HIGHSNOBIETY
Posted by Veronique on February 16th, 2024

Talia Ryder & Myha’la Herrold Are Two Pretty Best Friends

Romance is out! Friendship is in! This Valentine’s Day, Highsnobiety is celebrating the beauty of love outside the traditional confines of romantic relationships. After all, friendship and creative collaboration take just as much work, time, and effort. Meet 5 couples who aren’t couples here and read about the state of love today.

Talia Ryder, the 21-year-old actor best known for her role in Never Rarely Sometimes Always, and 27-year-old Myha’la Herrold, who stars on HBO’s Industry and in Bodies Bodies Bodies, met on the set of a Vogue shoot. At first, it was just business. Then came friendship, one built on a shared passion for their craft.

The value of this type of relationship is not lost on either of them. “I feel very fortunate to be so early in my career and to have met such amazing collaborators that I hope to continue creating with,” Ryder tells us. And about Ryder, Herrold says: “I don’t think she knows how to be dishonest, and that makes for a great friend and an amazing actor.”

To have a creative collaborator and friend is gold.

Highsnobiety: How did you two meet?

Myha’la Herrold: Talia and I met on our first day of rehearsal for Dumb Money.

Talia Ryder: We actually met for the first time in passing on the set of a Vogue shoot. This was months before Dumb Money. There was something familiar about Myha’la, though — it felt like I had known her before or something.

How would you describe each other’s personal styles?

Herrold: Talia is current and unabashedly herself. Like the definition of an it-girl, because she really is “it,” has “it,” whatever that ineffable “it” is. She’s got it in spades. I always think, “How does she look so cool but also like she just threw whatever together?” Effortless.

Ryder: I would say Myha’la has a punk-chic quality to her style that I really like. I like how she mixes high-fashion pieces with different accessories. There’s a picture on her Instagram of her in Miu Miu lingerie with this big choker and funky sunglasses — that feels really her to me. She looks badass.

How are you similar?

Herrold: I think Talia and I are both good-vibes people. We like to have fun, don’t take ourselves too seriously, and are committed to securing the good vibes.

Ryder: I think we’re both very driven and have a strong sense of ourselves and our style.

How would you describe creative collaboration?

Herrold: Creative collaboration, to me, is really about creating an environment where everyone involved feels supported to add their creative input to the task at hand. Where all the people feel respected, seen, heard, appreciated, and like their contribution is valued.

Ryder: Creative collaboration is being unafraid to share your ideas while also being willing to go out of your comfort zone for someone else.

What do you appreciate about each other?

Herrold: I really appreciate how firm Talia is in her commitment to authenticity.

Ryder: I appreciate Myha’la’s love for her work and her family.

Creatively, what are your differences and how do you navigate them?

Herrold: I think I’m more willing to fold on some things where Talia isn’t. And I really respect that about her. I think I could take a page out of her book and be more firm and outspoken about the things I think creatively.

Ryder: I’m not sure, honestly. At least to me it felt like we were really on the same page about our characters and their journeys in the story. I hope we get to do another movie together again.

Who in fashion do you look up to? What about creative duos?

Herrold: I really look up to Rihanna. It just feels like she doesn’t give a fuck what anyone thinks or wants from her, so when she makes something, it’s 100 percent her, and when you have that confidence, it radiates and colors everything you do. She’s so fabulous.

Ryder: I really admire Yves Saint Laurent. He and his partner Pierre Bergé were obviously a very famous duo in that world. I think creative duos are really beautiful. If you can find someone who shares your vision and who you can create with, I think that’s a really magical thing. I think a lot about Bob Fosse and Gwen Verdon, as well. They were an incredible duo and both fed each other in different ways.

How does your style overlap? How does it differ?

Herrold: I think I’m really about comfy chic. I think Talia is also down for a comfy chic moment.

Ryder: I think we both enjoy blurring the line between femininity and masculinity in our styles. You can see that in our characters’ costumes in Dumb Money, as well. I think we also both just have a strong sense of ourselves and know what makes us feel good and what doesn’t. I feel like we both know what shapes we like on ourselves and what makes us feel confident; and while they may not always be the same things, our energy aligns.

Source: highsnobiety.com



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Recent Video Interviews
Posted by Veronique on January 29th, 2024



Articles & Interviews - The Sweet East - Videos

W Magazine
Posted by Veronique on January 5th, 2024

Talia Ryder Falls Down the Rabbit Hole in The Sweet East

At 21 years old, Talia Ryder may still be a fresh face in Hollywood, but the actor and trained dancer has been working since she landed a role on Broadway’s Matilda the Musical. She made her 2020 film debut in the critically acclaimed abortion drama Never Rarely Sometimes Always, and since then has brought her down-to-earth acting style to West Side Story, Master, Do Revenge, and Craig Gillespie’s GameStop stock craze comedy, Dumb Money. But it’s her latest turn in Sean Price Williams’s psychedelic film, The Sweet East, that showcases her captivating stoicism.

