Kristine, how did you get from Puget Sound to Hollywood?
I grew up in Pasadena, Calif., doing a lot of dancing and theater, and had a double ma-
jor at UPS in theatre arts and communication. I did an internship at KOMO News in Seattle, but
I realized I didn’t like telling people’s stories when they didn’t want them told. I also performed
in plays and directed them at UPS and fell in love with directing. After graduation I moved to
Los Angeles and landed a job at Creative Artists Agency [CAA], working in the television packag-
ing department as an assistant. It was there that I met John Tinker, who was a client and who’d
been hired as executive producer/writer on
Chicago Hope.
He needed an assistant, and I wanted
to work with writers and directors and producers, and thankfully he hired me immediately.
After a year I started working with another executive producer who was the primary director
Chicago Hope
Bill D’Elia. While assisting Tinker and D’Elia, I also helped to develop shows
Judging Amy
and worked with David E. Kelley Productions on shows like
Picket Fences, Ally
The Practice.
I then moved into management and development, working with writ-
ers and directors at More-Medavoy [aka Talent Entertainment Group, aka Management 360] and
then was a development executive for theater, film, and television at [the production company]
East of Doheny.
Any Day Now: Questions for filmmakers
Kristine Hostetter Fine ’94 and Travis Fine
by Stacey Wilson
At the peak of awards season, I can receive dozens of pitches a day from publicists clamoring
to get their clients featured in the pages of
The Hollywood Reporter.
One such client last fall was
film and TV actor Alan Cumming, whose dutiful rep sent me no fewer than 10 emails in two
days outlining why Cumming’s new film,
Any Day Now,
was worthy of inclusion in our run-up
coverage to the Golden Globes and Oscars.
I admitted I’d never heard of the film but said I would be happy to watch a screener and
mention Alan wherever and however I could. What I couldn’t have anticipated was that one
of the film’s producers, Kristine Hostetter Fine, was a classmate of mine from UPS. I was even
more elated to discover that I loved this indie movie—an inspired-by-real-life story of two gay
men in the 1970s who attempt to adopt a boy with Down syndrome­—so of course I felt that
Kristine and her actor-writer-director husband, Travis Fine, deserved an
On a sunny morning in February, just days before the Oscars, Travis, Kristine, and I caught
up over coffee (like most UPS reunions, this one, too, felt like no time had passed, let alone
two decades), and I heard first-hand their tales from the filmmaking trenches. The couple are
parents of three (Levi, 5; Eliana, 8; and Travis’ daughter, Savannah, 18), and they openly shared
the trials, challenges, and joys of their professional partnership, whether dabbling in real estate,
chasing scripts, or casting the actor they’re sure is perfect for their project, even when he says no.
The commitment to their craft and to each other revealed an inspiring look at that rarest of
Hollywood commodities: a successful creative partnership and a loving marriage.