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Award-winning Director Jonathan Demme Explores Devastation and Rebuilding of New Orleans with Story of an Extraordinary Woman in POV’s ‘I’m Carolyn Parker: The Good, the Mad, and the Beautiful,’ Thursday, Sept. 20, 2012 on PBS

Lower Ninth Ward Residents Were Told to “Look and Leave,” But One Feisty Woman Decided to “Look and Stay,” Fighting for Her Home, Church and Community

Produced in Association with American Documentary | POV

“Parker makes a memorable camera subject perfectly suited to Demme’s scruffy, affectionate documaking. . . . A worthy addition to the growing body of work on Katrina and its still-ongoing aftermath.” — Justin Chang, Variety

When Hurricane Katrina struck New Orleans in August 2005, the hardest-hit neighborhoods were also the city’s poorest. But nowhere was devastation greater than in the Lower Ninth Ward, a neighborhood bordered by the Industrial Canal and the Mississippi River, home to a vibrant African-American community and one extraordinary woman. Several months later, Academy Award®-winning director Jonathan Demme set out to document the devastation and rebuilding of the Crescent City.

After Demme met Carolyn Parker and gained permission to film her progress, what began as a historical documentary morphed into a deeply personal character study of the courage and resiliency of this fierce, opinionated matriarch and community activist. I’m Carolyn Parker: The Good, the Mad, and the Beautiful, shot over the course of five years, is Demme’s intimate, unvarnished chronicle of Parker’s five-year crusade to rebuild her beloved neon-green house, her church, her community — and her life.

I’m Carolyn Parker: The Good, the Mad, and the Beautiful has its national broadcast premiere on Thursday, Sept. 20, 2012 at 10 p.m. during the 25th season of PBS’ POV (Point of View) series. POV continues on Thursdays through Oct. 25 and concludes the season with fall and winter specials. (Check local listings.) American television’s longest-running independent documentary series, POV is the winner of a Special Emmy for Excellence in Television Documentary Filmmaking and two International Documentary Association Awards for Continuing Series.

As the levees broke and the floodwaters of Katrina barreled up the mouth of the Mississippi River, Parker’s home in the Holy Cross neighborhood was submerged and her neighbors had to be rescued from their rooftops by helicopter. Parker was pronounced dead in the local newspaper after authorities found no trace of her for weeks. It turns out she was one of the last people to leave her neighborhood under mandatory evacuation, but she survived along with thousands of other newly homeless victims of the storm.

Eventually reunited with her children and her brother, Raymond, Parker became a voice for the displaced people of the Lower Ninth Ward who were scattered all over the country waiting to come home. She gained instant recognition in January 2006 for her public rebuttal of Mayor Ray Nagin, when she railed at him and a committee of experts, promising that if they pulled down her house it would be “over my dead body.” The entire country took notice.

As the waters retreated, Parker was one of the first to move back to the Lower Ninth. While she waited for the funds to reconstruct her house, she lived in a FEMA trailer for four years with her daughter, Kyrah Julian, who had returned home from Syracuse University to help. Her son, Rahsaan, joined the family from California, where he had just completed his master’s degree, and lived in the gutted shell of Parker’s home. Parker immediately began advocating for the rebuilding of her cherished St. David’s Church, the only Catholic Church that welcomed blacks when she was growing up. It was the glue that held her community together, and its resurrection became a primary mission for Parker.

From dealing with fly-by-night tradesmen to recovering from double knee surgery to enlisting her daughter pick out bright paint colors (including her signature neon green) for remodeling, Parker’s story is underlined by her profound gratitude and good humor. Demme joins her in the tiny kitchen of her FEMA trailer as she makes sumptuous fried chicken injected with pickle juice and tells stories of cooking for the biggest hotels in New Orleans, without ever divulging her coveted recipes. (“I’m not into making books or writing books, but I know you will,” she reports telling one master chef, adding, “So I wrote him a recipe for a peanut butter and jelly sandwich!”)

Parker gives viewers a guided tour of her home after its destruction. She recounts her early memories of segregated New Orleans; because she was fair-skinned, she was allowed to ride in the front of the bus while her grandmother sat in the back. But being poor didn’t stop her from being resourceful. To make sure her mother looked fashionable, Parker would cut pictures of the latest styles out of the newspaper, make her own patterns and sew new dresses for her mom. “And boy, did she look good going to church every Sunday!” Parker exclaims.

She remembers moving into her home with her husband, who asked why she wanted that old, tiny house. “Because it wants me,” she replied. “All it needs is love.” Later, when Kyrah’s father was murdered, Parker pressed on, raising her family and making sure they had a stable home. And after Katrina hit, “Everyone else was crying,” she recalls. “I didn’t cry. . . . As I got into that house . . . I realized that I had to look up and say ‘Thank you God, thank you. It’s still standing.'”

Demme and his crew made their final visit to film Parker, her son and daughter at the end of 2010. “It was the best visit ever,” says Demme. “As we approached the house we started to hear sounds that let us know that the Parkers were finally back home.”

“I am happy,” says Parker. “I had no walls but now I have walls. . . . I know somebody heard me. Especially God in heaven. . . . I love New Orleans; I love the Lower Ninth Ward, and I’m not going anywhere.”

I’m Carolyn Parker: The Good, the Mad, and the Beautiful is an irreplaceable entry into the annals of American history and a celebration of the indefatigable courage and staying power of an American woman.

