Jay Ryan interview at Comic Con 2013 

You Can Always Lean On Me-Liz Longley-Beauty and the Beast S2E6 ending song

When you wake up and the sky outside is crumbling 

and all you wanna do is stay inside 

When every day seems to make a darker shade of blue 

I can get you through 

Lean on me 

and we’ll stand together 

Lean on me 

and we’ll find forever 

When you fell the world has gone and let you down again 

You can lean on me 

You can always lean on me 

You might think that maybe you’re the only one 

But I’ve been there time or two myself 

and I believe that all you need is a friend to get you through 

I can get you through 

Lean on me 

and we’ll stand together 

Lean on me 

and we’ll find forever 

When you fell the world has gone and let you down again 

You can lean on me 

You can always lean on me 

It’s always hard to find the light in darkness 

Sometimes it’s hard to find the light at all 

Lean on me 

and we’ll stand together 

Lean on me 

and we’ll find forever 

When you feel the world has gone and let you down again 

You can lean on me 

and we’ll stand together 

Lean on me 

and we’ll find forever 

When you fell the world has gone and let you down again 

You can lean on me 

You can always lean on me

Jay Ryan - Remix Magazine Issue #74

HQ 732*1011 & 755*1135 & 722*1072 & 755*1038 & 727*951 & 1282*1684

Photographer - Monty Adams

Hair & Makeup - Sonia Greenslade

SOURCE 1

SOURCE 2

Jay Ryan & Kristin Kreuk at People’s Choice Awards 2013 

Once upon a time.. same dress…

Torrey DeVitto - April 2014 & May 2012

Dianna Fuemana at Killer Films NYC Blog #3

“The secret to building an eclectic slate is to remain open to new ideas. Adaptability has something to do with it.” Pam Koffler

My blog is a little late because I was infected with a stomach bug two weeks ago, then the wretched flu a week later.

I’m not usually a sickly person but this month has been a tester! Having headspace to blog-out was impossible.

I could only manage the office, hustle and life. But alas, I am 85% better and writing my Killer life from the past month. It’s full up, mate!

I’ve had a good result with all the ‘upfront’ encouragement. The last time I blogged I was hustling a project in development back home.

I now have one set of notes from Killer, TWO sets of notes with packaging advice coming in from one of the most prestigious talent agencies in America and even a fat cat financier looking it over who will provide advice too.

It’s pretty phenomenal from where I’m sitting, in an office with no windows.

In the meantime, we have an excellent lead with where we’re going with the next draft with some insight from the eye of the international market peeps.

I think at this point, more people in NYC have read our script than in New Zealand! What I know for sure is – it’s all about laying your eggs in various ‘best nests’ and waiting to see which one hatches.

One must take these types of risks to progress the life of their project, but not withstanding the fact that it’s an excellent way to start forming new relationships while in New York.

Like most, I’m in for the long game, not just a good time. Come on New York!

Over the past month Killer has been in the midst of their busiest ever production cycle and has unleashed a number of prestige titles into the market in the past month.

The slate: On the back of Kill Your Darlings wrap, Christine and David do the mad dash to Chile to camp on the set of the Untitled Sebastian Silva Project, a psycho-thriller that wrapped a few weeks ago.

This was one of the first films I read when I arrived. I found it to be very cheeky with a wonderful cultural grit that I found familiar.

Rituals that seem foreign to the western eye but not so with the people of the land, gives it the thriller feel to some extent. It marks the Chilean director Sebastian Silva’s first English-language feature.

The dailies liberate the beauty of Chile’s landscape, it’s breathtaking! Deep Powder was Killer’s first feature to go into production this year and is produced with former Disney chief Michael Eisner’s Vuguru new media platform.

Mo Ogrodnik’s real-life love story is in post and follows a group of students who get busted for drugs in South America.

