Perspective is everything. It shapes history. It determines sense of self. Quite often we sacrifice our own sense of this for what others dream of. Only the Good Survive, which premiered at the SXSW Film Festival, is a film that takes this concept into a very dark place and in doing so, challenges us to rethink our own identity and motivations. As the editor of this film, Mengyao Mia Zhang engages her own sense of perspective in a very powerful manner and establishes a riveting tone. Director Dutch Southern believed so strongly in Mia’s abilities that he often gave her free reign creatively. This is the filmmaking equivalent of offering your child to someone else to raise. Ms. Zhang concurs that this was the process stating, “Dutch would often say during our editing sessions ‘Whatever you think is best’ and ‘That’s up to you,’ which is quite uncommon. While he had a clear vision in the broader direction, he gave me a lot of freedom to play around with.” Certainly some of this belief is based on Mia’s enthusiasm for the story as she remarks, “Only the Good Survive has a very unique style, which was fun for me to work on because this kind of film doesn’t come along often. The first time I read the script, I was immediately captivated. The writing was exceptional and conveyed a distinct tone. I could almost see the film unfolding through the pages.” Only the Good Survive is a convoluted and bizarre thriller/horror with prominent dark comedy elements and moments, presented in a genre-blending punk-rock approach. To echo Mia’s statement, who wouldn’t’t be excited to see this manifested through the camera?

  It’s immediately apparent that the editing has a strong presence in this film. The first few seconds are a mix of surreal animation with action scenes and a police interrogation, sewn together as a means of transference of the emotional state of the main character. Brea Dunlee (Sidney Flanigan of Berlin International Film Festival Silver Bear Grand Jury Prize Winner Never Rarely Sometimes Always) takes us along her journey during her “interview” by sheriff Cole Mack (Fred Weller of Oscar Award Winning Spike Lee film BlacKkKlansman). It’s one that involves romance, robbery, and an self-defined air of moral highground from many different characters. That’s true whether in regards to Brea, a local cult leader (Jon Gries of Primetime Emmy Award Winning Series The White Lotus and cult classic Napoleon Dynamite), or Faye Dunlee (Lachlan Watson known for her work on the Primetime Emmy Nominated Series Nashville). When sheriff Cole asks Brea “Have you ever heard of Faye Dunlee?”, Mia makes a masterful edit with a subtle pause which delicately hints that something is amiss without drawing too much attention or suspicion on Cole’s part. The moment is delicate while marking a pivotal moment for astute audience members. Even greater evidence of Mia’s gentle yet commanding presence is felt in the final scene of this film. She describes, “I believe that the ending of a film is just as important as the opening, as it is what the audience will be left with. The ending scene of this film is morally contradictory. On one hand, Brea loves the baby and her late sister wholeheartedly. We root for her successful revenge and trust that she and Ry will be good parents to the baby but at the same time, to achieve this she chooses to sacrifice two innocent people who have no idea about her plan. This seemingly twisted moral standard harkens back to the film’s title ‘Only The Good Survive’. What is goodness? Are they the good ones? I wanted to bring out their human and vulnerable sides the most so that the audience could temporarily set aside moral judgments about her entire course of action and focus on this small family, feeling joy in their reunion and a sense of triumph in ridding themselves of the cult monsters.” Audiences at this film’s SXSW Film Festival premier concurred that this is extraordinary filmmaking. Full of real world danger but careful not to be preachy, Only the Good Survive makes you feel and think.

  Mia’s contributions to another morally nebulous story can be seen in filmmaker Michael Sarrow’s Smile As You Kill, winner of Best Feature Film at the Iowa Independent Film Festival. This crime thriller stars Rey Goyos (of Apple + Primetime Emmy Nominated Series Shrinking) as Rico Allende, a man willing to go to extremes to obtain proper medical treatment. A criticism of the present day healthcare system, Smile As You Kill combines realistic scenarios with a dark humor which seems to say, “This is what happens when business usurps medical treatment.” Mia communicates, In this film, one of the primary goals was to evoke empathy for Rico, allowing the audience to understand his motivations behind the kidnapping and to root for him in achieving his objectives. Simultaneously, it was important to make the audience like Terry’s character (Michael Teh of Primetime Emmy Nominated Series Criminal Minds), even though he displays some selfish and egotistical traits. I like the challenge of my work when it requires me to try and convince the audience to like a character when it would be so easy not to.”

