Leslye Headland, writer and director known for "Russian Doll" and "The Acolyte," dives into the intricacies of adapting stage plays to film. She shares her journey from theater enthusiast to successful auteur. The conversation unpacks the challenges of scene descriptions, dialogue nuances, and character dynamics. Leslye discusses how family tensions and validation play out in her storytelling. They also tackle listener questions about maintaining engagement between the two mediums and the role of music in elevating narratives.
Stage plays and screenplays differ significantly; stage plays require vivid scene descriptions for live audiences while screenplays favor concise visual storytelling.
Leslye Headland's career evolved from a theater enthusiast to a versatile auteur, highlighting the importance of experience in crafting narratives across mediums.
In Russian Doll, time loops serve as a metaphor for personal growth, focusing on character development rather than simply resolving plot mysteries.
Deep dives
The Distinctions Between Screenplays and Stage Plays
Screenplays and stage plays may appear similar at first glance due to their scene-based structures and dialogue-centric nature, yet they present unique challenges when transitioning from one format to another. Stage plays require a distinct approach to scene descriptions, emphasizing vivid detail to set the stage for a live audience, whereas screenplays focus on concise visual storytelling without the same level of environmental detail. This difference in focus affects how stories are told, as theater audiences participate in the imaginative process, allowing for greater ambiguity, while film audiences expect a more guided narrative experience. The contrast lies in the need for emotional nuance on stage, where subtleties in actor performances must convey the story without the benefit of close-ups that film provides.
Leslie Hedlund's Journey to Becoming a Writer and Director
Leslie Hedlund's journey into writing and directing was rooted in her childhood fascination with storytelling, inspired by both books and musical theater. Her early interest in writing led her to study directing at Tisch School of the Arts, where she cultivated her ability to visualize narratives and understand ensemble dynamics. As she transitioned from an assistant at Miramax to an auteur, she learned the significance of experience, experimenting with plays that challenged her writing skills, including the 'Seven Deadly Plays' series. Through dedication and unwavering commitment to her craft, Hedlund has evolved into a versatile artist capable of navigating various mediums, from theater to film and television.
The Role of Time Loops in Russian Doll
In Russian Doll, the concept of time loops serves as a metaphor for personal growth and existential crisis, providing a framework for the protagonist's journey toward self-awareness. Hedlund emphasized that the time loops were not merely a plot device but a means to explore deeper themes related to mortality and the significance of one’s choices. Each loop represents deteriorating circumstances, reflecting the internal struggle of the character rather than an external mystery that needs solving. This approach shifts focus from asking 'why does this happen?' to 'how will she grow from this experience?', creating a more engaging narrative for the audience.
Playwriting Techniques: Overlapping Dialogue
The use of overlapping dialogue is a defining feature of Hedlund's writing style in plays, allowing for naturalistic interactions that capture the chaos of familial relationships. By establishing a structured method for overlapping lines, she directs actors to achieve a rhythm that enhances the emotional tension within scenes, making the dialogue feel both authentic and dynamic. This technique not only mirrors real-life conversations but also requires specific rehearsal strategies to ensure precise timing and delivery. The effectiveness of this approach lies in its ability to keep the audience engaged, as it reflects the true nature of communication among individuals with complex histories.
Challenges of Adapting Stage Plays into Film
Adapting stage plays into films brings forth significant hurdles, particularly in terms of pacing and spatial dynamics that differ vastly between the two mediums. For instance, while a stage allows for extensive character interactions and overlapping dialogue, film demands a more streamlined narrative that often requires cutting down on dialogue and expanding visual storytelling. Filmmakers must consider the balance of on-screen characters to maintain clarity and engagement, presenting a challenge in retaining the intimacy that is naturally achieved in theater. Hedlund acknowledges this complexity and aims for adaptations to maintain the essence of the original work while addressing the technical demands unique to film production.
John welcomes writer, director and playwright Leslye Headland (The Acolyte, Russian Doll) to ask, why are stage plays so challenging for screenwriters? Using her recent Broadway play Cult of Love, they look at different approaches to scene description, heightened and simultaneous dialogue, and strategies for adapting stage plays to film.
We also chart Leslye’s career from theater kid to auteur filmmaker, her approach to time loops (because how could we not?), and answer listener questions about music cues and long scripts.
In our bonus segment for premium members, John and Leslye compare notes on how to keep up with what’s on stage, and what to do if you missed a production.