Shiloh Fernandez and Haley Bennett are the stars. Pam asked a couple of us for some direct feed back on the edit they had just completed. I was engrossed with the love story = Shiloh and Haley are total bankable babes!

The theme of a single mother trying to cope with a young family struck a chord with me too.

I reported back to Pam and she was still digesting my notes the last time we spoke. Next on the slate is Hilary Brougher’s Innocence.

It begins shooting next week with stars Kelly Reilly and Sophie Curtis in the tale of a private school that houses a vampire sect.

Ron Curtis is producing with Killer. I was halfway through reading the script one day when Julia asked me across the desk what the names of the characters were.

I was so absorbed in the story I got a fright and couldn’t answer her question. I could see all the characters but totally forgot their names. Julia was on the phone with an actor’s agency trying to figure out who was who for which character.

It took five seconds to pull out of the story and trawl the script for who it was I was freaking out over. Ha! The call came in just as I discovered who the vampire was.

Finally, Killer is serving as Executive Producers on two more titles. Inescapable a father-daughter thriller from Ruba Nadda that stars Marisa Tomei, shot in South Africa in post and Bluebird, a tragic Maine-set story starring John Slattery from first-time director Lance Edmands, also in post.

Christine highlighted the importance of tenacity and patience. “We’ve been trying really hard to make some of these projects for a long time and sometimes it’s just a question of putting something on the shelf and waiting for it to come round.

There are a lot of financiers out there who have really great taste.” Killer finds the kind of high-quality productions that attract A-list talent. It reminds you of how big the pool is here.

I’m curious as to why people who are in a position at home to finance films aren’t stepping up with their own ‘great taste’ and investing in films made by our filmmakers, oh well – hei aha.

During the work bustle I’ve been assisting David in the Goat director search, as per first blog.

I’ve sat in on meetings with a few potential directors which has been enlightening.

It’s interesting to see how filmmakers present their ideas about an existing script and themselves when faced with Killer.

David is very generous and has a way of putting people at ease ‘when required’- even over Skype when we talk with an Australian director who instantly recognizes my Kiwi accent.

This director ends up expressing all the points that David and I have agreed upon when it comes to whose story it is and the style of attack. On point mate!

One of my ‘highlight’ meetings I attend is with an upcoming screenwriter/director after I do ‘rush coverage’ on his screenplay – which means one day to read, write up synopsis and general notes that cover the script with my thoughts -it’s my new Ninja skill.

This particular script comes with its own song list that I listen to as I read through.

It’s amazing how music brings you straight into the world of the film when you’re reading.

It took three and half hours to get through the work and another four and half to translate the vision into three pages so David gets an opportunity to get another POV before he sets down to read and before we both meet with the filmmaker.

What strikes me about this particular filmmaker is that he is relatively young, has his first feature film just about to be released in LA, is aiming for the script I have just read to go into pre production early next year, is humble, measured and just moved to NYC from LA. From reading his script it’s clear he has a mature sensibility with acute life observational skills.

It’s refreshing to hear someone in their mid twenties speak on how they perceive their parents and how there comes a time when one has to begin to see them as people.

The desire to want nice things but saying ‘No’ to the big studio offers until one has found one’s own voice in the cinema, the fear with what comes with studio money and the excitement of finally breaking into the film market.

Sitting in on burgeoning X factor talent is somewhat intimidating, a wake up call and mos def a reality in the Killer den.

I can’t help but feel a little emulous after we wrap the meeting. I grab a coffee and wish out loud my American Samoan mother had shipped us all to California instead of following my Niuean father to New Zealand. David over hears my wish grumble and assures me, ‘Dianna, everyone has their own journey.’ Awww, I took it back as soon as I wished it. I love that I was born and raised in Aukalani!

But the pace of a filmmaker’s career and how it can shoot through the roof if you ‘got what it takes’ in America continues to stifle me. Talented bastards! Cough, cough – It’s great, inspiring at every turn in fact. It’s getting HOT up in here!