“After Carolyn’s house was flooded and she endeavored to rebuild her home, I was privileged to gain her permission to keep track of her progress,” says Demme. “I didn’t know at the time that these filming visits would stretch over the next five years, including 21 visits. Nor did I realize what an amazing portrait of an ‘ordinary’ American would emerge over time. The film changed from a record of reclaiming her home into a documentary about a truly extraordinary woman.”

I’m Carolyn Parker: The Good, the Mad, and the Beautiful is a production of Clinica Estetico, Right 2 Return and Jacob Burns Film Center, produced in association with American Documentary | POV.

POV invites viewers to celebrate the series’ 25th anniversary by hosting an I’m Carolyn Parker: The Good, the Mad, and the Beautiful Premiere Party. Invite as many people as you like to watch the film between Sept. 20 and Oct. 5, then enter for a chance to win exciting prizes including signed DVDs, sustainable food items and more. Find out more at

About the Filmmakers:
Jonathan Demme, Director/Producer

Starting out with Roger Corman in 1971, Jonathan Demme has directed and/or produced more than 30 movies, including Rachel Getting Married, The Manchurian Candidate, Beloved, The Agronomist, The Silence of the Lambs (for which he won an Academy Award and the New York Film Critics Circle Award for Best Director), Philadelphia, Married to the Mob, Something Wild, Swimming to Cambodia and Melvin and Howard, for which he was named Best Director by the New York Film Critics Circle. Additional producing credits include Devil in a Blue Dress, Household Saints, That Thing You Do!, Ulee’s Gold and Adaptation. New projects include the third installment of his performance trilogy with Neil Young, Neil Young Life; an animated version of a Dave Eggers book called Zeitoun The Movie; an adaptation of Michel Faber’s novella The Courage Consort; and three forthcoming New Orleans portrait documentaries along the lines of I’m Carolyn Parker: The Good, the Mad, and the Beautiful.

Daniel Wolff, Producer
Daniel Wolff’s new book, The Fight for Home (Bloomsbury, Aug. 7, 2012), is about citizens returning to New Orleans and rebuilding the Lower Ninth Ward; it is another aspect of the ongoing project he is producing with Jonathan Demme that includes I’m Carolyn Parker: The Good, the Mad, and the Beautiful. Wolff was executive producer on Demme’s The Agronomist, has published poetry in The Paris Review, Partisan Review and The Threepenny Review and is the author of a number of nonfiction books, including the recent How Lincoln Learned to Read: Twelve Great Americans and the Educations That Made Them. A Grammy nominee and winner of the Ralph J. Gleason Music Book Award for his biography of Sam Cooke, Wolff has collaborated with sculptor Robert Taplin, musician Steve Elson and choreographer Marta Renzi, mother of his two children.


Director/Producer: Jonathan Demme

Producers: Lindsay Jaeger, Daniel Wolff, Steve Apkon

Editor: Ido Haar

Original Music: Zafer Tawil

Camera: Jonathan Demme

Running Time: 86:46

POV Series Credits:

Executive Producer:Simon Kilmurry

Co-Executive Producer: Cynthia López

VP, Production & Programming: Chris White

Series Producer: Yance Ford

Coordinating Producer: Andrew Catauro


  • Official Selection, International Documentary Film Festival Amsterdam, 2011
  • Official Selection, Venice International Film Festival, 2011
  • Official Selection, Toronto International Film Festival, 2011
  • Official Selection, New Orleans Film Festival, 2011
  • Official Selection, Woodstock Film Festival, 2011
  • Official Selection, Minneapolis-St. Paul International Film Festival, 2012
  • Official Selection, BFI London Film Festival, 2012

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Produced by American Documentary, Inc. and celebrating its 25th season on PBS in 2012, the award-winning POV is the longest-running showcase on American television to feature the work of today’s best independent documentary filmmakers. POV has brought more than 325 acclaimed documentaries to millions nationwide and has a Webby Award-winning online series, POV’s Borders. Since 1988, POV has pioneered the art of presentation and outreach using independent nonfiction media to build new communities in conversation about today’s most pressing social issues. Visit

Major funding for POV is provided by PBS, The John D. and Catherine T. MacArthur Foundation, National Endowment for the Arts, New York State Council on the Arts, New York City Department of Cultural Affairs, the desJardins/Blachman Fund and public television viewers. Funding for POV’s Diverse Voices Project is provided by the Corporation for Public Broadcasting and The Andy Warhol Foundation for the Visual Arts. Special support provided by the Academy of Motion Picture Arts and Sciences. POV is presented by a consortium of public television stations, including KQED San Francisco, WGBH Boston and THIRTEEN in association with WNET.ORG.

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American Documentary, Inc. (AmDoc) is a multimedia company dedicated to creating, identifying and presenting contemporary stories that express opinions and perspectives rarely featured in mainstream media outlets. AmDoc is a catalyst for public culture, developing collaborative strategic engagement activities around socially relevant content on television, online and in community settings. These activities are designed to trigger action, from dialogue and feedback to educational opportunities and community participation.


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Produced by American Documentary, Inc., POV is public television’s premier showcase for nonfiction films. Since 1988, POV has been the home for the world’s boldest contemporary filmmakers, celebrating intriguing personal stories that spark conversation and inspire action. Always an innovator, POV discovers fresh new voices and creates interactive experiences that shine a light on social issues and elevate the art of storytelling. With our documentary broadcasts, original online programming and dynamic community engagement campaigns, we are committed to supporting films that capture the imagination and present diverse perspectives.