The Sweet East is a little like Alice in Wonderland. Your character, Lillian, wanders into different situations, all involving complicated men who are like characters in a novel.

We never talked about Alice in Wonderland, but it’s a reference that keeps coming up in conversations about the film. Strangely, Simon Rex and I rehearsed our scenes right by the Alice in Wonderland statue in Central Park. So maybe she was watching over us.

You began your career on Broadway.

For my 12th birthday, my grandmother got us tickets to see Matilda the Musical on Broadway. After I saw it, I said, “I need to do that.” My sister and I convinced my mom to let us audition for Matilda. She drove us to New York, and we went to an open dance call. There were hundreds of kids, and then there were cuts and fewer kids, and more cuts. It felt like the longest process, but we were lucky enough to get cast. My sister was Matilda. I played a girl named Hortensia.

And your sister plays your sister in The Sweet East.

She technically plays my cousin. My sister’s never smoked in her life, and we’re smoking in the scene. And one of the producers was like, “Wait, should we tell her to inhale?” And Sean was like, “Leave it, leave it, leave it. It’s perfect.” It’s my favorite scene. It’s so sweet.

What was your first on-screen kiss?

Never Rarely Sometimes Always.

That character is almost like the sister to the character in your other movie, because there’s a survival aspect to both of them.

Totally. They are actually really similar.

Did you feel like you were constantly having to change personas when you were going through the different scenarios?

That was one of the really fun things about getting to play a character like Lillian—she wears many different hats and gets to try on these different personalities throughout the film. The constant about Lillian is that she’s always making decisions for the plot. She knows that she’s in a film. She’s very aware of the camera watching her. She likes being watched, and that is the driving force. While she may dress different and talk a little different depending on who she’s with, she’s the same girl.

You’re wearing a T-shirt that says “TikTok Sport.” Are you big into TikTok?

I had TikTok, but I deleted it. TikTok is awesome—I liked learning the dances. But the algorithm’s too good. I feel bad if I spend too much time on my phone.

Senior Style Editor: Allia Alliata di Montereale. Senior Fashion Market Editor and Menswear Director: Jenna Wojciechowski. Hair for portfolio by Mustafa Yanaz for Dyson at Art+Commerce; makeup for portfolio by Emi Kaneko for Tom Ford at Bryant Artists; manicures for portfolio by Michelle Saunders for Chanel. Set design by Peter Klein at Frank Reps. Special thanks to Ms. Bebe at Outfitters Wig Shop in Hollywood.

Source: wmagazine.com



Articles & Interviews - Gallery - Photoshoots - The Sweet East

The New Yorker Interview
Posted by Veronique on December 25th, 2023

Talia Ryder Says Yes to Adventure
The twenty-one-year-old actress, who stars in the indie romp “The Sweet East,” on her early years as a child performer, making meaningful art in a man’s world, and why Madonna is her role model.

The first time I became aware of the actress Talia Ryder was while watching the 2020 independent film “Never Rarely Sometimes Always.” In the movie, directed by Eliza Hittman, Ryder plays Skylar, a small-town Pennsylvania teen who travels with her cousin to New York to help her procure an abortion without parental consent. Ryder was only sixteen at the time, but the subtlety of her performance in Hittman’s sensitive, downbeat film is striking, all the more so considering that it was her first dramatic acting role. Born in Buffalo and raised along with two younger siblings by her mother, who is a doctor, Ryder was a child dancer who got her start onstage when she was twelve, playing Hortensia in the Broadway musical “Matilda.” Her family moved to New York City for the musical, and Ryder transitioned to screen acting, first in Hittman’s movie, and then in a variety of projects, among them blockbuster fare like Steven Spielberg’s “West Side Story” and the Netflix comedy “Do Revenge.” (She might be most familiar to Gen Z audiences, however, for playing Olivia Rodrigo’s doppelgänger in the music video for “Deja Vu.”)

Recently, Ryder, who is now twenty-one, returned to indie movies with a lead role in “The Sweet East,” the cinematographer Sean Price Williams’s directorial début. In the film—a no-holds-barred picaresque romp, written by Nick Pinkerton—Ryder plays Lillian, a South Carolina teen whose good looks and ingenious manner allow her to glide from one American subculture to another. (She meets a slew of colorful characters along the way, played by actors such as Jacob Elordi, Simon Rex, Ayo Edebiri, and Jeremy O. Harris.) Earlier this month, I met with Ryder at the Odeon, in Tribeca. She was sporting long neon-green nails (“They actually really inconvenience my life, but I look down at them and they make me so happy,” she told me) and was on her way to the Roxy Cinema to see Ronald Bronstein’s American indie mainstay “Frownland,” which Price Williams was introducing. Over French onion soup and chocolate pudding, we discussed the perils and boons of being a child performer, the omnipresence of the male gaze, and her desire to make art that is meaningful. Our conversation has been edited and condensed.

