The original post for this episode can be found here.
John August: Hello and welcome. My name is John August and you’re listening to episode 685 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters.
Today on the show, screenplays and stage plays are superficially similar. They both consist of scenes with characters talking to each other, so why do they feel so different and why is it often so challenging to move something from one format to another?
To help us explore these questions, we are joined by writer, director, showrunner, and playwright, Leslye Headland, best known for creating Russian Doll on Netflix along with the accolade on Disney Plus. She wrote and directed Bachelorette, adapted from her own play, and she’s coming off of a Broadway runner for acclaim play, Cult of Love, which I got to see in New York and absolutely loved. I’m so excited, Leslye, to get to talk with you about all these things. Welcome, Leslye Headland.
Leslye Headland: Thank you. What an intro. Gosh, it’s so nice to be here. I didn’t realize you’d seen the play.
John: I saw the play. Here’s how I saw the play. I was in New York because we were doing a new version of Big Fish, and we were there for the rehearsals and the 29-hour reading basically of Big Fish. Andrew Lippa, who is the composer lyricist of Big Fish, is a Tony voter, and so he said, “Oh, hey, I need to go see a bunch of stuff, come with me.” I’m like, “Great. I’ll go do anything you want to see.”
We show up and I’m just talking with them and I literally walk in the theater and I have no idea what the play is or who’s in it. I didn’t even look at the signage to see who was in the show, and so literally I come into the theater and there is this gorgeous set, the prettiest set I’ve ever seen on a stage play. I absolutely loved what I saw on that beautiful set.
Leslye: Oh, yes. The set was designed by John Lee Beatty, who is an absolute legend in terms of set design. I had a really, I would say, clear vision for what the set would look like, that it would have that Fanny and Alexander touch to it. There was a play by Annie Baker called John that took place in a bed and breakfast that was also like just stuffed to the brim with coziness. All of that just directly contrasts the darker content of the plays, and those plays as well as mine.
John: I want to get into that because we’re actually– I want to take a look at the very first page of your play because you actually lay out in the same description what it’s supposed to look like. It’s so different than how we would do it in a screenplay, and it’s so effective on this page, but it’s just a different experience. We’ll get into that, but I also want to talk about– obviously you’ve done film, theater, television. I want to talk about origin stories, because you went from assistant to auteur, which is something that a lot of our listeners are trying to go for. I want to talk about time loops because I love a time loop. You’ve written a bunch of time loops in a Russian Doll, and we have listener questions about music cues and long scripts, which I hope you can help us tackle.
Leslye: Absolutely, yes.
John: Then after we’re done with the main show, in our bonus segment, I want to talk about the difference of seeing plays versus seeing movies, because as screenwriters, it’s easy to catch up on movies. We can just watch them anytime we want to watch them, but for plays, it’s such a specific deal. If you can’t actually go see a play– if I didn’t happen to be in New York to see your play, I wouldn’t be able to talk to you about how great it was. I want to talk about the differences between seeing plays versus seeing movies and how you keep up as an artist.
Leslye: Oh, I’d love to talk about that. I love working in all those mediums, but they’re all very, very, very different.
John: They are, and so having done a bunch of them, there’s gatekeepers, there’s shibboleths, there’s this a whole sets of systems you have to learn the ropes of, and so there’s things you come into it thinking like, “Oh, I know how to do this thing,” and you realize like, “Ah” that it works so differently. Can we wind it all the way back, though, because I’d love to some backstory on you and how you got started, where you came up from, and when you first decided that writing and making things was for you?
Leslye: Very, very young. I was one of those kids that just wrote, you just started writing. I would read books for– I’d get them from the library, like the Judy Blume, or I ordered a bunch of American Girl doll books, which I absolutely loved. Then I would fill composition books with rip-offs of those. Just doing exactly the same structure.
John: You learn by copying, you learn by imitating other things you see.
Leslye: Exactly.
John: There’s no shame in that.
Leslye: Just beat for beat imitations, but with my own characters, like with the themes and personalities that I found more interesting than the simplistic morality of those types of books.
John: Absolutely.
Leslye: One of the reasons Judy Blume is so great is that there’s this gray out area that she writes about, but very soon I found musical theater. I became completely obsessed with Stephen Sondheim. Nobody could tell me anything that wasn’t Stephen Sondheim. I was introduced to him from the D. A. Pennebaker documentary about the marathon recording of Company. My dad watched it with me. It was on PBS or something.
He was watching it late at night and he said, “Leslye, get in here.” I ran into my parents’ room and he said, “You need to watch this.” I started watching it. He didn’t know what it was, I think he just started seeing it and was like, “This is my girl.” I started watching it. Sondheim is in light all Black. There’s one part where he puts his head in his hands, he’s so depressed at what’s happening. I said, “Who is that?” He said, “That’s the writer.” Suddenly, I was like, that was my basis for what a writer was.
John: You had the opportunity to see this thing that you loved. Oh, you can actually see the face of the person behind the thing and see the hard work and process it took to make that thing?
Leslye: Absolutely.
John: Rather than scaring you away from it, you were like, “Oh, I want to go and do that thing.”
Leslye: Yes. Absolutely wanted to dive in. Jumped into being a drama kid, then I went to Tisch for college for directing and acting a little bit, but not writing. I would write screenplays on my own that were terrible. I would give them to my friends. They would say, “This is terrible,” but I learned so much from directing. Just figuring out how to tell a story visually rather than texturally was exactly what I needed for those four years.
John: Talk to us about the program at Tisch. Was this all directing for the stage? Was it directing for a camera? What was the classes and what things we were learning?
Leslye: It’s a good question. They’re all broken up into different studios, and I was in a studio called Playwrights Horizons. It’s actually not that connected to the off-Broadway theater, but this particular studio, rather than– and they have Strasberg, Adler, the musical theater program. Playwrights was a little jack of all trades. You could study design, you could study directing, you could study acting, you could study, not dance, but Alexander Technique and have all these voice classes and everything. It really was a hodgepodge of information, so you could pick and choose what it was you wanted to focus on.
My main one was directing, and each year you’d do something different. The first year you’re just going to everything. Everything. I did acting classes, I did design classes, I did directing classes. I was not great at any of them, to be quite honest. I did have a couple of spurts of directing that were good that I felt very proud of, but that was it. Then in second year, you stage-managed for the juniors and the seniors. When you became a junior, you did two short plays. You did one in the fall and then you did one in the spring. You did two one-acts. I did The Lesson by Ionesco, and I did Beirut.
