Leslye Headland Will Adapt Stage Hit ‘Cult of Love’ for Film, Kiss ‘Evelyn Hugo’ Goodbye and Remember ‘The Acolyte’ as a Teenage Dream

The past year of Leslye Headland’s work has been a love letter to her teenage self.

The versatile writer, director, showrunner, and playwright is about to wrap up her highly-praised first Broadway production titled “Cult of Love.” This project followed swiftly after she completed the editing process for her upcoming 2024 Disney+ Star Wars series, “The Acolyte.

Broadway holds significant importance, and if I were talking to 13-year-old Leslye today, I’d find it hard to express how amazing it would be to work on a Star Wars story followed by a Broadway performance. It’s simply astounding,” Headland recently shared with EbMaster.

The “Russian Doll” co-creator’s personal upbringing plays a significant role in the play “Cult of Love,” which was initially performed at Berkeley Rep. This intense drama depicting the downfall of a religious family on Christmas Eve, featuring Zachary Quinto, Shailene Woodley and Rebecca Henderson (the co-creator’s spouse) for its New York run, draws inspiration from the author’s real-life experiences and their relationship with faith.

The stage production (thoroughly analyzed on Gordon Cox’s Stagecraft podcast, EbMaster) will steer Headland towards making feature films again. At present, she’s penning and fine-tuning a movie adaptation of “Cult of Love.” Unfortunately, due to calendar conflicts, many fan bases must accept that Headland is no longer set to direct the Netflix film version of Taylor Jenkins Reid’s “The Seven Husbands of Evelyn Hugo.

As a passionate cinephile, I can’t help but share with you the intriguing insights I gained from my in-depth chat with this captivating actress. Delve deeper into her authentic, spellbinding performances on stage and uncover what lies ahead for Headland in our comprehensive interview: [Link to full conversation]

How autobiographical is “Cult of Love”?

For me, what I produced was an homage, not in a derogatory sense. I aimed to create my interpretation of “August: Osage County.” The most autobiographical aspect for me is the upbringing within Christianity. It’s intriguing that when people discuss it, they often refer to it as a “strict” Christian upbringing. However, I find unstructured Christianity more subtle and insidious. This is what appears to be happening in our nation currently – a lot of selective values being applied. I began writing this in 2016 when Trump was first elected, and I thought it would be intriguing to write a play about a dysfunctional family during a time when our country is experiencing similar dysfunction. The impact of religious trauma remains relevant, as all the characters speak the same language about faith but are polar opposites in their beliefs.

“Cult of Love” fits into two of my favorite genres: the holidays and dinner parties from hell. There’s also an amazing reference in the play to a child genius movie we don’t talk enough about, “Little Man Tate.” How did that get in?

As a child, I saw it, but upon reflection, some aspects seemed too mature for me to fully understand. It made me feel as though my mother was overemphasizing our potential as child prodigies.

Did you show an aptitude for what you currently do when you were younger?

Absolutely. My parents initially supported it more as a hobby than a profession, but their views changed over time. As a child, I used to write poetry and fill notebooks with stories, similar to how an American Girl doll book or “A Little Princess” is filled. Essentially, I was creating tales about a wealthy girl exploring a secret garden or whatever else caught my fancy. As I grew older, my passion for storytelling evolved into fan fiction, particularly around the Star Wars universe.

More on “Star Wars” in a moment, but I want to point out how skillfully and accurately “Cult of Love” portrays addiction – especially in how it impacts an entire family.

Addiction affects everyone, whether you’re an individual, a family member, a close friend, a romantic partner – it knows no boundaries. I once heard addiction referred to as “using a solution that’s actually a problem.” This sentiment is also reflected in the stories I craft for my plays. In my opinion, addressing addiction requires something greater than ourselves, such as faith or belief. I believe there’s a common misconception about addiction, that it’s solely self-destructive behavior. However, people often turn to addictive behaviors as a means of self-preservation and survival. This is similar to my feelings regarding cults. People don’t join cults because they want to be part of something terrible or abusive; rather, an idea has been presented to them that seems appealing at first. One of the reasons I was drawn to working on a Star Wars project was because no one aspires to become the villain. Most people do not willingly fall into destructive patterns like addiction, obsession, or dangerous cycles for enjoyment. Instead, these behaviors often serve as coping mechanisms in response to deeper struggles.

You went right into prep for Broadway after you finished the edit on “The Acolyte.” Those are two very different beasts.

I was extremely drained, but sometimes being in that state can be beneficial. There isn’t always time for second thoughts. The initial response usually prevails. Performing on Broadway is quite significant. If 13-year-old Leslye were asked if she would create a Star Wars tale followed by a Broadway performance, she would find it astounding.

Where are you at now with your creative ambition?

Currently, it seems the film industry finds itself in a unique, not entirely unfavorable position. When I started out, the aspiration was to emulate directors like Tarantino, Wes Anderson, Chris Nolan, Aronofsky, Spike Jones, and Truffaut. However, as Truffaut once observed, every auteur crafts a film, dissects it, and then creates a similar work.

There are numerous filmmakers who amass significant wealth through blockbuster franchises based on popular Intellectual Properties (IP). The career trajectory of Jon Favreau offers an intriguing example – breaking into the industry in the late ’90s with the remarkable movie “Swingers” and ultimately directing the live-action “Lion King.” His work has a profound influence on shaping the American cinematic experience.

Are you looking for a third route?

It seems I’ve found my forte in storytelling, and I plan to keep on crafting tales through various mediums such as plays, films, or TV shows. The process involves dissecting, learning, and then starting anew, a cycle I expect to repeat.

Will you adapt “Cult of Love” as a film?

Absolutely! It’d be fascinating to witness such a story unfold on the silver screen. For me, what truly captivates is the depth and talent of characters and performances, regardless of genre. This seems like a grand production with a diverse cast, each contributing significantly to the narrative. The idea of experiencing this intricate ensemble in a medium that can reach a global audience for an extended period is simply thrilling.

So this is officially in motion?

Indeed. Our cinematographer, Chris Teague, has visited our production “Cult of Love” on two occasions now. We’ve delved deeply into the visual aspects of the film rather than focusing on textual adaptation. The musical element also piques my interest. Utilizing diegetic music in our production is an exciting prospect to bring to life.

What’s going on with the film adaptation of “The Seven Husbands of Evelyn Hugo”?

I’ve stepped away from the project, but my admiration for the book and its creators remains immense. I feel certain it will be a massive hit. If I’d read it in my youth, it would have significantly altered my life path. The work is truly exceptional.

2025-01-30 03:48