When did you start dancing?

I took my first dance class when I was about three. By the time I was eight, I went to one studio that was very strict ballet training, and I also did contemporary dance at another studio, where I joined the team. In seventh grade, I was dancing for twenty hours a week. It was really intense, but I loved it. My younger sister, MiMi, loved dancing, too. We would do “The Nutcracker” every year. Our little brother, Tre, would also want to be included, so he’d be like a bonbon or a piece of candy.

What was it about dance that you liked?

I hated training, the rigorous standing at the ballet barre for hours doing drills over and over, though obviously you need that, but I did love performing, and being part of a team with a group of people doing the same thing. It’s not unlike being on a movie set. I also had an easier time making friends at dance than in school, where I was very quiet, and not very social.

You do seem a bit shy, which is surprising for an actor.

Don’t get me wrong, I love being the center of attention. [Laughs.] But I always had an easier time expressing myself when I was performing. In social situations, I prefer listening to people. It’s more interesting than talking.

How did it come about that you moved to New York?

The summer going into seventh grade I’d been in the city doing a dance training convention, living at my uncle’s, and the casting director from “Matilda” came in to give a workshop on what an audition for Broadway would look like. She taught a segment from “Revolting Children,” which is one of the numbers, but she explained that if you were to really audition for the show you’d have to get a song prepared, and then they would probably give you a scene, and you’d have to show up for an open call.

Did that seem immediately attractive to you?

No. [Laughs.] I was, like, wow, that seems intense. But then my grandmother took me to actually see the show, and I had the craziest feeling, like, I should have auditioned for this. It was so dance-heavy, and there was singing but the kids were all singing together, and it just seemed like so much fun. The choreography is a lot of fight choreography, a lot of sharp staccato movements, a lot of punches and grunts, and I had never seen that type of dance before. I was like, that is what I want to do now. I remember leaving the theatre and going home and then that night researching the next open call and showing my mom: Can we drive to New York City on October 5th so I can go to the open call? And she agreed. My mom is a quiet lady, but she’s always up for adventure.

What was that first audition like?

We got there, and there were probably, like, six hundred kids, and we waited all day, over ten hours, and I eventually got to dance. They taught us two numbers. I can be really hard on myself, not so much now, more so when I was younger, but I was in such a horrible mood after, because I thought I did a bad job. I was acting like a little demon. And I remember my mom being, like, “You need to snap out of this, this is so bad, and you’re not doing this if you’re going to act like this.” I did get a singing callback, and then there were four more callbacks after that, but I heard nothing. And, meanwhile, MiMi had also gone to the first “Matilda” audition—she was nine, and then they asked if she’d come back and audition again for the role of Matilda. She ended up getting cast first, and that’s when we moved to the city. Then the girl who had the part that I ended up getting was going to be too tall, and they asked if I’d come back and audition again for that part, and I got it.

There’s a height limit, that’s the thing. I was really close to not being able to audition. Four-eleven was the cutoff, and I was four-ten and a half. That’s why I was, like, I need to audition now, because I’m going to get taller and I’m not going to be able to do it in a year.

You had to be below four-eleven? What happens if during the run of the show you get taller?

The ensemble kids worked on contracts that would be renewed every six months. If you get too tall, then they don’t renew your contract when the six months are up. You’re booted.

Wow.

It’s harsh.

In retrospect, did you understand what you were getting yourself into?

Totally. I watched kids and their moms show up to this audition and I got the vibe that everyone in that room, or a lot of these people, this is what they do. They have their books with their headshots and résumés, it just seemed so normal to them. And I wanted to be like them. I was, like, I’m getting my binder, I’m going to go get my headshot, I want to do all this. I was aware.

You seem well-adjusted, and you have a mother who is supportive and has her own career, but it still strikes me as incredibly hard to deal with all this stuff emotionally as a child. These are adult-y problems.

I had to deal with a lot of adult-y things from the time I was little, having a single mom and stuff. So I feel like I was ready for that. I wanted more responsibility, I wanted to work, I wanted to dance, and “Matilda” was an opportunity to do that. It just clicked. But no, it was crazy, the things that parents of other children would say to me. I had a dad come up to me and say I looked like a monster I was so tall.

What?!

I ended up getting renewed twice, and by my second renewal I was definitely too tall to be in the show, but doing a show with kids, there are a lot of behavioral issues, and if you had good behavior that went a long way, like with any job. And I took it really seriously. But some parents got really nasty toward the second renewal. It was really weird, especially the fathers, which was even weirder—they were always commenting on my height, my weight, even. I had a girl telling me, “It looks like you’re growing boobs. You can’t play an eight-year-old if you have boobs.”

And during that time, I really didn’t want to grow up. I was thirteen and fourteen in the show, and I did start getting boobs. It’s hard enough [without being an actor]. I was embarrassed. It separates you, and you’re this other thing, you’re not the same anymore. There’s a whole different set of eyes on you when you become a woman, and there’s so much more that comes with being a woman than with being a thirteen-year-old.