Then when you’re a senior, if you’ve made it this far, which a lot of people did not, you do a full length. I did Waiting for Godot because I love that play. It is my heart. It is exactly who I am, and the story that I want to tell influenced me beyond– like Sondheim. I’d say it was like Sondheim and Godot were just the major thing. I got to do that for my senior thesis project. I would say that people at Tisch responded to it, essentially, the same way that people respond my work now, which is, they’re impressed, but they’re also confused by what’s happening. I do think that the style of what I do now absolutely was born out of that production.
John: Let’s talk about that style, because what was it about that? Was it your choices in terms of how characters are presenting themselves on stage? Was it how you’re handling dialogue? Because as we get into Cult of Love, I want to talk about your very specific choices in terms of when characters overlap and when they don’t. What were some things if someone said like, “Oh–“ if they could time travel back and see that production, it’s like, “Oh, well, that’s very Leslye Headland.” What was it about that?
Leslye: Well, it was definitely very choreographed. One of my teachers said that was the most energetic version of Godot I’ve ever seen, because I didn’t have them just standing there. My aha moment for it was Marx brothers. I was just like, “It’s Vaudeville, that’s what this is.” Therefore, it was very choreographed and it was almost a musical, essentially. That Sondheim influence was pushed into it.
We did so many visual gags that were– even Lucky’s speech was this massive, just all of them hanging onto that leash of his and yanking him around. My Lucky was an incredible dancer and a gymnast. He could fall on the ground in just a violent, violent way. My mentor for the project said– When you do a postmortem with all of the teachers and the head of the studio and you get the critique, and some of it was good, some of it was critical, which is normal for what that moment is, but my mentor for it said, “I think you’re one of the darkest people I’ve ever met, but also really stupid things make you laugh.” I do think that what I ended up doing was very messed up characters and situations that then became a big joke. [laughs]
John: Coming from that, you’re graduating from Tisch? This is early 2000s. When are you coming out of Tisch?
Leslye: I graduated in 2003. I immediately started working at Miramax. I actually was working at Miramax while I was in school. I would go to my classes in the morning, I would go to Miramax. I was working in the Archive Department, which means that I was archiving all of the props and costumes and any set pieces for films, so that they could be archived for posterity. Also, all these things were sent out for Oscar campaign so that they could be displayed in places, like the costumes for Chicago, or the props, and the costumes for Gangs of New York. It was that time period, 2002.
Then, 2003, I immediately started working as an assistant. The next thing is that I quit. I had no money. I lived on my friend’s couch in a studio apartment. That’s where I wrote my spec Bachelorette. I worked at Amoeba Records, I worked at Rocket Video. I got a job wherever I could. Then I started writing these plays. There were a bunch of friends from NYU who had started a theater company called IAMA Theatre Company, and they’re still going strong. We just started developing these plays.
I started the Seven Deadly Plays series because I just wanted to challenge myself to write seven plays. That was really the biggest thing, was, “Can I keep writing, and can I keep getting better, and stop thinking about one particular project as being the thing that’s going to make me?” I felt that was really helpful. It was really helpful to develop the plays with actors, to watch them read things, and understand like, “Oh, that’s a really bad scene that I wrote,” because people don’t talk– I just saw two people do it, and it’s absolutely uninteresting, and there’s nothing going on.
I think sometimes when we are in a fishbowl of writing drafts or writing first drafts, it’s almost like your brain is a dangerous neighborhood and you really shouldn’t be hanging out there alone. [laughter] That’s how I– People have got to start reading it. You’ve got to have a reading with some actors. That’s just my advice. I’m sure nobody else does that, but that’s what I do.
John: No, Mike Birbiglia, who’s been on the show a couple of times, always talks about how important those readings are to get people just– the pizza readings just with friends, just to get a sense of, “What does this actually sound like? What does it actually feel like with real people doing it?”
Leslye: Yes, that’s exactly right.
John: You created a great situation for yourself, where you set yourself a goal of writing these seven plays. You wrote these seven plays. In the process of writing them, you got to stage them, see what they actually felt like on their feet.
Leslye: Yes. They were all done in little black box theaters. I forgot to say that, when I was an assistant, I was still doing that. I was putting my own money into black box theaters so that I could mount other shows like Adam Rapp and Neil LaBute. When I started writing the plays, again, like the composition books, I just started ripping off other plays. Bachelorette is just a female Hurlyburly. I just was like, “Oh, I can’t believe nobody’s thought of that.”
Each play had its own genre reference, if that makes sense. Cult Of Love is a family drama, which is a staple of plays. There are so many family dramas, but I like to, within that composition book, do my own thing.
John: Let’s talk about Bachelorette. This is one of your Seven Deadly Plays. You were able to write it as a play mounted in a black box theater situation, and then you went in and made the screenplay version of it with the intention of you directing from the very start, or did you think, “This is something I’m going to sell?” What was your intention in going into Bachelorette?
Leslye: I thought I was going to sell. I did not in any shape or form assume that I was going to be directing it. I worked really hard on the screenplay. I got an agent based off of it. I started to do the Water Bottle Tour. That’s what I call it. I don’t know if other people do.
John: Oh, that’s the term of art. We all say that, yes.
Leslye: This, for people who don’t know, it’s where your agent send you out to the executives at different production companies or different studios, and they’ve read your spec and they just get to know you and you guys have a little chat. Over and over again, I got the feedback about the movie that, “This is absolutely the way women talk, but no one wants to watch that.” I thought it would be a good writing sample, and maybe I can get some jobs off of it.
Adam McKay and Will Ferrell, and Jessica Elbaum ended up optioning it just as the play was going up in New York. It was a confluence of this piece that had been– this little tiny play that I didn’t really think was going to do– It was just one of seven. It didn’t seem like the one that was going to go, but then it went up with Second Stage in 2010. Then they optioned it at the same time.
They sent it to a bunch of directors, which is very par for the course. I can’t even remember who we sent it to. We sent it to every human. Everybody passed. It was also the time of– It was actually written before Bridesmaids, but Bridesmaids got made first, so there was this rush of, “Can we beat Bridesmaids? We can’t.” The directors started passing on it because–
John: They were just too much alike.
Leslye: Yes, it was like, “We already saw that. We already did that.” I was at the Gary Sanchez Christmas party with Adam and a bunch of other people. I was just sitting there with Adam chatting, and he said, “We haven’t found a director for Bachelorette.” I said, “I think we’ll find somebody.” He said, “Why don’t you just direct it?” I said, “I think that’s a great idea. I think I should.” Again, just do everything before you’re ready. If you get that opportunity, do not think in your head, “I don’t know how to do that.” Just say yes. Just be like, “Absolutely.”
