarily film. I currently am working on one TV project. But I will own that it is a project where a lot of my involvement I bring a lot of other skills to the table. But I’m kind of learning the TV side in this project. Because I did not come up in television and that’s a very specific way of doing business. I think film is as well. But film is the kind of business I know so really most of what I do is film projects. And what I’m looking for from outside parties is usually film projects. And like you said I really gravitate towards female-driven.

It’s not an absolute obligation. But I don’t know that I would ever want to make a movie that couldn’t pass the Bechtel test for instance. Maybe if it was a written by my sister and it had to be a male lead and it was a movie like Gravity where nobody else spoke. That would be a context in which it would not pass the Bechtel test. But in general, I really I just strongly prefer female-driven stories. They resonate with me I think I understand them better.

And then there’s more of a market for them because there’s always more of a market for stories that people haven’t heard before. And there’s just more room for stories whether you are talking about stories from people of color. Or you’re talking about stories from non-traditional backgrounds. Or you’re talking or non-traditional sexualities. We’re talking about women’s stories. There’s just fewer of them that have been told and there’s more room for interesting ones to be told.

I’m a really physical hands-on producer and I tend to produce sub $5 million. I like to think of every project I do is a combination of something that’s new, challenging and interesting for me. But also, something where a project that my existence as part of that project is bringing a huge amount of work, skill, and value to that project. I have a couple in my back closet or one, in particular, my $150-million-dollar epic. But I will not try and really make that project happen for another few more years until  I’m closer in like what I know how to do. At this point, I want to stick in there like sub $10 million, sub $5 million range where the skills I bring and what I know how to do means I can do that well.

Caryn McCann: And the Chinese studios what do you think they’re looking for?


Elizabeth Dell: That’s an excellent question. I don’t know that I have an answer for that.  If I’m talking US and Hollywood based producers looking to partner with China, I tend to suggest that if you are going really low budget and you want to partner with China it probably needs to take place in China. Because I think that there is a lot more room – my impression is there’s that there’s a lot more interest right now in stories is set in mainland China about the Chinese.

Because there’s just again just like I was saying about my interest and that there’s room for more stories with about women because there are not enough of them being told. I think the same is true in China. there have not been a huge number of stories told about mainland Chinese in Mandarin. So, there is still an infinite amount of space for great stories there.  so, there’s less interest in stories about Chinese nationals overseas.

Caryn McCann: Right.

Elizabeth Dell: Or about people who have a Chinese heritage but are also Australian. I just think that there’s less interest in that because they’re like we want the close home-grown stories. And in the American market, in the Hollywood market, we’ve been watching those stories. Especially if the story stars males who are white. We’ve been watching those stories for a hundred years so we’re very interested in setting them in different locations, sort of twists on that on the environment or the people because it’s new and interesting.

CASTING ABCs? (American Born Chinese)

It’s really wonderful and new to just see stories about Chinese people in China.  I think there’s the sort of low-budget indie that has a little bit of Mandarin in it and is about American born Chinese –  is not as interesting to the Chinese studios.

I try and sort of counsel away from that I think the exception for that is a larger budgeted project where you’re maybe blending really big Chinese talent with Hollywood talent. There may still be space for that if you can find a way to thread that needle well and organically. But they’re much more focused on their own market as they should be because that’s where they want to be.

Caryn McCann: If it’s not low-budget, let’s add one more to that. You mentioned the Chinese stories filmed I China, low-budget if it is going to be with an ABC (American Born Chinese), maybe it has to be a bit bigger budgeted and you could film outside China. Is there anything come that would work for China if you wanted to shoot outside China?  It doesn’t have to be an ABC. Could it be like mainland Chinese actors with a few Americans?

Elizabeth Dell: Oh, I think you definitely can do that. I think that if you’ve got a larger talent and larger cast. I mean everybody globally wants to watch Jackie Chan wherever he wants to go in the world and whoever he wants to perform with. If he wants to be in the UK and with Pierce Brosnan and shoot in English or if he wants to shoot entirely in Chinese, entirely Mandarin and filmed entirely on the mainland or filmed in Macau – wherever and whenever – the world wants to see that.

There aren’t a lot of talent like that. and so, and so that’s a that’s a pretty small needle to thread. And it’s one that requires a pretty substantial budget to do it. and just by the numbers game that’s not every producer.

Caryn McCann: Right.  Now, this next question is a little bit esoteric. If you could do your career over again what would you do differently?

Elizabeth Dell: For me, that’s a really interesting question because I came to this career pretty late.  I thought I was going to be a physician. Got a master’s in public health. I didn’t really commit to entering the film industry until the mid-2000’s. At which point I was like a larger proportion of a decade out of college. But it’s a really tough question for me because as a success producer, being a successful producer and advancing my career as quickly as possible – if I had known that this is what I was going to do and this is where I was going to end up – I might have started out differently in college.

I do not believe I would have done anything but chemistry. I really love doing science. But in college, I might have looked at entertainment internships and worked a path up the ladder. Because I was just doing my own projects, it was actually late in my career as a producer I started working with other people outside my sister honestly. My career came from facilitating her making movies and then branching out. Which means I learned a lot on the job. I would say I learned a lot by physically producing stuff and doing it wrong or badly rather than watching other people do it and learning from other people’s examples.

So, it’s a really tough question because I also think that being a great producer especially in the low to medium budget space – where you wear all of the hats in the world – it’s about problem solving and thinking creatively.

It’s about making connections where other people don’t. It’s about having a really broad sense of the world and an ability to connect with people and an ability to find common ground.  And all of those things come from being cultured, having a lot of exposure in the world. And I and the huge part of that is my education. The fact that I did so many things in so many different directions – I don’t know if I would want to take that back.  It’s actually it’s a really wonderful question and a really hard one.