What happened after “Matilda” closed?

There was no way I was going back to Buffalo. I would have had to have been dragged out. And my mom, too, really liked living here. So I enrolled at Professional Children’s School, and they have a really amazing Broadway scholarship. If you’d been on Broadway, the school can be pretty much free if you need, and it’s a private school, and I wouldn’t have been able to go otherwise. So through high school I started auditioning for films.

How was it transitioning from dancing to acting?

I did really want to act, but I didn’t really know if I was good. I was going on auditions because I wanted to do it, and I started watching more movies, being in the city, and going to Metrograph and different theatres. I wasn’t sure it was a possibility. And then I got an audition for “Never Rarely Sometimes Always.”

Did you make a conscious decision to try for indie movies rather than big-budget ones?

No. Around the same time, I was auditioning for “West Side Story,” which was more similar to the “Matilda” audition, a huge dance call, and Spielberg was there. I showed up and it was everyone I’d grown up watching with my mom on “So You Think You Can Dance.” Just the best of the best. I was texting my mom, “I think this is a waste of time.” But I ended up getting the small role of Tessa, Baby John’s girlfriend. Those auditions are really fun. Not if you get cut, of course, but the adrenaline of hearing your name is like. . . . I don’t know if I’d want to do it again, but I remember it fondly.

Doing “West Side Story” was incredible. I was only in one dance number, and there were so many moving parts, it was a huge scene. Spielberg was very present. You understand how someone like that is the greatest of all time. It was so amazing seeing him stage a shot, go back behind the monitor, and then ask whoever was sitting there, “Did that look cool?” He’s so kind and curious and open.

“Never Rarely Sometimes Always,” of course, was a much more modestly budgeted project.

I like working on movies like that, where the director really has control of the product. This was the case with Eliza, or now with Sean [Price Williams] on “The Sweet East.” I’ve worked on projects where the producers are making really big calls, and to make a choice you have to ask a bunch of faceless people what they think, and I prefer working in an environment where it’s the director’s show. Being on “The Sweet East” made me realize how much I love having a hand in the story that I’m telling. They looked to me for a lot of advice and big decisions about the character in the film. It was the type of collaboration that was very unusual, and I loved it.

You’ve also done a play recently.

Yes. “How to Defend Yourself,” by Liliana Padilla. A very sad play, but a beautiful play. We did it at the New York Theatre Workshop. It’s about an assault that happens on a college campus, and how my character and another character who are in a sorority with the girl who was assaulted create a self-defense course to try and open up dialogue about sexual assault. I had to learn Muay Thai for the role. A lot of it was about gender violence and feeling unsafe in your body.

Are these concerns that preoccupy you? Obviously, “Never Rarely Sometimes Always” has to do also with the body of young women, women’s rights on their body, and feeling unsafe.

It’s definitely something I think about a lot. As a young actor in a woman’s body, you have to deal with the fact that it’s still a man’s world. As much as things have changed, you’re always going to deal with people who think you’re an idiot, or who don’t pay you any mind because of your age, or who are judging you for your body. As a woman, you always feel like you’re like a subgenre of being human. In a way, though, sometimes I like being underestimated and I like people thinking that I don’t know what’s going on, because they’ll say more to me or let their guard down more.

Are there certain actors or performers whose careers you see as a potential model for your own?

I really admire Madonna’s career in a lot of ways. Not that I see myself on that same trajectory, but she just put herself in a position where she could do whatever she wanted. She literally was her own boss. When she wanted to do movies, she did movies. And she made music, and her music videos really had a voice in art and culture, they were so powerful. Just her sense of self. Even when she wasn’t huge, she was never soft, and she was controversial, and people hated her, and she was raunchy, and she just did what she wanted. And I’m a very different person, but I would like to be on a path like that. We have the same birthday, actually. And she was a dancer.

In the prime of her career, Madonna was playing with the expectations people have of attractive young women. And I think “The Sweet East” has some of this. Being an attractive young woman affords Lillian a lot of mobility between different environments, but it’s in some ways limiting.

Totally. It’s hard to relate to a lot of characters that people in Hollywood are creating. It’s almost, like, a joke at this point, “characters written by men,” but they’re always these quote-unquote layered women. Quiet yet extremely bold, beautiful but don’t know they’re beautiful. I know a lot of women who are beautiful and know they’re beautiful, like Lillian, for example.

But her youth and gender are a complete double-edged sword. She realizes she can just have an easy life, living off her beauty, and it gives her a sense of confidence, but it’s not what she wants.

She knows she’s been watched by men, and that’s who she’s performing for, even in her private moments, which I think about a lot in my life, too. Who am I performing for? But when Lillian leaves at the end of the movie, me and Sean have joked that she’s going to become President. She has a plan.

What’s your plan right now?

