We were lucky to catch up with Parker Fenady recently and have shared our conversation below.

Parker, thanks for joining us, excited to have you contributing your stories and insights. Learning the craft is often a unique journey from every creative – we’d love to hear about your journey and if knowing what you know now, you would have done anything differently to speed up the learning process.

One of my favorite parts of this industry I’ve experienced is the versatility in terms of modes of education. On the most basic level, by engaging with film and television content as a viewer, we learn. Our behavior as consumers are the building blocks of our behavior as cultivator. It’s also so informative on your tastes, what matters to you in programming, what you want to see. The next step for me was seeking a formal film education, so that I could deepen my knowledge and also be surrounded by people who have the same passion. I attended the USC School of Cinematic Arts, which was an invaluable opportunity for many reasons. The obvious being the practical film knowledge I learned from my four years there. I’ve always been a bookworm so I was the student reading all the books on the reading list, even the non-required ones. Something more valuable I’d say, though, was the people I met in my time there. I learned so much from my professors and peers. Honestly, it was the first time in my life where I was consumed by the kinds of conversations I’d been yearning for. Discussion of art, craft, creativity, feeling, and what it means to make something. And in those conversations, when you show someone who you are creatively, peers become collaborators. You gain the ability to inextricably build worlds together. This leads me into my next, possibly most important phase in learning the craft: Work. It doesn’t have to be the work you want to do. Most of the time, in fact it isn’t. For me, I found so much value and freedom in working on sets in all sorts of roles because it gave me the chance to pick my head up and watch. To learn how to do the jobs around me by watching those who had put in the hours before me doing the same thing. I learned how to run a set by seeing people who do their jobs well, people who do their jobs poorly, and asking every question that came to mind. I think I’m lucky in the sense that I’m an extrovert, I was unafraid to admit when I didn’t know what something meant. Why are they screaming “martini!”? Why is everyone happy about that? What is going on? I think most people I have met through work have an inherent propensity for good, an attitude to help teach in a way they’ve been taught before. I’m in that position now, which I consider myself very lucky to be in, where I can pass on knowledge that came so freely to me and hopefully help people be in the position to accomplish their dreams.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I’m an aspiring filmmaker and recent graduate of USC’s school of Cinematic Arts. Through school, I I was able to start my career working in Development at Heyday Films and Ace Entertainment. I’ve since built a robust body of work as a Director/Producer. Most notably, producing independent films Old Goat, Written/Directed by Teddy Nissen (Lovebugs) and She Who Sees All, written/directed by Gordy De St. Jeor (The Thrill). I’ve also directed/produced passion projects throughout my time at USC, including Group Session (World Premiere at the Don Thompson LGBTQ+ Film Festival in February, 2024) and Seance, which is currently on a festival run (Audience Choice Award Winner at USC’s CAMS Fest). My piece “The Western’s Descent into Introspection” was published in issue no. II of Spotlight Journal, the first and only undergraduate journal of the USC School of Cinematic Arts. My on-screen feature film debut “You Can’t Run Forever” (Lionsgate) will be available May 17, 2024. Concurrently, I will be shooting my debut short film as a writer/director in may currently titled “Dating Friends” which I am thrilled about. The team I have on that film is just a dream and I can’t wait to see where it goes.

Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?

“Big Magic” by Elizabeth Gilbert has been such an anthemic force on my creative journey. It was recommended to me by a friend and ever since reading it I have found such firm footing in terms of my view on being a creative. The idea of creativity as a philosophy to be embodied not a result-oriented process I found so poignant, I would definitely recommend to any friends, particularly those looking to go into creative industries.

Is there mission driving your creative journey?

I think this will change over time — what interests me, what draws me towards certain projects. Right now I’m finding myself intrigued by the idea of making films that evoke palpable feelings from audiences. I love the way different formal elements come together in a film, whether that be direction, production design, lighting, performance, etc., to reproduce in someone an organic feeling that’s true to life. Take a series like Normal People, for example. That show so sweepingly makes and then breaks your heart as an audience. I find the idea of that catharsis to be fascinating and I want to spark those feelings in audiences as authentically as possible in the work I do.

Contact Info:

• Instagram: parkerfenady
• Linkedin: www.linkedin.com/in/parker-fenady-0232151a1
• Other: https://www.imdb.com/name/nm12955881/

Image Credits
Photos by Caleb Reece, Katherine Mottola, Sasha Neboga