His reasoning, and we talked about this a little bit, was, “You know these characters more than anybody in the world, and you can work with actors, because that’s what you’ve been doing for the last seven, eight years.” He said, “To me, that’s the most important thing. We can set you up to success with all the other stuff.”
John: I’d love us to transition now. We talked about getting Bachelorette set up, but I want to go back to plays and really focus in on playwriting versus screenwriting, because they look so similar at a glance, but then actually get into how they work and what our expectations are as audiences, they’re really different. In a stage play, the audience is actively participating in the imagination with you.
Leslye: That’s correct.
John: They’re there, they’re game to go. If you show them a desk and say, “This is an office,” this is an office. You have their full attention in ways that you don’t know if you have it with a movie. With a movie, you don’t know if they’re half watching. Here, for those first 5, 10 minutes, they are there, they’re fully invested into what we’re doing, which is great, except that some things are just harder to do on a stage, like that sense of where we are. Creating a sense of place is more challenging. You don’t have close-ups, so you have to make sure that small emotions are going to be able to land if we can’t see a person’s face.
Leslye: That’s correct, yes.
John: I’d love to start with, in Cult of Love– Drew, if you could read us this opening scene description of the house where we’re starting. We’ll read this first, and then we’ll get a summary from Leslye about what actually happens here. Drew, help us out with what happens on the page. Page one of Cult Of Love.
Drew Marquardt: Sure.
“Home, the first floor of a farmhouse in Connecticut, 8:30 PM, Christmas Eve. The kitchen, dining area, and living room are all immediately visible. A small door to a washroom, an entryway alcove/mudroom with a coat closet/rack. An upright piano stands near a staircase to the second floor. A red front door with a Christmas wreath leads to a quaint, covered porch area. Snow falls.
The house is decorated for Christmas. This cannot be overstated. The place is literally stuffed to the brim with goodies, evergreens, and cheer. It’s an oppressive display of festivities and middle-class wealth that pushes the limits of taste. There isn’t a surface, seat, or space that isn’t smothered with old books, LPs, plates of sweets, (no real food, though), glasses of wine, wrapped presents, stockings, and garlands of greenery and tinsel.
There are many musical instruments, a spinet piano, banjo, nylon, and steel string guitar, ukulele, steel drum, washboard, djembe, melodica, harmonicas, hand bells, spoons, maracas, and sleigh bells. They are not displayed or specially cared for in any way. They lay among the Christmas decorations and book collections like any other piece of ephemera. When a character picks an instrument up, regardless of size, the audience should always be surprised it was there hiding in plain sight. Notably absent, a television, a sound system. Actually, there’s no visible technology. No one’s holding iPhones, tablets, or computers. They will come out when scripted.”
John: All right, Leslye, five paragraphs here to set up this room that we’re in for the duration of the play. It’s so evocative and so clearly shows you what you’re going to do here, but you, as the screenwriter, Leslye Headland, would never put that in a script. It’s a different thing than what you would do on the page here. Talk us through how you approach the scene description at the start of a play.
Leslye: Well, I think with this play, it was important to be super prescriptive about what that world was going to look like. Like you said, when you came in and you were like, “That’s the most beautiful set I’ve ever seen,” that was the idea, to go through five paragraphs so that it was very clear that this is not open to interpretation.
John: Absolutely. It’s not a metaphor of a family living room. This is actually the space. Your point about, when I walked in the theater, the curtain’s up. We’re seeing this behind a scrim, but we’re seeing the whole set. As the audience, we’re spending more than five paragraphs just looking at the space before any actors come in, and I think, which is also serving us. It’s really establishing this is the place where this story is going to happen, which is great.
Leslye: I also think that there are cues, essentially, that you should follow. One thing that I felt very strongly about with the play was that it didn’t feel too now, that there would be an essence of this could perceivably take place at any time. Putting the technology in there would be disruptive to the fantasy, because that’s really what it is. It’s a fantasy play. It’s not Long Day’s Journey Into Night. It’s not August: Osage County. It’s in that genre, but it’s not meant to be.
John: It’s in that genre. The audience approaches it with some of the same expectations, and so you have to very quickly establish that it’s not those things, and you doing that through music and other things, but we should say, because most of our listeners won’t have seen this play, we’ve set up this gorgeous set, what’s going to happen here? What’s the short version of Cult Of Love? You don’t have to go through everything, but who is the family that we’re going to meet here?
Leslye: The logline or the synopsis, you mean?
John: Yes.
Leslye: This is about a family, upper middle class family in Connecticut, who all come home to celebrate Christmas. It’s parents, four grown children, and their partners. They all are essentially exploring and voicing and venting all of these pent-up frustrations in history that they have with each other, which is pretty normal for a family play.
What I would say is that the thing that makes it set apart is that there is no plot. No one is trying to do anything. There isn’t a thing that any one character is trying to achieve. The action of the play is the disillusionment of both the family, or the disintegration, sorry, also disillusionment, but the disintegration of the family as a unit, as a beautiful idea into the reality of how a family breaks apart eventually and gets completely decimated.
The idea behind the play is that you watch that, but instead of watching the story of that, because there is no plot, that you yourself insert the plot of your own family. Therefore, the catharsis comes, hopefully, at the end of the play because you have been watching your family, not my family, or the play’s family. That was the intention of the show. I don’t know if I answered your question.
John: Oh, absolutely. We’re going to see on stage this family go through these dynamics. As an audience member who went in literally knowing not what play I was going to see, that’s what I was pulling out of it.
It’s interesting to say that there’s just no plot, because you’re overstating that a bit. People do want things. There are goals. Characters have motivations. There’s things they’re trying to get to, but there’s not a protagonist who comes through to the end and things are really transformed. It’s not the last Christmas they’re ever going to be at this house. There’s no establishment of that, but it’s all the little small things, the little small tensions that are ripping at the seams of this very perfect situation that you have established.
Leslye: Absolutely. One of the big inspirations for the play, and one of my biggest influences, beyond who surpassed Sondheim, is John Cassavetes. Cassavetes once said about Shadows, his first movie, that he was very interested in characters who had problems that were overtaken by other problems. That’s what I wanted to achieve, a lot of my work, for sure, but specifically with Cult Of Love.
That’s really where the overlapping dialogue comes in. It’s meant to evoke a Cassavetes indie film, where you can’t quite latch on to one character as the good guy or the bad guy. You’re dropped into an ecosystem where you have to decide, “Am I going to align myself with this character or this character?” That’s where all of that came from.