Other than the several Killer screenplays in development I have read, supplied notes towards, recommended, not recommended – life has sprung forth the inescapable fate of meeting and making new connections with other independent film companies, talent agencies and filmmakers through friends and people I have met here. I.E I have a meet and greet date the next time I’m in LA with independent film producer Christine K Walker.

She took an hour out of her day to get to know me a little by reading my own ‘wee’ short film and providing notes and a brief inside to her journey into film.

This connection came via my darling American Samoan visual artist friend Dan, who we both have in common.

He was visiting NYC for the biannual art fairs and insisted I meet her as we strolled through the Cloisters in search of May’s super moon. I connected with American avant-garde filmmaker Su Friedrich on a 20th floor balcony in the West Village over looking the Hudson River celebrating the acquisition of a new art work a friend of a friend had just purchased.

I get schooled on her early experiences in filmmaking here and abroad. I’m looking forward to being a guest at the World Premier of her documentary

Gut Renovation a film about Williamsburg opening at the Brooklyn Film Festival on Friday.

Back in the office I look through my acute observational skill lens. David Hinojosa and Julia Oh are like Film Glue Super Heroes.

They save the day a lot around here. They mend the pieces required on the ‘ground’ in order for the company to function seamlessly, to make the lives of our ‘main ladies’ that little bit easier, to inject the pace of a Killer life within it’s interns and to support each other with what seems to be an endless stream of script development, managing, interviews, phone calls, meetings, budgets and contracts.

It’s impressive, I’ve increased my knowledge in the art of switch change personality, complain don’t complain, head down arse up attitude and don’t ask questions just do it, like a Nike ad.

As focused as they are, there is a loose way of being that pulls them through the day.

It’s a requirement in the business here – not taking oneself too seriously and getting to the gym at the end of a hard day that doesn’t really end. One must take each film’s universe in their stride, even if you are working across several.

Beyond the talent David has in the world of screenplay and development and the efficiency Julia brings to managing our Killer office, they make it clear by their actions that this business is about relationships and not being fake or being mean, just because.David has excellent intuition for seeing through people, I can attest to this savvy in action, as I like to think I have the same powers.

This is my shout out to both of them as my time here winds up. I feel lucky to have had this opportunity at Killer on their watch. Until my next Killer BLOG-OUT, keep warm Aotearoa!

-Dianna Fuemana 14 JUNE 2012

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(Source: script-to-screen.co.nz)

ROAD TO HOPE INTERVIEWS | IAN HARDING TORREY DEVITTO & MORE

PRETTY LITTLE LIARS SEASON 5 PREMIERE INTERVIEWS | IAN BRANT TORREY

Jay Ryan - SDCC 2012

HQ 1024*1407 & 1024*1361 & 1023*1394 & 1024*1322

Jay Ryan & Kristin Kreuk - PCA 2013

HQ 1280*937 & 1024*1536 & 1023*1489

Torrey DeVitto - Bootsy Belows 2014/4/14

HQ without watermark

Lucy Schwartz-Feeling of Being

Bet you if you sink
You’d swim a little further
And I bet you if you cried
You’d understand me better
So I take a little time just sailing down the river
And I’m throwing out my line to see if I can catch the

Feeling of being
How still the night
Feeling of being
One little light

When I close my eyes
I hear the water lapping
On the side of the boat
Pretending I am catching
And I sail into the light I’m searching and I’m wishing for the

Feeling of being
How still the night
Feeling of being
One little light

Wonder if we ever really know each other
And I wonder if we ever find out what we’re after
And the truth of it is we’re both winding down the river
And if you could only let go,
Find the hidden silver and the

Feeling of being
How still the night
Feeling of being
One little light

Dianna Fuemana at Killer Films NYC Blog #2

“Sometimes with writers, which is a natural thing, they’ll write something because they feel it has to be ‘said’ – then you’ll see that when you do it, the less said the better and the audience will read into it like a novel, they’ll read into what should be felt… That is more important to me, than anything.” Robert De Niro – Actor/Director

WORK/LIFE – BALANCE

LIFE
I went to the opening panel event for the Tribeca Film Festival. 100 Years of Universal Studios, a conversation with Robert De Niro and Judd Apotow.

