Busy producer Parisa Dunn, whose credits include Border Invasion USA and the award-winning film Desert Dancer, tells us about her latest project, The Green Dream.
The documentary takes an in-depth look at the racial inequity within the billion dollar cannabis industry and the continued War on Weed and disproportionate incarceration of people of color in illegal States in the USA today.
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How long have you been in the producing game for?
How long have you been in the producing game for?Parisa Dunn: It’s been about 8 years.
And was it a conscious choice to produce films, as opposed to directing or appearing in them, or did you just unconsciously find your way into the producer’s seat?
PD: I think it all started from the simple desire to tell compelling stories that mattered. After my Masters degree I worked as a broadcast journalist and never lost the drive to bring human stories to life and to a wide audience. I was used to working autonomously, making creative and technical decisions under pressure as a journalist so producing felt like a natural extension of that. I found the prospect of initiating a project and putting all the elements together, essentially bringing an idea into reality, an exciting endeavour. Truly creative.
Did you cut your teeth on short films or digital work before moving onto TV and film?
PD: When it comes to story, I cut my teeth really in the newsroom and out as a reporter. I later had a lucky break and worked for a boutique documentary company, Double Act Productions in the UK, and had the opportunity there to run several TV productions for Channel 4, Sky One and the Discovery Channel.
When did you know it was time to jump into producing full-length features?
PD: I wanted to pull all my experience and skills in journalism, film and TV together and was accepted to the Producer’s Program at the London Film School. It was after completing this, whilst concurrently working on various TV series, that I got to work on the full-length feature Desert Dancer, starring Freida Pinto. It was perfect timing really and a story I was passionate about telling, so I jumped at it.
This new film you’re working on.. it encompasses a fascinating issue. Can you tell us more about it?
PD: The new film is a documentary feature called The Green Dream. It looks at the racial inequity in the billion dollar cannabis industry and on the flip side the disproportionate incarceration of people of color in illegal states. It’s an issue that’s been very low on the agenda during the recent boom of cannabis legalization, but it’s finally picking up air time as a number of the Presidential candidates such as Senators Cory Booker and Elizabeth Warren are taking it seriously on their 2020 election campaign agenda.
And where is the project at – I imagine documentaries take more time to put together than a traditional feature because a new interviewee or angle can pop up at any moment?
PD: We are currently in production and moving fast due to the immediacy of the topic. Every day something new is occurring with legalization in one state or another and we’re keeping abreast of each new development in case its relevant to the film. However, our angle remains the same. I’m eager to see how big of a talking point it will be politically when we get to January 2020 and the next Presidential election.
At any time was there a possibility of doing a narrative feature out of this – or are documentaries just more your bag?
PD: I consider myself a Producer of story, so narrative features, documentaries and TV dramas are all in my wheelhouse. Aside from The Green Dream I’m also working on a variety of movies and a TV series based on a true story, so really I’m across both fiction and non-fiction.
Where about do you like to shoot your movies?
PD: The location of a movie all depends on the script so it’s really the story that decides. However, many locations have stood in for other places in the world so it’s an interesting process to piece together the best place to film creativity for the best value.
And has one project opened more doors for you over another?
PD: I think it’s the accumulation of experience and contacts on various films and projects that opens doors. You’ve also got to be able to get along with people and be reliable. So in that case you make your own doors open! There comes a point at which you know a lot about your craft and your industry and you have the professional connections, but it takes time and tenacity.
How do you think you’ve improved as a producer since the early days?
PD: Since the early days I’ve learned that there are two key things to filmmaking. The first is who you work with is the most important decision that you make. The second is that when you’re up against it, you’re only as good as your team. So, you’d better make the right decision about whom you work with. Really, if you get this right you’re halfway there!