John: Actually, before we even get to this description of the set, there’s a description in the script about how dialogue works. Drew, could you read this for us
Drew: “A note about overlapping dialogue. When dual dialogue is indicated, regardless of parenthetical or stage directions, the dialogue starts simultaneously. After indicated dual dialogue, the cue for the next line is the word scripted as the last spoken. Overlapping dialogue is denoted by slashes.”
John: Incredibly prescriptive here. Greta Gerwig was on the podcast a couple of years ago, and she was talking about Little Women. She does the same thing with slashes when she wants lines to stack up the right ways, but you’re making it really clear. If there’s two columns side by side, simultaneously, those are exactly happening at the same time, the other overlapping, which in features we’re more likely to just say as a parenthetical overlapping to indicate where things are. You’re saying, no, this is the word where things are supposed to start overlapping, which works really well in your play, but also feels like you got to rehearse to that place. It’s not a very natural thing for actors to get to.
Leslye: No, it is absolutely not. It’s a magic trick, for sure. Initially, you’re like, “Oh, this is super messy.” Then it continues and you really get the sense of the musicality of it. That kind of goes back to Godot. It’s essentially the way I staged it was a musical. That’s what Cult Of Love’s overlapping dialogue is.
It is meant to suck you in as a “realistic way that people speak.” There are certain sections, especially large arguments, that do need to happen, boom, boom, boom, right at the right time. It was difficult to explain that to the actors, that you do need to rehearse it in a natural way. You do need to say to each other certain lines, and you have to find the real, genuine objective, or super objective, or however the actor works. The issue is that once you’ve learned it, it has to be done in the way that it is written perfectly.
For example, Zach Quinto, who’s playing the character of Mark, there is this argument that happens. He has, in the clear, a bunch of moms. It’s like, blah, blah, blah, mom. Dah, dah, dah, dah, mom. Dah, dah, dah, dah, dah, dah, dah, mom. That was difficult to explain to him that it should be in the same cadence, each mom, but, of course, for actors, that’s a little unnatural. I’ve had to give that note to actors very often, that this is not real. Your intentions and your pathos has to be real, but the way you speak is not.
John: If you watch any sitcom, you recognize that there’s a reality within the world of that’s sitcom, but it’s not the way actual people would really do things. When you’re stacked up, when you’re clear how you’re doing stuff, how you’re selling the lines, it is specific and it’s different on a stage than it would be on film. You would try to literally just film this play as it is. It would probably feel weird. It wouldn’t feel quite natural to the format.
Leslye: That’s correct. I think that you’d have to move it into the Uncut Gems world if you were going to do this, where the sound design becomes a fill in for dialogue that is happening off screen so that it feels a little unusual and a wall of sound of dialogue, or like Little Women, you’d have to figure out some way of doing it, but in a way that was parsed out and easier to follow, I think.
John: I want to take a look at four pages here at the start of Act Two. We’ll put a link to these in the show notes. Thank you for providing these.
Leslye: Of course, yes.
John: We’re 60 pages into the script, and we’ve now gotten to scene two. Scene one is very long, and we’re getting into a shorter one, which is–
Leslye: The scene one is about 40 minutes and then you start this.
John: We’re now into this new space. Time has passed, but we’re on the same set and everything is progressing here. I think it’s just a good way of looking at what’s happening with our dual dialogue, simultaneous dialogue. Then I think on the second of these pages, we have–
Leslye: [chuckles] This is such a funny session.
John: For folks who are listening while they’re driving their car, talk us through what’s happening in the start of this scene here.
Leslye: Johnny, who is the third out of four of the children, has arrived very, very late.
John: Yes, it was Waiting for Godot for a while, but he actually does show up.
Leslye: Yes, Waiting for Godot. Exactly. Everyone’s waiting for this guy. He shows up in a very eventful way by playing this huge song, this countdown song with everybody and joins everybody together after this fractured first scene. He’s standing and holding court at the top of scene two. He’s telling a story or attempting to tell a story about when he was younger, that he went to a chess tournament, and that he placed 51st out of a thousand, and how impressive that was and what essentially beautiful memory it was for him.
At the same time, he’s just doing that sibling thing, where he wants to tell a story and no one’s listening and correcting him and jumping in, moving into different spaces. The kids start quoting things to each other. They start doing little inside jokes and he gets sidetracked by all of that. I don’t think it’s in these pages, but there is a point as this moves on where he goes, “I’m telling a story about me. Can I tell a story about me?” Evie, his sister goes, “I don’t know. Can you?” [chuckles]
It just reminded me so much of those conversations at Christmas where everyone’s not sitting there talking about big things. They’re sitting there talking about things that are basically stupid and– not stupid, but they’re essentially superficial and it’s the subtext. There’s just the idea that he’s trying to tell this story about how special he is, but everyone is pushing down how special he is.
John: It works so well on the stage, but I’m trying now to imagine, try to do this scene with a camera, try to do this scene on film, and you run into some real issues. You have a lot of characters to try to service. Basically, who’s in the frame? Who’s off the frame? Who are we actually looking at? How is the camera directing our attention versus the person who’s speaking at the moment.
As an audience watching it on a stage, we can see the whole thing at once and we can pick an actor to focus on and see what they’re doing. You get a sense of everything. Cameras, by their nature, are going to limit us down to looking at one thing. Somebody’s going to be on camera and somebody’s going to be off camera for their lines is just a very different thing. I don’t know if you’re ever planning on adapting Cult of Love into a movie.
Leslye: I am, yes.
John: It’ll be terrific, but obviously you’re facing these real challenges and looking at how there’s times where we have eight characters on stage. You have a lot of people in scenes.
Leslye: I think actually in this scene there are 10 people on stage.
John: Crazy. It’s just really different challenges. Our expectation of how long we can be in a scene is much longer on the stage than it is in a movie. These scenes would be– it’s possible you could find a way to play this all in real time, but our expectation as audiences is like, “Oh my God, we’ve got to cut to something else. We’ve got to get out of this space when we’re in these things.” These are all of those things you’re thinking through.
Leslye: Dinner table scenes are a nightmare. They do become so static and you have to jump the line 34 times or something like that. However, yes, I do think it’s possible. I think that the Bear episode did it rather well. I think that the first episode of the second season of Fleabag also did it really well.
I guess what I would say is that it really would be about your editor. It would really be about having a lot of options for him or her to whittle it down into something that was as exciting. I agree, I think this would either have to be massively choreographed, like one take things that everybody is doing now, like The Studio and Adolescence. You’d either have to do that.
John: We talked about that on the podcast recently, just that how thrilling they can be, but also how baked in all your choices are and how– it’s the opposite of what you’re describing with theater, having a bunch of choices. You’re just basically taking all the choices away. Maybe that’s the closest to the experience of being in a theater, is that theater is all one continuous take. It’s just you’re in one continuous moment the whole time. Maybe that’s the experience you want to get out of this.