The Killer ‘A’ badge giving me access to all events, this one in particular had a red carpet walk with designer cupcakes behind a velvet roped off area.

The opening of the show had the head of Universal Studios introduce a 6-minute film reviewing the last 100 years of their best films.

It was jaw droppingly inspirational – a film eye candy feed for the emerging filmmaker appetite.

This is the first of many festival events, parties and films that I would attend.

But the most influential was a non-event in a shoe store on 14th Street with no ‘A’ badge attached to my person.

There I meet Israeli filmmaker Sharon Bar-Ziv – in town for the festival with his debut feature film Room 514, entered in the Viewpoints section. Viewpoints, established last year, highlights personal stories in international and independent cinema.

The film is a gritty minimalist drama that provides a raw, direct look at the psyche of contemporary Israeli culture as shaped by the effects of the ongoing conflict.

It’s this ‘chance’ shoe store meeting we both acknowledge that give us grounds to speak on art, story, life and journey to film. I get an evening being schooled on European filmmakers, film courage, Oedipus and how sometimes it takes 20 years for something to happen over night.

We continue our Jedi fono (hui) on our way to a filmmakers industry party going down at the ‘House of Imagination’ on 26th Street arriving to free cocktails, dinner seating, silent disco, DJ disco, filmmakers hustling hard and I’m relieved it’s not my time to shine.

It’s very shiny here. After years of crafting your films universe, you’re in a spotlight where your film has to be seen, reviewed, critiqued, voted on and from what I can tell – BOUGHT – a major reality! I meet a distributor who’s main interest is female directors, that’s encouraging in what seems to be a male dominated room.

I attend Sharon’s feature debut and am struck by its themes and style. By the films end, Sharon is met with a mix of panegyric and antipathy by a sprinkling of ex Israeli military in the audience who stand up on both sides of the controversy.

It’s the strongest audience response I’ve seen from any of the director talks I’ve been to.

I’m feeling blessed to have made a new friend who is ‘hard out’ cutting edge and passionate about film who is not from your average town.

The climate of world politics ROAR from this festival, you need look no further than who and what is winning here; Best New Narrative Director – Lucy Mulloy, director of Una Noche (UK, Cuba, USA). “Una Noche reveals a Havana we could never otherwise see, in its jumble of vibrant life, decay, and making do.” Best Screenplay for a Narrative Feature Film – All In (La Suerte en Tus Manos) written by Daniel Burman and Sergio Dubcovsky directed by Daniel Burman (Argentina).

“Its ability to locate universal issues regarding families, lovers, kids, and running a business within the tangy specificity of an Argentinean Jewish poker-playing milieu.” Best Narrative World Feature – War Witch, directed by Kim Nguyen (Canada).

“This indelible character study of a girl who becomes a woman before our eyes in the midst of harrowing war gives words to the unspeakable. Riveting, heartbreaking, vivid, and eloquent, the movie balances scenes of crazy enemy hatred with moments of luminous private love.” Room 514 gets the ‘Jury Special Mention’ when the winning cards are laid out on the table.

It’s worth mentioning all of these films are ‘English’ subtitled. It’s a good wake up call. Tribeca is one of many ‘great’ festivals, but a producer and filmmaker must pitch their ‘baby’ in the competition that’s best matched to the themes, stories and buyers who attend, especially for it’s first American release.

That’s my ‘life observer’ take on my Tribeca film festival journey. A KILLER bite of the Big Apple. Boom!

WORK
Killer office is a ‘cool’ air-conditioned room with hot deals being made, polished and vigorously negotiated.