I’m writing a ballet about growing up in the city. I’ve started writing songs. I want to direct. A lot more seems possible in the past few months. Maybe that’s just growing up. I hope a character like Lillian makes people want to go on more adventures and say yes to more scary things, and the stuff that I’m writing, too, wants to do this.

Source: newyorker.com



Articles & Interviews - Behind the Scenes / On Set - Gallery - The Sweet East

Numero Netherlands
Posted by Veronique on December 14th, 2023

IN CONVERSATION WITH TALIA RYDER
December 10, 2023
interview by JANA LETONJA

Actress Talia Ryder starred in Sony Pictures’ film ‘Dumb Money’ this September, based on a true story of a Wall Street short squeeze that momentarily turned GameStop stock into the hottest investment in town. Talia started her career in the Broadway production, ‘Matilda the Musical’. Currently, we can watch Talia in Sean Price Williams’ buzzy directorial debut ‘The Sweet East’,which she leads opposite Jacob Elordi, Simon Rex, Ayo Edebiri and Jeremy O. Harris. Indie film ‘The Sweet East’ premiered on 1st December.

Talia, we are currently able to watch you in indie film ‘The Sweet East’, which you lead opposite Jacob Elordi, Simon Rex, Ayo Edebiri and Jeremy O. Harris. How exciting was taking on this lead role, and opposite such a cast nonetheless?
This was such an exciting role for me to take on. Lillian is such a complex and confusing person, I am honored I got the chance to be the one to figure her out. A lot of the cast was attached before I was, which made me even more excited about this already exciting script.

The film was a collaborative experience between the filmmakers and performers and even resulted in an original song ‘Evening Mirror’, which you are singing. How fulfilling is it for you to merge two of your passions in a project?
Yes, this was an extremely collaborative experience. Working with someone as confident as Sean is a wonderful thing. He always knows what he wants, but he left the creation of Lillian up to me. I think it takes a lot of strength to say “I don’t know this person at all, but it seems like you do”, and let me make her into a real person. But the addition of the song actually wasn’t my idea. We shot the film in two segments, the first in winter 2021 and the second in spring 2022. A few days before we were about to begin shooting the second half, which actually was the first half of the movie, Sean sent me this song that his friend Paul Grimstad wrote and asked if I’d be willing to sing it in the movie. I hadn’t really sung in a while, but it ended up being such an inspiring experience for me. Not only did it add an additional layer to the character where I got to break the fourth wall and acknowledge the camera, but it reminded me how much I love to sing. I ended up getting back into music during the actor’s strike and wrote a few songs that I hope I get the chance to release. I’m hoping to make a record with Paul soon, since we had so much fun making the song in the film.

You started your career on Broadway, in ‘Matilda the Musical’. What got you passionate about acting and performing before making your on stage debut?
I grew up dancing, so I already had an affinity for performing. I loved being on a team where we could work on pieces all year and go to competitions in the spring. It was always my favorite time of the year. My grandma took my sister and me to ‘Matilda the Musical’ for our birthdays, my 12th and MiMi’s 9th, and we left the theater asking our mom if we could audition for the show. I never considered acting before that. I was just so moved by the joy the kids had on stage when they were dancing. It seemed like something I could do.

Performing both on stage and on screen, which of the two would you say excites you more?
I don’t think I prefer one over the other. I choose projects based on the story rather than the medium. I’ve done more films at this point, but I did a play at New York Theatre Workshop called ‘How to Defend Yourself’ earlier this year and really enjoyed the challenge of keeping the story fresh every night. I’m just looking to dance more, whether that be on stage or on screen.

What do you find the most exciting and the most challenging about portraying different characters?
I love getting to play different characters. I don’t really see that as a challenge of acting, it’s just part of the job. I love making playlists for the people I play and I love obsessing over wardrobe choices and backstory. It’s a lot of fun.

It’s just hard to say bye when you fall in love with a character. Lillian is a good example of that, but you get to take the good parts of the characters you play into your life and hopefully leave the bad ones behind. I’m fortunate to have played some special people.

For your performances you received many critical acclaim so far. What are your goals and dreams for the future?
My goal is to keep making work that I’m proud of and to keep making work that makes people feel good, even if that just means making them feel seen. I also would like to direct and choreograph. I directed a music video this year for Del Water Gap and it was an eye-opening experience for me. I always knew I wanted to be on both sides of the camera, but having the chance to try affirmed it. I have such talented friends, I really want to direct a film at some point.

You are also very fashionable. What does fashion mean to you?
I love clothes. I express myself through the clothes I wear. According to my mom, I’ve always been very particular about my clothes and apparently refused to wear clothes with words because I was unsure if I’d feel aligned with the words all day. I love putting outfits together for myself and I really love getting to put outfits together for the characters that I play.