Leslye: I would just argue, I don’t know how immersive one take things are. I don’t know. Certainly, there are many people who watch Adolescence, for example, which is an excellent show. There are many people who watch that and probably don’t notice that it’s all in one shot. I don’t know. I’ve said this before, but in theater, the audience is wondering what’s happening now, and in film or television, they’re wondering what’s going to happen next.
John: Oh, wow.
Leslye: Yes. I think your point is that it’s impossible to drop in that immediacy and the ecosystem and all of that stuff. I would agree that adapting Bachelorette meant that it had to have a plot, because Bachelorette is plotless. Again, you’re right, the characters care about things and they’re pushing towards something and they all have arcs and they all have actions that have consequences, but Bachelorette, the film, had to be about fixing her wedding dress, the bride’s wedding dress. That had to be the thing that kicked them out of the room and into New York City. Otherwise, the audience would, I think, pretty quickly tune out in a way.
John: Yes, they rebel. I think audiences in a film or a TV episode come in with an expectation that early on, you’re going to establish what the goal is, like, “What is the contractor signing with me that we will pay this thing off by the end?”
Leslye: That’s correct. Yes.
John: It’s just a different relationship you have with the audience. They really have clear expectations.
Leslye: Yes, absolutely.
John: One of the promises you made with the audience early on in Russian Doll was that you would pay off the answer to what was actually happening with these time loops because Russian Doll, the concept is she keeps repeating the same moments, and no matter what happens, disaster befalls her at the end. I was doing a little research and I found your explanation of the time loops at the end. I was wondering if you could synopsize down what it was you were trying to make sure the audience got out of the metaphor you’re using with the orange about what the time loops were and what was really going on.
Leslye: Wait, what did I say? [chuckles] What did you see? Who knows?
John: Near the end of Russian Doll, Natasha Lyonne’s character picks a rotten orange at the market and explains these time loops are evidence that there actually is a solution to this, because it’s rotten on the outside, but the reality is still on the inside. Do you remember that as–
Leslye: Yes. No, no, no. I remember, I just wasn’t sure what I said about it six years [laughs] It’s like, I’m sure I said something very smart then. Well, in Russian Doll, I just think it’s really helpful if anyone is looking to dissect that first season. I would just say the way we started was with the character. We did not start with, “Here’s how we’re going to circle the drain.” It had to be somebody who was struggling with her own mortality, but in a way where she’s not talking about it, if that makes sense.
I just wanted to write a show about a woman that was going through an existential problem rather than a tactile problem, like, “Who do I marry? What job do I take? Oh, I’m being chased by this guy. I’ve got to solve the case.” It just felt like what female protagonists are truly just based in, “I’m having an existential crisis about my own mortality and whether or not the choices that I have made up until this moment are adding up to anything worthwhile.”
I think what then happened, if I’m remembering correctly, it was how do you externalize that? That really for me came from the Seven Deadly Plays. How do you externalize and physicalize envy? That’s a thing that happens in your mind. How do you put it into an active space? The circling of the drain for Nadia, which, if you haven’t watched the show, it is Groundhog Day. In addition to being Groundhog Day, each loop gives you an evidence of things, like you said, disappearing.
It’s not just, I’m going through the same day, it’s, I’m dying continually, and each time I die, something is taken away from me, some aspect of it. We did plan out, if I’m remembering correctly, it was animals go at this time, fruits, vegetables, and flowers go at this time. Other people start disappearing here. It was the shell, really, of the real– It was like a medicine that you’re trying to get somebody to take. If you put it in a gel cap, it’s easier to take down. I think that the premise of that was essentially a gel cap for–
John: What you’re describing in terms of needing to physicalize the problem, the crisis is a thing we’re always wrestling with as screenwriters, stage writers, is that there’s this feeling you have about the world or how reality is functioning, and you need to find some concrete way to put a handle on it so you can actually move it around and talk about it in front of things.
In the case of the Russian Doll scene, she’s picking up an orange, and she’s describing what this actually really means.
Without that, then you’re just having a conversation about an abstract, philosophical thing, and there’s no doorknob to open the door. It’s just like you’re pushing against it and there’s no way to get it to open up, and there’s no way to have a conversation or to see anything change about the issue you’re grappling with.
Leslye: Listen, I don’t mean to devalue that container within the story, but the way we talked about it in the writer’s room, of course, there was the temptation, to be like, “Oh, the reason this is happening is X. The reason that this happens is, I don’t know. There’s some sort of–”
John: She ran over a magical cat or something.
Leslye: Yes. There’s some sort of thing. I think Severance and Lost are a really good example of this. Puzzle box shows, they ask the question, what’s really going on? Who is pulling the strings and et cetera, et cetera. I just didn’t find that super interesting. I thought that the time travel movies that I found really interesting were, of course, Groundhog Day, which is totally based on morality. It’s absolutely the universe just teaching him a lesson. And Back to the Future, which, of course it has Doc and the time machine and got to get back and all of that, but truthfully, the reason he’s there is to get his parents together and to learn the lessons that he learns. It really isn’t like, “Why is he disappearing? Let’s go find out.” We get it, he’s disappearing because he’s being erased from existence because his parents aren’t going to get together.
We don’t need to know why this happened then, and this thing, it’s like very quickly in Back to the Future II, the alternate 1985, they just explain it really quickly. I am obsessed with Back to the Future. It’s a perfect movie as far as I’m concerned. I think Robert Zemeckis was just, just cooking so hard in that movie. He explains time travel in 90 seconds. In this day and age, that would be three scenes of explaining time travel. It’s all one shot. It’s just Doc coming into this thing, or actually it’s overs for that, but there are other times where he– oh my God, sorry, I’m going to go on a tangent about Zemeckis and how he blocks actors and then how his camera moves work, but I’m not going to do that.
I just think that those types of time travel are just more interesting to me. I felt that the orange moment that you’re talking about really just, again, metaphorically meant that even as you don’t change, the world keeps going. You can either let go or be dragged, kind of thing. She was just going to keep dying until she acknowledged the more, again, moral psychological issues, which is the little girl at the end of episode seven represents an inner child and a love that needs to be given to herself that never was by the world around her.
As the world closes in and threatens her in this very intense way of– threatens her mortality, at the same time, she is confronted with the fact that the rest of the world or that timeline will continue to go without her. Did that answer your question?
John: It did, and beyond it.
Leslye: Oh, okay. Good.