Music director-composer Ian Yan is a rapidly emerging force in New York’s highly competitive theater and music scenes. Yan’s dynamic mix of originality, raw talent and extensive formal training have allowed him to gain significant traction amongst his colleagues, and his impressive roster of credits was recently enhanced by serving as Music Associate for the White House State Dinner hosting the President of the South Korean Republic Yoon Suk Yeol.

“The Music Associate’s role is to assist the Music Supervisor and Music Director with any and all tasks that could arise,” Yan said. “This includes transcription, copy work, arranging, orchestrating, playing piano in rehearsals and conducting. Even though my work was remote, it was a once in a lifetime thrill, absolutely.”

It was a glamorous, black-tie affair celebrating the two nations’ 70-year alliance. Attendees included Angelina Jolie and her son Maddox, Home Design stars Chip and Joanna Gaines, Olympic gold medalist Chloe Kim, cabinet members Antony Blinken, General Mark Milley and leading political figures such as Chuck Schumer, Mitt Romney and, of course, the President and First Lady.

The White House state dinner is a distinguished addition to his professional quiver of exceptional achievements—a resume which the Hong Kong-born Yan has dedicated virtually his entire life to. A child prodigy with perfect pitch, Yan’s prodigious skills quickly gained international attention, leading Britain’s prestigious Associated Board of the Royal Schools of Music to rank the 11-year-old at an impressive Grade 8. 

At age 13, Yan was attending boarding school in England, where he added jazz and pop to his classical repertoire and began composing some strikingly original pieces. Moving on to New York’s venerable Columbia University, studying music theory, conducting, ear training, jazz orchestration and instrumentation while concurrently serving as Music Director for the Columbia Musical Theater Society, the annual Varsity Show and the Columbia Pops Orchestra.

His career plays out on multiple artistic fronts. Yan’s remarkable versatility allows him to serve as music director in theatrical, concert and studio settings as well as composer for film and musical shows including—thanks to the honor of being selected for the inaugural cohort of non-profit musical organization Musicians United for Social Equity (MUSE)—composing music, lyrics and libretto for his groundbreaking socio-cultural themed musical Re-Orient. The spectacularly original show was created during a one-on-one mentorship with Tony-Pulitzer winning Broadway powerhouse Tom Kitt (Flying Over Sunset, Next to Normal), and caught the attention of influential Broadway lyricist-librettist Sam Carner, who invited Yan to join his new Musical Theater Writer’s Collective.

Yan’s expressive melodics and deep technical prowess unfailingly garner professional attention, and the White House state dinner gig is a classic example: he was working as music assistant for the annual, high-profile Broadway Cares/Equity Fights AIDS Easter Bonnet Competition show—the celebratory conclusion of six weeks of competitive, in-theater fundraising by 42 Broadway, Off-Broadway and national touring companies—where he quickly impressed renown music director Ted Arthur (Diana, Cyrano, Mean Girls).

“I was in the middle of rehearsals for the annual BC/EFA Easter Bonnet Competition, which was being Music Supervised by Ted Arthur, who was also the Music Director for the White House State Dinner,” Yan said. “I had proved my skills useful at Easter Bonnet, and so Ted brought me on to the White House State Dinner, as well.”

Arthur’s confidence in Yan constituted a sterling professional endorsement, and he eagerly rose to the occasion.

“I was brought in around a week before the dinner, and there was a rehearsal process that happened in the lead-up towards the event,” Yan said. “The music was performed by the United States Marine Band—’The President’s Own’—directed by Colonel Jason K. Fettig, who is also the music adviser to the President of the United States.” 

Already notable as the Biden administration’s second state dinner and President Yoon Suk Yeol’s first official visit to the US, it was a major affair. With some 200 VIP guests being served in the East Room (largest in the Executive Mansion), everything, from the Korean-American fusion menu to the cherry blossom floral arrangements, had to perfect.

“I was in charge of creating the piano transcriptions that were used to do the full orchestrations,” Yan said. “The program featured Broadway stars Lea Salonga, Norm Lewis and Jessica Vosk and included hit showtunes such as ‘On My Own’ from Les Miserables, ‘Somewhere (There’s a Place for Us)’ from West Side Story, ‘This is the Moment’ from Jekyll and Hyde, ‘If I Loved You’ from Carousel and ‘American Pie’ by Don McLean.”

That last title was a special entry, one which made a minor bit of history—President Yoon Suk Yeol had indicated that he, himself, would like to perform the song (a personal favorite), and President Biden was also prepared—with a guitar autographed by composer McLean.

“We had been informed that Yoon wanted to sing the song but were unsure whether it would actually happen or not,” Yan said. “We prepared the arrangement in case he decided to—which he eventually did at the end of the night, singing a surprise encore of ‘American Pie,’ for which I prepared the piano arrangement.”