You are currently a YSL global ambassador. What makes you connect with YSL’s vision and values the most?
I’m very lucky to have worked with YSL and the brand’s creative director, Anthony Vaccarello, since I was 18. I have always loved fashion and clothes, but I knew very little about the world of high fashion. When ‘Never Rarely Sometimes Always’ came out, several brands proposed a partnership. I was immediately attracted to Saint Laurent and the shapes and attitudes of their clothes. Upon doing further research, I was so inspired by Anthony’s specific vision and his eye for detail that the choice was obvious. Since working with the brand, I feel like Anthony taught me what it means to be an artist in a lot of ways. There’s no rulebook and there’s no limit to what you can do if you do it well and have good people around you. I love watching how he continues to elevate the brand and extend his artistry to different mediums. Also, nobody throws a party like Anthony. I’ve had some of the best nights of my life at his shows.

Tell us more about your hobbies and passions outside of acting. What are the things you enjoy the most in your free time?
I like taking pictures. I like making up dances and songs. I like making things even when I’m not making movies. I’ve been DJing more this year, which has been fun too. Anything that lets me work on something with my friends is a good time. I mostly made music with my friends over the actor’s strike. I love watching movies too. I live by some really great theaters in New York City that show old movies, so I go pretty often. I love the Roxy, IFC, Metrograph, Anthology, Film Forum. I love the website Screenslate, which shows you all the old movies that are playing in the city every day. I love seeing movies in Paris too. There are some really great theaters there.

What can you share with us about your exciting upcoming projects?
‘Dumb Money’, another film I am in, is playing in theatres right now. It’s a really incredible movie I wish we got the chance to celebrate more. Another film I am in, called ‘Little Death’, is premiering at Sundance in February as well. I just saw the film for the first time the other day and I’m very excited about it. It’s like nothing I’ve ever seen. I’m also slowly working on my ‘Sweet East’ tour film. I’ve been bringing my camera around on the press tour and will hopefully make a film for Blu-ray when we have one. I know I keep mentioning it, but I’m very excited about my newfound love for music. I performed my first concert with Paul Grimstad and some other friends of the film just recently and it got me really excited about what’s to come.

Source: numeromag.nl



Articles & Interviews - Gallery - Photoshoots

V Magazine
Posted by Veronique on November 20th, 2023

V Girls: Talia Ryder
A new star in motion

“Motion! Motion! Motion!” Talia Ryder says, when asked to do the impossible: chart her future in three words.

She laughs and, in between soft chuckles, dismisses her previous response. “I’m just kidding.” Make no mistake, however, the misgiving she feels about trying to describe her future is not a by-product of Ryder’s self-doubt, but an expression of all the places she can go. From starring in campaigns for Saint Laurent and her leading role in Sean Price Williams’ debut drama The Sweet East, to making her directorial debut with a music video for Del Water Gap this past summer, the multi-hyphenate is in constant ambulation, shifting between roles with ease. It comes as no surprise that this ever-mov-
ing force entered the art world through a space
where movement was everything—her home-
town ballet studio in Buffalo, New York.

A dancer before she was anything else, Ryder spent summers in New York City, staying with her uncle and dancing at summer intensives. It wasn’t until 2015 that Ryder moved to the city after landing the role of Hortensia in the Broadway production of Matilda the Musical. Here, she found a home in the choreographed chaos, the constant movement of a metropolis. “I like leaving my apartment in the morning and not knowing when or if I’ll ever be back,” explains Ryder. “That’s the fun of it.”

Besides their spontaneous, wandering nature, Ryder loves the streets of New York because they inspire her personal style. Ryder first leaned into the world of fashion at the age of 17 while promoting her film Never Rarely Sometimes Always and Saint Laurent dressed her for the press tour. Since then, she’s become an ambassador for the French fashion house and cultivated a friend- ship with creative director Anthony Vaccarello. “He used his position in fashion to make all sorts of art and bring all sorts of different artists together,” she says. “He’s created a real family— I’ve even met numerous collaborators that I’ve worked with through Saint Laurent.” One of these collaborators was Del Water Gap, also known as Samueal Holden Jaffe, who worked with Ryder on her directorial debut, the music video for his single “All We Ever Do Is Talk.”

The pair met at the Saint Laurent SS23 menswear runway, where Ryder shared her interest in directing. Moving behind the camera has always been a goal for her, and directing Del Water Gap’s video allowed her to bring her filmmaking vision to life–a forward step into new territory. The video, which has nearly 120,000 views on YouTube and her penchant for hazy, muted colors and dramatic lighting. When she posted it, her Instagram comments were flooded with gushing messages and red fiery hearts — the highest of Gen Z praise. Aside from Ryder’s behind-the-camera aspirations—which also include filmchoreography—this star shines in front of the camera also. In The Sweet East, her character, Lillian, takes a strange yet beautiful journey across the Eastern seaboard in along the way by a cast of eccentrics, who represent the astonishing variety of human beings in contemporary society. The film, which Ryder calls “one of the best and most fulfilling creative experiences of [her] life,” is a postcard of perpetual motion. Maybe her initial answer wasn’t so far off the mark after all.