John: I wanted to get back to something you said about the writer’s room, that it’s not that you weren’t curious about what was going on, but you didn’t want to establish that as being the central question because if it’s a show about what’s actually really happening, then that’s what the audience is going to be expecting an answer for. They may not be paying it as close attention to the things you actually want them to focus on, which is her growth and what she’s actually looking for, and what she’s actually needing to achieve. I think by not foregrounding that question, you also let the audience follow you to places where you actually really want to take them. That’s a good insight.
Leslye: I think a really good way of describing it and coming down into the central question of the first season was we don’t want the audience to be asking what’s going on. We want the audience asking, “How is she going to get out?”
John: Exactly.
Leslye: That’s the interesting question. I think that as much as I enjoy watching Lost and Severance, which I do by the way, the going into this space of there’s really a cult that’s pulling the strings or running this thing, and there’s really a– Alice and Janie had two kids. It just feels like answering the question or attempting to answer the question of what’s really going on was just not the intention of that story of Nadia.
John: We have two questions from listeners to answer, which I think you’re uniquely well-suited to answer. Drew, can you help us out with Liz’s question?
Drew: Sure. Liz writes, I’m a professional classical musician working on a pilot set in the classical music world.
Leslye: Ooh, fancy.
Drew: [laughs] I have several action sequences that I’ve choreographed specifically to a given piece of music. For instance, this punch has to land right on beat 3 of measure 14. Should I be including these details in the script itself, or would they be notes for a director and/or editor later down the line?
John: I think you’re a perfect person for this because not only do you care about Zachary Quinto saying mom the same way at the right cadence, but we haven’t really talked about Cult of Love is not a musical, but it’s the most music I’ve ever heard in a play. It is a very musical family that plays instruments and sings live the whole time. What’s your instinct for Liz here with her music cues?
Leslye: I think you have to put them in the script. You just have to. The director and the editor will make their own decisions. Not in a bad way, but once the script is turned over to the process of production, mentioning the song in the action line versus this is where it lands in the first movement or whatever, I think that you have to do it. Now, the caveat of that is do your best to streamline it.
If the action is happening on a particular sequence, like you’re referencing– I don’t know if you’re referencing a track, you can say, “It’s Beethoven’s whatever by such and such and this album,” and then your action lines should be really sick because I do think people will be intimidated by that. That’s the caveat is that I do think that executives or producers may read that and go, “Oh gosh, this is so prescriptive,” but there will be somebody that reads it and thinks, “God, I believe in this vision. This is cool.” I think you’d rather that than somebody taking it over.
John: I agree. I haven’t read Todd Field’s script for Tár, but I have to believe that he’s specifically mentioning exactly what piece that she’s conducted because it’s essential to that story.
Leslye: Oh, absolutely. I haven’t read it either, but he must have done that. I wonder if the Bernstein movie too did that.
John: I suspect it did. I think Liz could also try, and this is the thing I ended up doing for the Big Fish musical script, because we had to send it around to some people who wouldn’t know the actual tracks that were previously recorded is you can now in Highland and other apps probably too, include links that actually link out, so the PDF will link to something like a track you have on Dropbox or someplace else, or Spotify.
I wouldn’t do that for everything, but for something where you absolutely need people to hear the real music that goes with it, it’s an option there. Specifically, from a piece of classical music, you can put the full name of the thing in there, the odds that someone’s going to find that are very, very low. If you need to hear a specific thing, I’d put a link in there.
Leslye: Oh, a link is a great idea. A link would be really good to listen while that’s happening. The only other thing I would say is maybe think outside the box about how to write it. Meaning if you write music and can read music, the reader will not, but if you wrote it like a musical where instead of dialogue, the action lines are underneath each thing, at least, one, it would look pretty, and two, I think people might be really intrigued by that. It might also be a terrible suggestion, but I think if this is really important to you, try to think outside the box in terms of how to present it.
John: Absolutely. Just the way stage musicals, they have both the script and they have the score that has the stage directions and dialogue in it too. Providing a supplemental piece of material there, it could just be surprising for people in ways that’s interesting. A question here from Richard.
Drew: “What’s the longest draft you’d send to a friend for notes? Is there a sliding scale of pain or rather page count that you’d be willing to inflict on a best friend? What about a friend or a writer’s group? Of course, I know never to send a professional contact like a rapper producer, a bloated 140-page draft.”
John: Leslie, what’s your end stage? Do you send long stuff to people to read? When do you like to show people stuff and and how early in the process will you show it?
Leslye: You’re right, love. It’s like 90 to 100. I do think that for a first draft, anywhere between 100 and 150 is okay because you can say in a caveat, it’s too long, but there’s a lot of stuff in there that I think I’m curious about what you think I should cut. I know it’s too long, but I don’t know where to make these changes. 120, if you consider one page as a minute, that’s two hours. That’s a decent script. I write pretty short scripts, and I keep an eye on the page count for sure, but then you asked something else, John, was it about the first drafts?
John: Yes, how early in the process do you like to share what you’re writing with people, and who are the trusted people you love to read early stuff?
Leslye: I would say very close to the first draft, I will do a reading with actors, pretty close. I would make sure stuff that was really wonky, I’d be like, “Mm.” What’s fun about that is that because all of my friends are actors, I don’t want to have anything embarrassing there. Anything that I feel like that would be stupid, I’ll take that out, and it forces me to be a little bit better at my job. I try to get a reading as soon as humanly possible.
They also have good feedback. I have to say, the actors will have really good feedback. If they’re trusted people, they won’t be like, “I just don’t get it.” They’ll say, “I really loved this part. I didn’t really understand this scene. Is it supposed to be this or that?” Getting the direction from them. Then, yes, once I do that, of course, I will send it to either a trusted friend or I have a manager that I really love, Michael Sugar. I will send him stuff as soon as I can.
John: A question for you. Is it ever awkward that you’re having friends who are actors read through stuff, but they may not be the people you actually want to be in the project itself? Does that ever become an issue?
Leslye: No, that’s a good question.
John: Tell me about that.
Leslye: That’s a good question. When I was working with IAMA and we did readings, because it was an actor-based company, it was unspoken or explicit that the people reading those lines would be the actors that would eventually do the show, for sure. When I do more casual readings, especially if screenplays, just to be super blunt, we will try to get the most famous person that we can, [laughs] who’s right for the part, but the financing will be based on the profile of the number one and number two on the call sheet.
I think a lot of actors that I know who are brilliant theater actors understand that that’s how the world works. It becomes more difficult when actors have done the production of the play, and then the play gets moved to a different medium. That’s different.