Yoon’s climactic performance made headlines around the world and Yan, despite his physical absence, had a direct hand in an extraordinary musical moment on the world stage, a clear signal that the talented, fast-rising young artist is capable of just about anything.

“It was surreal to see the videos of the President singing my piano transcription online and, in real time, getting hundreds of thousands of views,” Yan said. “I felt very honored to have been a part of this experience and for Ted and the White House music team to have trusted me with this huge responsibility.”

Dan Hamill has already established himself as a successful actor, singer and entertainer in Australia, so it’s no surprise that offers from the US to work on a slew of exciting projects have come calling. 

The acclaimed actor and singer, and industry leader, originally graduated from the esteemed Western Australian Academy of Performing Arts, the same school which produced Hugh Jackman and Suicide Squad star Jai Courtney. That Hamill is poised to take a place on the international scale of these fellow artists is no surprise to those who have tracked his career thus far.

“I feel super fortunate for the opportunities coming from the U.S. at the moment. On my first trip to the states I remember there was an initial element of fear of the unknown and making that jump.”

He continues “[After actually being there however], there’s a real palpable energy to LA in particular, that really drives you to be counted and go for it! I just feel really lucky to be doing what I love, playing, and continuing that creative journey overseas.”

Dan’s acting experience is only part of his story as an entertainer. His experience as a singer is just as storied and celebrated as his acting career, with each experience informing the other.

His appearances as a singer on the reality singing competition, The X Factor, showcased his ability to capture the audience and industry professionals alike, earning standing ovations from judges and acclaimed singers Chris Isaak and Guy Sebastian. Dan was a finalist in The X Factor and was also a finalist on the singing show Popstars (notably, when he was only 18). Being a finalist on these shows is a heralded accomplishment in Australia as singers are narrowed down from tens of thousands auditionees to 12 or 10 finalists. Hamill is a passionate and skilled performer, and this is confirmed by the accomplishments that he has accrued from a young age. It’s no surprise that these experiences, along with his many acting roles, have positioned him to be in demand by those in the US market, as by those filmmakers at Sol Media in California, and others in Tulsa.  

Hamill notably made a memorable appearance in The Doctor Blake Mysteries, an Australian television series produced by the ABC network. The popular period drama showcased Dan in the role of Steven Morris, the son of the titular character’s former ally – something which echoed the history of the protagonist’s circumstances and signified Hamill’s greater implied presence in the world of the series. 

As someone who excels in both music and acting, Hamill also delivered a memorable turn on House Husbands, sharing the screen with Firass Dirani (from Oscar-winning Hacksaw Ridge) and Australian icon Hugh Sheridan. The show, about fathers dealing with the responsibility of raising children and managing careers in a balance of comedy and drama, welcomed Hamill as a dark and antagonistic force that represented a distinct danger to the ‘house husbands’ and the women in their lives. 

“There’s nothing more enjoyable than playing the villain! … I think we all have light and dark within us, so being able to lean into a darker aspect of self on screen, and really understand how characters become that way, really fascinated me. Villains are never villains in their own mind and bringing compassion and understanding to that, no matter the character, is truly one of my favourite things about this craft.”

Dan’s capacity to access edge in the course of playing different characters was notably signified with his performance in Between Me, directed by Sundance filmmaker Kim Farrant, who helmed Strangerland with Oscar-winner Nicole Kidman. Between Me notably screened at festivals in Cannes and in the United States, planting the seed for Hamill’s international recognition which has led up to the current moment in which he is in demand by filmmakers and producers alike.  

Few actors possess the expertise it takes to play the complexities of love and loss as Hamill did in Between Me, and Hamill’s performance thus distinguishes him from other actors.

Of course, such recognition was no surprise given the Sydney Morning Herald, Australia’s leading newspaper, praised Hamill’s performance in Glimpse around the same time, the debut project of the Kin Collective of which Hamill was a founding member. In that production, amidst a cast of characters whose lives are falling apart and who do not communicate well with one another, Hamill and the cast go on to show that encounters with strangers can ultimately bond through their shared humanity, and as a result, we all share more connections that we may initially think we do. 

This international pedigree and diverse selection of showcases on international platforms clearly set the stage for Hamill to be selected from a wide crop of actors and entertainers, and while the details of his projects in the US remain under wraps, Hamill is excited for the future. 

“The future is looking really fun. I feel really heartened and proud of the opportunities that have presented themselves. I’ve honestly worked really hard on myself to be able to hold this space confidently and authentically…Life is very good.”