Caryn McCann: Right and you’ve got the best of both worlds it sounds like. I mean you have a very unique background which gives you a unique point of view. So, you have a network just based on that but now this next question is actually a trick question. What question did I not ask you that I should have?


Elizabeth Dell: I think that we talked about it a little bit. but I always think about what’s the – it’s a very trite question – but what’s the piece of advice that nobody has given you? That you wish you had been given? Or the one piece of advice you really think people should share?  I think that it’s a question that I would understand not asking because it gets asked a lot. I do think there aren’t a lot of paths in this industry and everyone’s kind of making their own – it’s one that’s worth talking about every time.

And not because I have the smartest and the best piece of advice but because you just need to get it from everybody. And then sort of assemble your own your own kind of instructions for living from that or instructions for working.  The thing I would say the piece of advice I would give – would be open right. I think I alluded to this at the beginning saying I was meeting with composers or meetings with whoever you talk to and make friends with is that most of the directions I have gone in my career and most of the projects that have come to me in my career have come unexpectedly or have come through unexpected means.

And whether that was a really interesting just fascinating conversation at a lunch with a friend that then I thought about for six months and then I talked to my sister about it. And then that eventually ended up as a script that we made. Or whether that was – I’m running into a friend and her saying -your brother lives in China. You should meet my friend Robert who’s Chinese.  Or an alumni connection that I had many coffees with and was a good friend and a mentor calling me up and saying – hey will you produce next movie for me. And it just the world moves in ways you don’t expect.

The best advice I can give when you’ve got to always work hard. You’ve got to always follow through. You’ve got a bit of work to find more hours than the next person. But just be open to whatever is interesting in the world that looks good.  Don’t assume where the next lead is coming from or where the next project or next success is coming from.

Caryn McCann: Exactly. Go ahead.

Elizabeth Dell:  I just I’ve never been right about that the answer to that question.

Caryn McCann: Well you actually answered my next question which is what advice would you give? Thank You answer that in advance so right on cue. now, in conclusion, would you like to share any social media details or website links or information, news about future or current projects?

Elizabeth Dell: Absolutely. So my last film Destination Wedding actually just came out. We just released it in Hong Kong. It came out in Hong Kong two weeks ago so it’s in theaters right now there. And I am also hopeful- it has actually we are still finalizing all the transaction so I can’t really report on the details.  But it has been acquired for theatrical distribution in mainland China. So, I’m hopeful that it will be coming out in theatres in mainland China within the next couple of months. So, I would love to encourage everybody to remember Destination Wedding with Keanu Reeves and Winona Ryder.

If you want more information about myself you can always go to my website or the Facebook – Dell Sisters. There’s Twitter and there is Instagram and there’s all that.  Just DellSisters.com and then that has all the other links. Array Entertainment is the name of the slate-fund. And so, you can also find our website and see what kind of projects that we’re doing that are genre and female-driven. Those tend to be – we would love projects for that fund.

We’re always open to projects that have a sort of a Chinese angle to them. The fund itself is not specifically China-oriented though. it’s just genre films – sort of commercial genre films that tend to be in the 10 to a 20-million-dollar budget range with a specifically female lead.

Caryn McCann: Wow that’s very interesting and I’ll put all that information in the show notes. Well, this was very helpful and I love all the advice and just fantastic to hear from you. so, thank you Elizabeth for being on the show today.

Elizabeth Dell: Oh, you’re absolutely welcome I was really happy to be here. Thank you so much for asking.

Caryn McCann: You’re welcome. And I’ll see you at the premiere.


I’ve got three key points. And they are:

  1. COLLABORATION: The most important thing to remember in the film industry is that it’s a really collaborative industry. Nobody can do this alone. so, a huge part of what Elizabeth does is figure out who her partners are, what work they’re doing how she can bring in new partners.


  1. NETWORKING: Elizabeth mentioned that when you are networking – keep an open mind. Say you need a producer and go to a conference or reception. Don’t focus on only meeting producers. You need to meet people in different jobs – (composers, writers, actors etc.). You can get vital information on what industry people are looking for, and who are invested in the kind of projects you’re making. And that information can come from any source.


  1. OVERSEAS VS MAINLAND CHINESE STORIES: Chinese studios are not so interested in stories about overseas Chinese. They are more interested in shooting stories about Chinese people in China. I asked Elizabeth about adding American actors to that mix. She said if with bigger names (Chinese and Hollywood talent) you could thread that needle. But the story has to fit the Chinese market.


  1. UNEXPECTED SOURCES FOR FUTURE PROJECTS: Elizabeth said by being open to various people in the industry (composers, writers, actors etc. – i.e. – not just producers) most of her projects have come to her unexpectedly or from unexpected means. Don’t assume you know where the next lead, next project is coming from. So, keep an open mind at your next industry event.

Thank you for listening. To show your support – go to iTunes, subscribe and leave a rating so other people can find this podcast.

I’m also looking for more guests for my podcast. So spread the word. And if you’d like to join the podcast or would like to recommend a guest – send me an email at podcast@chinahollywoodgreenlight.com

And I’ll see you at the premiere.  Bye! Yī huǐ jiàn! 一会见


China Hollywood Greenlight Podcast – Episode 20

Elizabeth Dell

Show Notes

Host: Caryn McCann






GUEST: Elizabeth Dell

Website: https://www.dellsisters.com

Facebook: https://www.facebook.com/DellSisters/

Instagram: https://www.instagram.com/explore/tags/dellsisters/

Twitter for Dell Sisters:  https://twitter.com/search?q=%40DellSisters&src=typd

Twitter for Elizabeth Dell: https://twitter.com/ElizabethDell

Array Entertainment: http://www.array-entertainment.com

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