Source: vmagazine.com



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Variety: Busy Actor Talia Ryder on ‘Dumb Money’ and Keeping Dance as Part of Her Life
Posted by Veronique on September 11th, 2023

As a former child dancer, maybe it shouldn’t surprise anyone that 21-year-old Talia Ryder moved so gracefully into singing, directing and acting. But don’t make her choose just one. “I really like making things, whether that’s acting, directing, choreography or all of the above,” she says.

Since her 2020 film debut in the Sundance abortion drama “Never Rarely Sometimes Always,” the Indie Spirit nominee has brought her naturalistic acting to “West Side Story,” “Master,” “Do Revenge” and “Hello, Goodbye and Everything in Between.” She returns to the festival circuit with “Dumb Money,” Craig Gillespie’s comedy about the 2021 GameStop stock craze, which had a TIFF Gala premiere Sept. 8. and begins its theatrical rollout Sept. 15.

“It was such an insane moment in time,” says Ryder, who was interviewed before the SAG-AFTRA strike. “Everyone was on their phones, and I felt involved in that story — a good friend was pretty invested in it, financially and emotionally. Instead of [the film] totally being from the perspective of big Wall Street guys, you see how all kinds of people are affected.”

Given her impressive work, it is surprising to learn that the soft-spoken Buffalo, N.Y. native became an actress by chance. “I’ve been a dancer since I was little — that was what I wanted to do. [But] on my 12th birthday, my grandma took me to see ‘Matilda the Musical’ [on B’way] and I begged my mom to let me audition. I didn’t consider it acting — it was the dancing that inspired me — and when they asked, ‘Can you sing?’ I [fibbed], ‘Of course!’” she laughs.

Similar twists of fate guide the protagonist she plays in Sean Price Williams’ road comedy “The Sweet East,” which hits the New York Film Festival on Oct. 10. “I rarely see a teenage character who’s so complex and confusing,” Ryder says. “I think she’s figuring out her point of view as she goes. That’s what’s so beautiful about the character—she’s doesn’t know her place in this world and is desperate to figure it out.”

Ryder helmed a half-hour short about her trip to Cannes with “East,” and several of its crew members worked on her directing debut this summer: her friend Del Water Gap’s music video, “All We Do is Ever Talk,” which she also choreographed. “It’s really nice to be able to create with people that you know and trust,” she says.

Ryder may return to Sundance with Jack Begert’s drama “Little Death,” reportedly playing a woman struggling with addiction. “It’s another strange, sweet indie film I’m excited about,” she says. But the project that seems closest to her heart is James Napier Robertson’s “Joika,” based on the true story of Joy Womack, an American ballerina who made history by being accepted into Russia’s Bolshoi Ballet Academy. It premieres Sept. 9 at the Deauville Film Festival. “I’m trying to keep dance a part of my professional life,” she says. “It was such a dream to be able to do everything all at once.”

Source: variety.com



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Variety’s 2023 Young Hollywood Impact Report
Posted by Veronique on August 10th, 2023

The talent highlighted in Variety’s Young Hollywood Impact Report come from the worlds of film, television, music and digital and all made a splash in the last year. All interviews were conducted before the SAG-AFTRA strike began.

Not many actors make as impressive a film debut as Ryder did in the 2020 drama “Never Rarely Sometimes Always.” Fewer have her luck: after the young dancer saw “Matilda” at age 12, she nabbed her first job in the Broadway musical. “I didn’t consider it acting — the dancing and show inspired me,” Ryder, 20, says. “It was a dream to do everything at once.” Following parts in films including “West Side Story,” she’s coming full circle as a ballerina in “Joika.” She’s directed a music video, hopes to do more choreography and looks for interesting roles, like her impressionable protagonist in Cannes film “The Sweet East” and a GameStop stock buyer in “Dumb Money,” headed for Toronto.

Source: variety.com



Articles & Interviews

Talia Ryder returns to the stage in ‘How to Defend Yourself’
Posted by Veronique on February 6th, 2023

Talia Ryder stars in Liliana Padilla’s “How to Defend Yourself” under the direction of Padilla, Tony winner Rachel Chavkin and Steph Paul.

Click on the photo below to be redirected to ny1.com to watch a video interview with Talia about her role:



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Behind The Blinds Magazine
Posted by Veronique on July 7th, 2022

HELLO TALIA RYDER, GOODBYE ANONYMITY
Talia Ryder has already appeared on Broadway, starred in an Olivia Rodrigo music video, and performed in acclaimed movies including Eliza Hittman’s 2020 indie, Never Rarely Sometimes Always, and Steven Spielberg’s epic cinematic adaptation of West Side Story. Now she’s landed the lead opposite Jordan Fisher in Netflix’s teen rom-com Hello, Goodbye, and Everything in Between.

Did you meet Jordan Fisher first in your screen test for Hello, Goodbye, and Everything in Between, to see if there was chemistry there?

