Private Project

I Am Salmon

Connecting humanity with salmon and the sea through the subtle art of poetry and Gyotaku (fish rubbing), Duncan Berry shares his experience as a longtime environmentalist and former captain of a salmon troller.

In adopting the perspective of this transcendent fish, the beauty and power of the Oregon coast becomes the canvas through which the evolution of the salmon is illustrated.

  • Whit Hassett
    This Land, Grizzly Country, Offseason
  • Duncan Berry
  • Whit Hassett
  • Project Type:
    Documentary, Experimental, Short
  • Runtime:
    2 minutes 59 seconds
  • Completion Date:
    January 27, 2022
  • Production Budget:
    0 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • Telluride
    United States
    May 27, 2022
    World Premiere
    Official Selection
  • Mountainfilm Festival
    Telluride, CO
    United States
    May 27, 2022
    World Premiere
Director Biography - Whit Hassett

Whit Hassett is a filmmaker, educator, and aerial videographer based in the Pacific Northwest. With a love for wild places and a passion for environmental advocacy and social justice, she has contributed her unique aerial and on-the-ground perspectives to a variety of brands and organizations including Patagonia, Matador Network, Merrell, Yeti, Earthjustice, Nature Conservancy and Ocean Conservancy.

After pursuing a M.S. in environmental science and working for conservation organizations, she has shifted focus to film and science communication, focusing on the human stories that tie us to our landscapes. She recently directed and produced the short film, ‘This Land’, which has gone to screen at major outdoor and environmental film festivals worldwide and was awarded a Vimeo Staff Pick and a nomination for Best of the Year.

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Director Statement

I first heard Duncan recite his poem 'I Am Salmon' at the FisherPoets Gathering during a rainy weekend on the Oregon Coast. Nearly two years later, still captivated by his words, I wrote him asking if we could make a film together, and we quickly found we were kindred spirits. He opened up his home, showed me the intricate process of Gyotaku, and shared his infectious passion and gratitude for the sea.

My hope with this film is to share Duncan’s enthusiasm and inspiration, and to shift the human-centric perspective of conservation towards one that reveres the experiences of the creatures we share this world with.