Heather Parry Turns Live Nation Productions Away From Live Concert Films

Heather Parry understands the need to stay ahead of the game in the crowded entertainment marketplace. The head of Live Nation Productions spent 12 years working in the ground-breaking MTV network before moving to Adam Sandler’s Happy Gilmore Productions in 2005 as the company became a major part of the Hollywood and streaming landscape. The link with streaming services has remained in place for Heather Parry as many of the productions released through Live Nation’s studio have been co-productions with Netflix.

In 2015, Heather Parry arrived for her first day of work at Live Nation Productions determined not to simply rehash the most successful tours taking place through the concert promoter. The success of the first release, “Justin Timberlake and The Tennessee Kids” as a live concert movie did not deter Parry from making sweeping changes to the plans Live Nation already had for its slate of concert films.

A major change in the way the productions of Live Nation began to take shape came with the beginning of planning for a Puff Daddy concert film which morphed into the critical-hit, “Bad Boy: Can’t Stop, Won’t Stop.” As the head of a new studio, Heather Parry takes a hands-on approach to sourcing new material and points to Puff Daddy’s planned tour film as a sign of how a movie can change during the planning stage.

Parry was well-known to the rapper as they had become friends while the executive worked with MTV. Remembering the rapper and Bad Boy Records executive had filmed much of his rise to fame on video and super 8 cameras throughout the 1990s and early -2000s, Parry asked to see the footage. Knowing her subjects intimately allows Heather Parry the opportunity to create an eclectic slate of projects for Live Nation Productions including a Lady Gaga tour documentary and a film charting the return of The Angels of Death Metal to the scene of the shooting tragedy in Paris, France.