American actress Kirby Ellwood is making waves in the entertainment industry with her performance in Final Call for Love, a drama mini-series produced by Kalos TV and Mini Shorts, which has already surpassed 22 million views. Recognized as one of the rising stars in vertical storytelling, Kirby has shone in feature-length films divided into short, one-minute segments designed for mobile consumption. After playing a fan in 80 For Brady, she also gained prominence in the hit Straight A Pregnancy by ReelShort.
Your journey started in a rural town in Ohio, went through interior design courses, and ultimately led you to discover your passion for acting. Looking back, how has this unexpected transition shaped your view of the world and the art of storytelling?
Growing up in Ohio, I always dreamed of something bigger. Living in a small town with limited opportunities pushed me to imagine a life beyond my surroundings. I’ve always wanted to pursue something exciting and meaningful, so it feels natural that I ended up reaching for a path far beyond where I started.
This journey taught me that you create your own opportunities in life. Dreaming big enables you to make bold choices, and those choices shape your story. Growing up in Ohio gave me the foundation to dream and work toward something greater, and that mindset continues to influence how I approach storytelling today.
With your work in vertical productions like Final Call for Love, you are helping redefine how we consume content. What is it like for you to act in stories told in one-minute segments? What challenges and opportunities does this format present?
Working in vertical storytelling is both challenging and rewarding. The fast pace means we often have to make quick choices as actors. Scripts are sometimes given just a day or two in advance, so there’s little time for preparation. On set, we shoot with two to four cameras and often only get one or two takes per angle, so memorization and precision are key.
This format forces you to stay sharp and develop strong technical skills—you’re constantly aware of blocking, camera angles, and ensuring nothing is missed in a short window of time.
On the flip side, the opportunities are incredible. As a lead in vertical productions, I’m busy from start to finish—wardrobe, makeup, blocking, shooting, repeat. It’s a whirlwind, but it’s exhilarating to work with talented people and create stories that resonate with millions of viewers.
Your training with renowned names like Jessica Morris Houde and John Markland emphasizes emotional depth and authenticity. How do you apply these lessons when creating such complex characters as June Carter or Kelsey?
I always strive to find the truth in every character I play. My goal is to bring honesty and authenticity to their experiences and emotions.
Jessica Morris Houde taught me to live truthfully under imaginary circumstances and to remain open and vulnerable, allowing the character’s journey to genuinely affect me.
John Markland helped me explore my own emotions and experiences, using them to dig deeper into a character’s thoughts and feelings. He showed me that every role is an extension of yourself, and understanding that helps create a more layered performance.
For June Carter, I leaned into her warmth and compassion, focusing on her openness to love and connection. For Kelsey, I channeled her control and uncertainty about love, tapping into her fear of vulnerability while showing her growth throughout the story.
Beyond acting, you also dedicate yourself to abstract painting, using art to express human emotions. Is there a connection between what you explore as a painter and as an actress?
Absolutely. Both acting and painting are about exploring layers of emotion and experience. In my paintings, I focus on texture, patterns, and layers to convey a story, and I think people are much the same. Every experience adds a new layer to who we are.
Acting lets me peel back those layers to find the heart of a character, while painting allows me to build them visually. They’re two sides of the same creative coin.
With such a packed schedule, including new projects and hobbies like ballet and rock climbing, how do you find time to maintain balance and take care of your mental and physical health?
Balance is so important, and while I’m not always perfect at it, I make an effort to prioritize my well-being. Hot yoga has been a game-changer for me—it keeps me grounded and helps with both my mental and physical health.
When I’m feeling overwhelmed, I turn to my best friend. We talk about everything, and having that kind of support system is invaluable. Sleep is another big priority for me, especially during long days on set—I always aim for eight hours to recharge.
The drama Straight A Pregnancy tackles emotional issues and complicated relationships. How did you prepare to portray Kelsey, and which aspects of the story resonated with you personally?
Kelsey is a straight-A student with a type-A personality, and portraying her required understanding her relationships and her fears. She’s someone who avoids love because she’s scared of getting hurt, and when Ben unexpectedly breaks through her walls, she struggles to let him in.
What resonated with me most was Kelsey’s journey from being a people-pleaser to finding her own identity. Her relationship with her grandmother, and breaking free from those rules, really hit home for me—it’s about learning to trust yourself and make your own path.
With over 30 credits and ongoing projects like How to Kill a Vampire and The Casanova Killer, what are your biggest dreams and goals in your career? Is there something you haven’t explored yet that you would like to achieve?
I would love to land a role on a TV show—that’s a big goal for me this year. I also dream of being in a Hallmark movie; I adore their wholesome, feel-good stories. There’s always more to explore, and I’m excited to continue growing, taking on new challenges, and telling stories that inspire and entertain.
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