Prepare to be shocked. In this eye-opening interview, directors Jorik Dozy and Sil van der Woerd reveal the hidden cost of your investments. A powerful weapon in the fight against environmental destruction, “MoneyTrees” is more than just a film—it’s an urgent call to action. Discover how Dozy and van der Woerd are using their work to ignite a global movement for environmental justice.
What was the collaborative process like with Greenpeace for the “MoneyTrees” project? How did their mission and expertise shape the direction and message of the film?
The campaign was initiated by Greenpeace Netherlands as part of a global effort to expose the widespread destruction of rainforests and natural habitats, driven by billions in investments from unregulated banks and corporations. Greenpeace works closely with its offices in Brazil and Indonesia, where deforestation is most severe. We have been collaborating with Greenpeace on the strategy for over a year, producing various assets along the way. When it came time to create the campaign film, we wanted to directly connect the businesspeople in suits—those who do anything for profit—to the destruction they cause. This destruction occurs in several ways, such as chopping down trees with axes and chainsaws or setting forests on fire. We also depicted politicians in these scenes, as they are directly tied to the problem.
During your research, did you uncover any surprising insights or facts you hadn’t anticipated?
The research for this project has been, and continues to be, conducted by Greenpeace. The financial web that fuels environmental destruction is vast, involving governments, banks (such as ABN AMRO, BNP Paribas, and Deutsche Bank), large corporations (like Bunge, Cargill, and JBS), as well as wealthy families, meat producers, palm oil companies, timber, and pulpwood firms. For more details, we recommend reading this Greenpeace report: Bankrolling Ecosystem Destruction.
One critical takeaway for many people is understanding that if your money is with a bank involved in these practices, it’s indirectly funding deforestation—whether through your pension, mortgage, or loan. They’re all tainted by association.
What kind of response do you expect from the financial sector?
We don’t expect any response from them, because they will exploit any legal loophole to continue their practices. Instead, this campaign aims to hold governments accountable, as it is their duty to establish laws that protect nature—our life support system.
The film addresses a global issue. How did you ensure the film’s message would be universally understood?
We focused on a simple yet powerful concept: showing businesspeople in suits using tools to directly destroy nature. They celebrate their profits while governments look the other way. In the film, they laugh in boardroom meetings as the forests burn because of their actions. We portray their complete indifference—it’s a tragic but true story of limitless greed. The story is told visually and simply, so everyone can grasp the injustice at play.
The film’s visuals and sound design are striking. How did you integrate these elements to enhance the storytelling and emphasize the urgency of the issue?
We wanted the film’s score to be bold, gutsy, and provocative—mirroring the attitude of bankers and investors. When our long-time sound designer Joe Wills, aka Greedy Boy for this track, saw the first cut of the film, he asked, “Do you mind if I try a little bit of rap?” The result was instant genius. Every word in the lyrics amplified the film’s message perfectly.
Through the process of creating “MoneyTrees,” I imagine you’ve gained a deeper understanding of environmental issues. Has this project influenced your own approach to sustainability?
We founded our studio, Studio Birthplace, in 2019. It is dedicated exclusively to telling the most important stories of our time, focusing on environmental and often humanitarian issues. Sustainability is at the heart of everything we do, both in our projects and in our personal lives. Once you learn that forests—complex ecosystems we depend on—are being destroyed so we can eat a hamburger, you stop eating meat. When you discover that your bank is robbing indigenous tribes, the guardians of these forests, of their land, you move your money to a different bank. We believe that once you’re aware of these issues, you have a responsibility to make positive changes.
“MoneyTrees” goes beyond simply informing viewers—it feels like a powerful call to action. Would you consider it a form of artistic activism? More broadly, how do you see art playing a crucial role in driving environmental progress?
Absolutely. Art and media play a crucial role and bear a tremendous responsibility in informing the public about the state of our world, which is under attack—not just in places like Gaza, Ukraine, or Yemen, but everywhere. In forests, oceans, swamps, and mountaintops. We live in a bubble, with our eyes covered by a narrow narrative. Our news channels often have agendas, and we’re bombarded with advertisements pushing mass consumption. But who talks about the more than 200 million chickens killed every day for food or the 100 million sharks killed each year? There’s a massive information gap.
The film’s impact is significant, and viewers are eager to take concrete steps. Beyond sharing the film, what specific actions can we take to make a real difference in the fight against deforestation?
First, move your money to a green bank. Then, talk about the issue with your family, friends, and colleagues, and inspire them to do the same. Small steps add up. Whether the film influences the public is difficult to measure, but it needed to be made because many people are unaware of the problem. The film is just one of many steps that, hopefully, will contribute to a tipping point—where public pressure becomes so great that governments will have no choice but to implement laws to protect our natural ecosystems.
Having tackled the complex issue of deforestation in “MoneyTrees,” what environmental themes or regions are you particularly passionate about exploring next?
We’re currently working on a story about the importance of indigenous people in Indonesia. We’re also developing a long-form project, but we can’t share details about these just yet!