We recently had the chance to connect with Parker Green and have shared our conversation below.
Good morning Parker, it’s such a great way to kick off the day – I think our readers will love hearing your stories, experiences and about how you think about life and work. Let’s jump right in? What is a normal day like for you right now?
Right now, a normal day in my life starts at my desk. I’ll typically dedicate one to two hours to screenwriting a day, whether I’m deep in a project or just starting to outline something new. Most of my projects tend to lean more into short-form comedy, and typically run about 5-15 minutes. But I’m always trying to challenge myself and write projects with increasing size and scope, like features and series.
After writing, I like to reward myself by watching a movie, either in theaters or at home. My Letterboxd watchlist is several hundred films deep, so keeping up with movies is a big part of my creative routine. I have an AMC A-List membership, which I know is a total filmmaker cliché, but most weeks you’ll catch me at the Thousand Oaks, Topanga, or even the Burbank AMC watching something new.
But of course, that routine can change at a moment’s notice. In this industry, things move fast. An audition can take over my entire day, and behind the camera set opportunities can usually be a 12-hour commitment. But I genuinely love that unpredictability. No matter what comes up, I’m always eager to be working and building momentum in an industry I care so much about.
Can you briefly introduce yourself and share what makes you or your brand unique?
My name is Parker Green, and I’m a writer, director, producer, and actor. I’m based in Los Angeles, in my 20s, and currently chasing the filmmaking dream…So basically, half the population of Southern California. I’ve been working in the industry for the past 8ish years, give or take, and it’s all I’ve ever dreamed of doing. The thrill of being on sets and telling stories is a sensation that I live for. I especially love working in the world of comedy and getting the opportunity to tell offbeat and unconventional stories. My most recent short film, The MJ Mishap, is possibly the most unconventional film I’ve ever made, and it’s something I’m very excited about because of that.
The plot of The MJ Mishap follows a Michael Jackson tribute acapella group preparing for the biggest performance of their careers, but when the lead member of the group doesn’t know about MJ’s “controversial” past, it throws the fate of the group in jeopardy. The film originally started out as a silly comedy sketch, just me and my friends messing around with Michael Jackson’s lyrics and finding ridiculous double meanings that made us laugh. From there, it grew into something much bigger, and arguably something even sillier. What began as a joke exploded into a comedy musical extravaganza that comments on legacy, idols, denial, and most importantly, being “BAD.” The film has even won several awards at acclaimed festivals such as the Central Coast International Film Festival (Best Comedy & Best Actor), Shockfest Film Festival (Best Comedy), and the Los Angeles International Film Festival (Best Comedy). The MJ Mishap releases this April on YouTube, and I can’t wait for audiences to see it!
Okay, so here’s a deep one: Who taught you the most about work?
When it comes to my work as an actor, I credit a lot of my knowledge and success to my managers, Peter Smith and Jon Simmons. Their guidance has gotten me through some of my toughest moments, and without their constant support, I wouldn’t be the actor that I am today.
What they’ve taught me about work has really stuck with me over the years: “Do. Be. Have.” is their mantra. “Do the work. Be the actor. Have the career.” It’s this philosophy that completely reshaped how I approach this industry. It’s trained me to not worry about outcomes so much, but instead focus on preparation, discipline, and growth in my acting.
And they aren’t just any managers. They are hard-working, hands-on mentors who truly transform actors into their best possible selves. And whether I’m tapping an audition, struggling on a scene in acting class, or navigating the uncertainty that comes with the business, it’s because of them that I always return to that mindset. Do the work first. Everything else follows.
Was there ever a time you almost gave up?
There was a brief moment back in 2022 when I did almost give up. For context, the film and television industry was really suffering from the one-two punch of the pandemic and the actor’s/writer’s strikes. Auditions were sparse, Hollywood productions were down, and no one really knew where things were going. And after a couple years of radio silence, I started to spiral a little bit. At this point, I had dedicated nearly five years to this business with very inconsistent results. I was second-guessing my decisions, thinking about other jobs or opportunities to fall back on, and worst of all, I was doubting who I was. And after thinking about this for several months, I finally had a realization. What if I made the opportunities myself?
I decided to take things into my own hands and start writing. Not that I hadn’t written scripts before, but once I turned over a new leaf, I wrote as if my life depended on it. I was coming up with ideas left and right, and thinking up ways to make short films on the cheap. One moment I’d be phoning friends about lighting and camera equipment, the next moment we’d be shooting in the loading dock behind my work. It was insanely scrappy, unorthodox, and very DIY, but it was also just the thing I needed to reignite that spark inside of me.
I think our readers would appreciate hearing more about your values and what you think matters in life and career, etc. So our next question is along those lines. What are the biggest lies your industry tells itself?
One of the biggest lies the film and television industry tells itself is that there’s only one way to build a real career. And that path is through the traditional studio system. But honestly, that’s just not true. For decades, filmmakers have found their own way into the industry. Whether that’s through independent financing, online platforms, or just standing out in shocking and exciting ways, plenty of people have proved there’s no one way in.
And we’re seeing that now more than ever. Creators like Mark Fischbach with Iron Lung, Matt Johnson with Nirvanna The Band The Show The Movie, Kane Parsons with The Backrooms, Chris Stuckmann with Shelby Oaks, and the Philippou Brothers with Talk to Me have made great strides outside of the traditional industry pipeline. It can be done.
And for all the NepoBabies, Grandfathered Executives, and Studio Suits out there, outside voices are still shining through. Access isn’t everything anymore. Originality, persistence, and creating something undeniable matter just as much. And don’t get me wrong, the studio system is still an option, it’s just not the only one.
Okay, so let’s keep going with one more question that means a lot to us: Are you tap dancing to work? Have you been that level of excited at any point in your career? If so, please tell us about those days.
Not to sound overly optimistic, but I’m always tap dancing to work. I’m a firm believer that when you bring a level of excitement and positivity to a set, it lays a foundation for the work environment. No one wants to work with people who constantly bring the mood down. Especially on sets where the average workday is 12 hours over multiple days. So making sure there’s always an enjoyable vibe on set is one of the most important things to me as a director and an actor.
On the set of my most recent film, The MJ Mishap, there was never a moment I wasn’t enjoying myself. It was arguably one of, if not the most fun, I’ve ever had on a set. And a lot of that also stems from the other actors and crew members. Everyone was either cracking jokes, falling into each other’s arms, or bonding over the ridiculousness of the film (which for this short was absolutely warranted). One of the moments that best captured the set was when we were performing the film’s big musical finale. Here we were, five guys in their 20s singing and dancing to a parody version of MJ’s Man in the Mirror. All of us trying our best, but ultimately messing up the notes and choreography, requiring multiple takes to get right. But even though there were a few screw-ups here and there, the pressures of the day never compromised the group. We would shrug it off, laugh, and try again. And that kind of energy doesn’t just make a set more enjoyable, it makes the work better. And those are the days I’m always trying to chase.
Contact Info:
- Instagram: @parkergreen28
Image Credits
Orange and Blue Photo – Esteban Huambachano
Red Curtain Pointed Glove Photo – Emi McDonald
The MJ Mishap Short Film Still – Rose Saban
Los Angeles International Film Festival Photo – Ieva Georges