John: All right, it’s time for our one cool things. My one cool thing this week is Arthur Aron’s 36 Questions. I think I’ve heard about these before, but I saw an article in the New York Times about it, and then I went through and actually found the original study. Aron was a psychotherapist, I think, who was really focused on how people connect and what are the ways to get people to draw closer connections, and so would put together strangers and have them talk through this list of 36 questions that escalate as they go along.
You do reveal a lot about yourself in the course of them. Some of the sample questions are, number seven, do you have a secret hunch about how you will die? Number eight, name three things you and your partner appear to have in common. The partner being the person you’re talking with. Number 30 is, when did you last cry in front of another person or by yourself? Number 33, if you were to die this evening with no opportunity to communicate with anyone, what would you most regret not having told someone, and why haven’t you told them yet?
There’s 36 of these, and actually in the study that we’ll link to, there’s also a whole bunch more questions there. They’re good icebreakers for human beings, but they’re also really great questions for characters to be chewing over. I think if you have characters who you’re trying to get inside this character and you are just doing some free writing, having your characters answer some of these questions would be a great way to get some insight into what’s happening inside their head, these people who don’t fully exist in your brains yet. Arthur Aron’s 36 Questions.
Leslye: My God. Should we answer them right now?
John: You did Russian Doll, so do you have a secret hunch about how you will die, Leslye Headland?
Leslye: I’ve always thought cancer. It’s how most of us go. My dad had Alzheimer’s. He died, and he was very young, he was 64, so it’s something that I would never want to have happen to me. I hope not that. The last time I cried in front of somebody was last night. [laughs] That’s an easy answer.
John: The last time I cried in front of somebody was, it wasn’t full-on crying, but it was misty, a couple of weeks ago on Survivor. There was a heartbreaking moment, and so that made me misty. Drew’s smiling. He knows what it was, I think. Exactly what it was.
Leslye: Oh my God.
John: A young woman with autism who had a meltdown, and then a guy on another tribe knew what was going on and got permission to intervene and talk her down. Then she told everybody what her situation was, and it was really well done. It was very heartwarming.
Leslye: Oh, my God.
John: Leslye, do you have something to share for us as a one cool thing?
Leslye: In classic fashion, I’d love to do two things. [chuckles]
John: That’s absolutely fine and good.
Leslye: Just breaking the rules already. I just read Making Movies by Sidney Lumet. I just had never read it.
John: I’ve never read it.
Leslye: Oh, it’s wonderful. It’s short, you can finish it in a day probably, or a couple of days if you’re busy. It’s a real handbook. It really tells you, “This is the script stage, this is pre-production. Here are all my experiences with The Verdict and Orient Express. Here’s how I behave on set, this is how I do takes. This is who this person is, and this is who this person is.” I wish I’d read it before I made my first movie. I think that it’s a real– it’s not, I guess, instructions, but handbook, I think, is better.
Then, again, I’m just now reading Alexander Mackendrick’s On Film-making, which is much more of a textbook. It’s harder to get through, but it’s really, really cool and asks many, many questions about specifically how to create a narrative that is in the medium of film. Like I was saying, plays, you’re wondering what’s happening now, films, you’re wondering what’s happening next. He defines drama as anticipation mixed with uncertainty. He’s always pushing. He has a great way to do outlines in there, but it is more like reading a textbook. You have to get through a chapter and then put it down.
John: My very first film class ever was at Stanford. We had filmmaking textbooks, and I just remember being so technical in a very sort of like, “Here’s how the film moves through the gate, and also, here’s how we tell a story at the same time.” There’s a very specific era of those things, which is you were learning a whole new craft, and it was all new. I think we’re now in a place where we treat those as separate disciplines, and we don’t really think about the technical requirements of movie making at the same time we’re thinking of the storytelling goals of filmmaking.
Leslye: I agree.
John: That is our show for this week. Scriptnotes is produced by Drew Marquardt, edited by Matthew Chilelli. Our outro this week is by Alicia Jo Rabins. If you have an outro, you can send us a link to ask@dev.johnaugust.com. That is also the place where you can send questions like the ones we answered today. You’ll find transcripts at johnaugust.com along with a sign-up for our weekly newsletter called Interesting, which has lots of links to things about writing. We have t-shirts and hoodies. You’ll find those at Cotton Bureau. You can find show notes with the links to all the things we talked about today in the email that you get each week as a premium subscriber.
Thank you to our premium subscribers. You make it possible for us to do this each and every week. You can sign up to become one at scriptnotes.net, where you get all those back episodes and bonus segments, like the one we’re about to record on keeping up on plays versus keeping up on movies. Leslye Headland, such a delight talking with you. This was absolutely a pleasure. Thank you so much for coming on Scriptnotes.
Leslye: I’m so happy to be here. Thank you for asking me, John. I’m really honored, which is a goofy old word, but it really was lovely to be here, and I feel like I’m in really awesome company. Thank you.
John: Thank you. Come back anytime.
[Bonus Segment]
John: All right, for our bonus segment, I would love to talk about how you keep up with what’s going on for plays the way we do on movies. For movies, like when I was going through Stark program at USC, the expectation was that you would see basically all the new releases that came out each week. We would have the variety top 60 movies, and every week, I could just check through and see, “Okay, I’ve seen 40 out of 60 of those movies.” I would just see stuff every weekend to keep up on stuff.
As a screenwriter, you can do that. You can always go back and watch things on video for stuff that you missed. For plays, it’s harder because plays, if it’s not being staged someplace, you can’t see a play. If someone wants to be a playwright and they want to see what’s going on, it feels like it’s more challenging. Leslye, can you talk us through your ability to see plays coming up and how you’re balancing that now?
Leslye: That’s a great question. First of all, the community that I’m in it’s medium-sized. It’s very close-knit. What happens is, everybody goes to see plays. Everybody sees different plays. You get together and you do a kiki. You go, “Glengarry is absolute a mess. You don’t need to go, you don’t need to see it. Then, Deep Blue Sound, you got to go. Oh my gosh, it was incredible.” You get a sense of where you’re supposed to point your boat, I guess. If you’re looking for an old play that you can’t– definitely reading it, it’s tougher, but meaning, if you’re used to reading screenplays, you have to move your head into a different space to read them. They are super enjoyable.
John: Reading old plays, I obviously read a lot of screenplays, but the screenplay form is designed to evoke the experience of watching a movie, and it’s like all the action scene description is there to give you that space. In plays, reading plays, I have a hard time just staying in the moment, and sometimes, if they’re great, then I can click in, but I do find it hard to get the experience of what it would feel like to watch that play by reading the text.