No, we met for the first time after I had been offered the role. I auditioned and was cast during the pandemic so screen tests were impossible. Luckily, we had a lot in common both coming from a Broadway background and became friends quickly.

It’s a story that really covers various aspects of relationships, from vulnerability to loyalty, and possibly regret. What did you love most about the script, what made you want to take the role?

While I was reading the script it just seemed like a movie I would really want to watch. Falling in love at an age where your life is just starting is a universal experience that I haven’t seen depicted in a film like this before. It’s unique because it explores attachment styles and communication in a healthy and beautiful way. While Claire and Aiden have their flaws and hurt each other plenty, you get to watch the development of a really beautiful and loving relationship at a time in their lives where so much is undecided and changing.

Were you able to relate and empathise with any parts of your character?

I immediately saw myself in Claire. She and I are both extremely driven, and I think for that reason are hesitant when it comes to love out of fear of losing ourselves in a relationship.

How do you think the computer age, being online and social media have changed romance?

I think that social media and the times we’re living in have changed romance. Not only is it a whole new way to meet people but it’s also a whole other side of a relationship you have to manage. We communicate so much through texting and social media and there’s more opportunity for things to be misinterpreted.

Do you have a movie crush?

I just saw Elvis, so I have an acting crush on Austin Butler, he was such a compelling performer, and his dancing blew me away. But my forever movie crush is Angelina Jolie in Girl, Interrupted, which was one of my favourite performances of all time.

When you get the chance to meet an actor or performer you really admire, what do you say? Have you ever been starstruck?

I’m not really shy about that stuff. I’ll always tell people when I’m a fan of their work. I always get starstruck by my friends though. It’s so crazy seeing people you know perform. It’s like no waayyy! that’s actually you?!

When did you know you wanted to be an actor, as you started off as a dancer in Matilda on Broadway, is that right?

Before doing Matilda, I had dreams of being a professional dancer and auditioned for the show just for the experience, never expecting to be cast. Being on Broadway and getting to move to New York completely changed my outlook on life, and I realised I had the opportunity to really make a career out of this. I had to learn how to act and sing for my role in the show and realised how intertwined dancing and acting are to authentically tell a story. I got an agent through being in the show and just decided to go for it with acting.

You went on to play in Never Rarely Sometimes Always, and then joined Steven Spielberg’s epic cinematic version of West Side Story. Did it all feel a bit unreal going from quite an intimate set to this massive production and cast?

I knew going into them both that the processes would look very different. It was cool getting to see two very different films being made and see the same level of passion and creativity in two different environments.

I imagine the dancing was full on too, having to learn all that choreography? Did you come away with all the songs going round in your head for hours, days, like even when you were sleeping?

It was pretty full on but getting to work with Justin Peck was incredible. I had steps stuck in my head more than the music, I think. I’d always be marking the choreography around the house or waiting for the train.

Which of Spielberg’s movies is your favourite or would you have loved to star in?

I grew up watching so many of his movies. While ET is my favourite, I think Ready Player One would’ve been so much fun to shoot.

Who are your acting or director heroes? Who else would you love to work with?

I would just really love to work with Steven [Spielberg] again. He’s the definition of a true legend to me. He approaches everything he does with detail and care as well as making everyone on his set feel valued and respected. Working on West Side Story changed the way I look at filmmaking and collaboration and I would just love the chance to witness him make magic like that again.

Are you attracted to playing a certain type of character or a genre, what do you look for in a role?

I wouldn’t say I’m attracted to any specific character or genre. It really comes down to believing in the script as well as the director’s vision for the story. It’s important to me to feel inspired and challenged by the characters I’m playing, but it really comes down to the story that’s being told.

What’s next for you? Can you tell me about your projects Do Revenge and Joika?

Do Revenge will be out in September! It looks really amazing. Jennifer Robinson who wrote and directed the film is truly a genius. The film pays homage to the ‘90s teen movie’ while being super funny and relevant to today’s culture. Joika is a very intense film that shines a light on both the toxicity and beauty of the ballet world. It’s the most demanding role I’ve ever played, but it was so amazing getting to combine my love of dance and acting for the part.

Source: behindtheblinds.be



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Site Info
  • Maintained by: Veronique
  • Since: 23 September 2021
  • Layout Photos: Julian Ungano, Hao Zeng, David Sims & Inez and Vinoodh
  • Contact: Email Veronique
Current Projects

Dumb Money
Talia as ?
News Photos IMDb
Follows the Wall Street chaos after GameStop's stock skyrocketed due to Reddit.


Little Death
Talia as ?
News Photos IMDb
Two young drug addicts break into the home of a neurotic TV writer before spending the night in Los Angeles pondering about life, death and morality.


Joika
Talia as Joy Womack
News Photos IMDb
American ballet dancer Joy Womack is accepted into Moscow's infamously tough Bolshoi Ballet Academy, with the dream of becoming a great ballerina.
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