When Pam and Christine are in the office, one could spend hours lying on the couch listening to their wheeling and dealing with actors’ agents, writers, directors, finance, production, advice on kids, education and hot new books to be read.

The transparency in the ‘cool’ room is the biggest teacher once you get use to the pace of the language.

You can’t get to where these ladies are without a certain intuitive sagacity.

They come up SPADES! After 25 years of being Killer, Pam has a knack for being able to make a script work with a magic recipe, “change a line here and here to reflect the storyline here, where it needs it.

There’s no need to re-write or make a major change. I can see it…” In my mind this script wizardry obviously comes from ‘doing’ it in a practical sense.

From first read, to seeing the script from a finance point of view, to being involved with the shooting, post-production process, marketing and opening night. Not just a few times, but heaps of times – Pam is gold. I like listening to her when she’s on the phone in the hustle mode while I do my bit, seated next to her reading scripts and writing up notes for David. I’ve been told twice by two different people to be more direct with what I like and don’t like.

Here’s me thinking, I am, I am, I’m being very persuasive with what I ‘really’ think in my comments, but nope. I need to be more direct because “this is New York, you tell it like it is.” I’ve come from a different school of thought obviously.

Here’s me trying to understand where the writer has come from, pose those questions that might strengthen the script, waffle on with more thoughts etc etc, but in NY being ‘upfront’ will get you further.

I find that difficult on a cultural level but hey! I’m going to do it! 

Upfront POV – If you haven’t read Christine’s book ‘Killer Life,’ then I recommend it.

It places talent, directors, productions, finance and pressure in an order that helps you to understand what it is you’re getting yourself into as a filmmaker.

It’s hard work but finding a producer that practically ‘worships your talent’ and is willing to fight tooth and nail to get the finance, look, talent, feel of your film, I believe is a good starting point as an emerging filmmaker. Your main producer has to be ‘that into you’, otherwise your project stays in no man’s land. Christine says over a salad, ‘it’s a great time to be a young producer right now.’

The way films get made and can be distributed has become much more accessible then when she first started. An obvious example, everyone was working on film, not HD and there wasn’t internet.

You can tell Christine is a producer who REALLY backs her filmmakers. In NZ I see a slight reverse, whereby the filmmaker is chasing the producer. I think this is a problem.

With the limited funds in NZ that make a handful of films each year and the time it takes to get your film project up, I’m finding useful advice and encouragement from the Big Apple.

It nourishes the thick skin required to come back home and try and get a film made, ya know.

As New Zealand continues to stake its place in the world market, I believe our talent is continuing to meet that. In an intern question/answer pizza with beer night, I ask Christine about international co-productions, she says there’s no trade agreements between NZ and the US.

But if she believes in a filmmaker, she’d get on board and perhaps secure casting in the US because at the end of the day, it’s about crossing boarders and ‘talent’ is a way.

BINGO! Just so happens, I’m working on a film and we’re looking at international casting for one of the characters.

The actor I ask about, is a “NO not him!” answer. Okaaay… Good to have the inside on who’s difficult to work with here. She offers up a meeting with her about my project before I leave NYC, BINGO. I also use the opportunity to be ‘upfront’ and ask David to read our script and give me some feedback.

He’s reading it over the weekend – BINGO. If he likes it, maybe there’ll be an opportunity to work with KILLER. Imagine that! I am LOL! Upfront BINGO??? Like life, work is up in the air.

I believe it’s the ‘given’ when working in such a dynamic creative sector. Fortunately my ‘underground’ theatre background has me primed for such a life of pure uncertainty. BINGO!

-Dianna Fuemana 7 MAY 2012

(Source: script-to-screen.co.nz)

Kristin Kreuk-Beauty and the Beast-WonderCon 2013-HD 720p 

Jay Ryan & Kristin Kreuk - SDCC 2013

900*675 & 600*900

(Source: facebook.com)