Leslye: This is really annoying, but Shakespeare is a really good read. He didn’t have a big production because they were just doing shit at the Globe, whatever, all the time. His dialogue– actually, he does it through dialogue. He’s like, as this person is entering, and then there’s the exposition, and then there’s also what somebody should be doing, they’re saying something like, bad version is, “Lord, I pray to you,” or something, and it’s like, “Get on your knees, you’re praying.” It’s just your brain, or not, but your brain starts to go, “Well, this person’s saying something, and therefore, I can imagine it.” Where, like you said, the stage directions and then just dialogue, is tough. It’s tough to read.
John: Yes, it is tough. You and your friends get together, you kiki, you talk about the things that you’ve seen. There’s also a very limited window to see those things, because they’re going to be up for a couple weeks, and then they’re gone, and I was lucky to see your play while it was still there. Now, I want to send people to see it, but they can’t-
Leslye: They can’t.
John: -because it’s not there to see anymore. There’s also the pressure to see the shows of friends, people are in things, so you’re going to see those things, even if they’re not your taste to see.
Leslye: Oh, yes, absolutely, yes.
John: Talk to us about previews versus the final thing. If you go to something in previews, do you hold back some judgment because you know that it’s an early draft? How do you feel about previews?
Leslye: In previews, you’re pretty much there with the script, or at least for me. I’m pretty much there with the script. I don’t feel like once we’re in previews, there’s certainly– some people totally rewrite the ending of the play. That’s definitely something that does happen in previews, but my experience has always been, “Oh, this is– oh, I got to tweak this, I still don’t understand it.”
With Cult, it was like, “Oh, these overlaps aren’t working. Let me uncouple them, let me do this,” but I consider previews to be rehearsal with an audience. I know the actors don’t feel that way, I know that once the show– and then you freeze the show. You have a couple performances, and then you freeze it, and that’s when press comes. I don’t know, I see that time period that way, and I don’t think the actors do. I think they go like, “Oh my God, I’m up here, and I’ve got to give this performance,” but that’s not my experience. That’s not how I think about it. [chuckles]
John: The other thing that’s different about plays versus movies is that the movie is the same movie every night, and the play is a different experience.
Leslye: Oh, it’s wonderful.
John: Small things change, which is great, and which I loved with the Big Fish musical. You’d see, oh, this is how it’s working this time, or that joke killed last night, and why did it not work tonight? It’s just something about the atmosphere, it makes it so different. It also means that my experience of going to the show on Thursday might not be the same show that somebody saw on Friday, and you can’t know why. That’s also one of the challenging things. It’s just, you literally have to be there.
Leslye: Absolutely. One of the things I had to say to most of the cast of Cult of Love was ignore the laughs, the best you can. Not ignore them, but don’t rely on them as a temperature taker, because in my work, people laugh at bizarre things. I don’t set up jokes the way that Seinfeld does. Obviously, it’s not a sitcom, but my characters just say things, and then an audience can just take it in and decide whether it’s funny or not.
It’s very important that they understand that. In previews and then in performances, people– when you saw the show, I can guarantee you that wherever people laughed was not the same where they laughed in a different performance. Some are hard jokes, definitely for sure, like when Evie yells at the preacher, everyone’s like, “Ha, ha, ha. She’s screaming at him,” but there was a night Mark and Johnny, these brothers are talking, and Mark says, “Basically, I don’t want to live anymore.” Johnny says, “Well, you’re not going to kill yourself.” Mark says, “How do you know?” Johnny says, “Because I tried.” I’m not kidding, one night, that got a laugh.
John: Yikes.
Leslye: In my work, I don’t see that as a bad thing. When Evie says, “Death is expensive,” which, by the way, I stole from Streetcar, and he was there, but people started laughing. They were just like– that is a very serious moment when she’s talking to them, and they start laughing. I just don’t– there are a couple times where I feel like that’s bad, and things have to adjust in order because it is very much supposed to be a serious moment.
I went on a little bit, but that was the barometer in terms of when you’re saying previews are different. Each night, there were laughs where it was like, “Oh, my God, you guys are sick people,” in the audience. Why would you laugh at that?
I also love when people walk out. Oh.
John: Tell me.
Leslye: I love when people walk out. Whoever I’m sitting with, when people leave, I turn to them, and I’m like, “They got to go, they got to get out of here. They can’t take it. They can’t take the realness.” I am obsessed because if somebody stands up and leaves in the middle of a scene, they are making a statement, and I think that’s gorgeous. If somebody walks out of a movie, it’s like, “Everybody walks out of a movie,” and also you’re not seeing it.
I also love when things go wrong. Oh, I love when somebody drops– and I think the audience loves it, too. When somebody drops a prop, because it just reminds you this is happening in real life. These people are not these characters. They’re people who have voluntarily gotten up here to do this.
John: This last year, we went and saw the ABBA show in London, which is phenomenal.
Leslye: Phenomenal.
John: It creates the illusion that you’re watching real people, but, of course, it is all on rails. Yes, there’s a live band off to the side, but they’re not going to drop a prop. They’re not going to knock over a microphone stand.
Leslye: Yes, that’s true, yes.
John: I don’t want theater to just be a bunch of perfectly moving robots. It’s the sense that a real thing is happening in front of you that makes it so thrilling.
Leslye: Oh, I love it. I have to say, in wrapping this up, I really love theater, probably, and I’ve worked in those three mediums, and I hope to start moving into YouTube. I’m kidding.
Although that’s where we’re headed. We’re headed to an OnlyFans distribution. I always say that on mic. If you want to know what distribution is going to look like in 10 years, just see what porn is doing right now.
John: Absolutely. Leslye, you’ll be a hell of a content creator, or whatever.
Leslye: Yes.
John: Leslye, an absolute pleasure talking with you.
Leslye: Thank you guys so much. Thanks for having me. Thanks.
John: Awesome.
Links:
- Leslye Headland
- Cult of Love – selected pages
- Bachelorette the play and the movie
- Fanny and Alexander
- John by Annie Baker
- Original Cast Album: Company
- Stephen Sondheim
- Waiting for Godot
- John Cassavetes
- Tár screenplay by Todd Field
- Arthur Aron’s 36 Questions
- Eva discloses her autism on Survivor
- Making Movies by Sidney Lumet
- On Filmmaking by Alexander McKendick
- Get a Scriptnotes T-shirt!
- Check out the Inneresting Newsletter
- Gift a Scriptnotes Subscription or treat yourself to a premium subscription!
- Craig Mazin on Instagram
- John August on Bluesky, Threads, and Instagram
- Outro by Alicia Jo Rabins (send us yours!)
- Scriptnotes is produced by Drew Marquardt and edited by Matthew Chilelli.
Email us at ask@dev.johnaugust.com
You can download the episode here.