IN CONVERSATION WITH LESLIE MANN
interview and words by JANA LETONJA
LESLIE MANN has spent more than three decades establishing herself as one of Hollywood’s most beloved comedic and dramatic talents, balancing razor-sharp humour with deeply human performances across film, television and voice acting. From iconic studio comedies like Knocked Up (2007), This Is 40 (2012), The Other Woman (2014) and How to Be Single (2016) to acclaimed indie projects and animated favourites, she has built a career defined by warmth, wit and emotional honesty. This year, she returns to the big screen in Spa Weekend alongside ISLA FISHER, ANNA FARIS and MICHELLE BUTEAU, while also starring in Poetic License, the directorial debut of her daughter MAUDE APATOW. Whether through comedy, family dynamics or emotionally grounded storytelling, Leslie continues to remain one of the most recognisable and enduring voices in modern entertainment.
Spa Weekend has such a fun premise and cast. What initially drew you to the project?
I was supposed to do this movie called Bad Moms, which the Spa Weekend directors directed. We worked on it together, but it eventually fell apart, and I always regretted not getting the chance to work with them. Then they came to me with Spa Weekend, and I was really excited to finally collaborate with them. They’re such a great pair. One of them is more reserved and observant, while the other is the one who talks more directly with the actors. They’re both incredibly funny and lovely to work with.
It was mainly about getting the opportunity to work with them, but the script was also genuinely funny, which is hard to come by. And then, of course, all of the women in the cast are hilarious. What more could you ask for? Great directors, a great script and great actors.
Female-driven comedies have evolved so much over the years. How do you think Spa Weekend fits into that tradition?
I think there are still far too few female-driven movies, especially lately. Women want those stories. We want to be able to go to the movies with our girlfriends or our daughters and see ourselves represented. The fact that there aren’t more of them is kind of crazy, because every time a good one comes out it does really well. We’re half the population, so why shouldn’t we have at least half as many movies? And then to have a comedy on top of that is even better. We’re having fun while seeing ourselves reflected on screen. That’s the dream.
dress PRADA
tights WOLFORD
shoes MIU MIU
Comedy often works best when it’s emotionally grounded. How do you personally approach comedic performance?
That’s my favourite type of comedy, the more grounded kind. This movie is grounded, but it’s also a little less grounded than what I normally do.
One of my favourite films is Terms of Endearment (1983), directed by JAMES L. BROOKS. It’s a very dark comedy. That’s how I always watched it, even though many people probably see it as a drama because it’s heavy and emotional. Someone dies, and there are very serious themes throughout.
But that’s what makes the comedy so powerful. It’s like life. Life is heavy, and then you have to laugh about it. That’s really my sweet spot. Those are the kinds of movies I love watching, and I hope to keep making those kinds of films too.
Poetic License marks your daughter Maude’s directorial debut. What was it like being directed by her?
That was probably my proudest moment as a human being, not just as an actor or a mother, but as a person. I was nervous because I didn’t know what to expect. I didn’t know what her directing style would be like. Obviously, I know who she is as a person, and she’s wonderful, but I didn’t know what she’d be like on set.
She instantly put me at ease. She was so nurturing and created a really safe environment for all of us to explore our characters, try things, fail and experiment. She was right there with us the entire time, full of great ideas. After the first day, I remember thinking, “I couldn’t be happier.”
And honestly, I want to spend all my time with her because I think she’s the coolest person. So having her force me to spend every day with her because I was acting in her movie was pretty great for me. I don’t know how she felt about it, but for me, it was wonderful.
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tights WOLFORD
shoes MIU MIU
Did working with your daughter reveal a new side of her creatively?
When you start working with someone new, there’s usually a process of learning to trust each other. For me, that doesn’t happen instantly. You’re learning how this new director works while also trying to focus on your own performance. With Maude, all of that was already there. We’re completely aligned. I know her sense of humour. I know how she thinks. We can practically communicate telepathically. And of course, I trust her completely. Because all of that foundation already existed, I could fully focus on my acting. It made the whole experience much more enjoyable.
The film explores themes around ageing, identity and reinvention. How did those themes resonate with you personally?
The interesting thing about ageing is that it’s so complicated and happens on so many levels. But it’s also strange because you don’t really feel that different. I may look different, but I don’t necessarily feel different. I don’t feel like an old person, or even an older person. Not yet anyway. Maybe that’ll happen one day, but so far, I still feel pretty young. I think I have a very youthful spirit. So that’s kind of how I’m handling the ageing part.
As for identity, that’s complicated too. Different stages of life bring different challenges. Watching your children move out and go away to college is difficult. It feels impossible at first. But hopefully, if your kids like you, they come back around.
For my birthday, Maude took me on a train journey through Scotland on the Royal Scotsman. We had the best time together. So life evolves into something else. The relationship changes, but it remains meaningful.
dress MIU MIU
shoes PRADA
You’ve worked across so many iconic comedies. Which project do you feel changed your career the most?
That’s a hard question. I had an incredible time making The Other Woman. I don’t know if it changed my career the most, but it was definitely one of the most fun experiences. I was in New York with CAMERON DIAZ and KATE UPTON, and we spent all our time together. We had an absolute blast.
Honestly, every movie has been important in some way. Each one has shaped my career little by little. But if I had to choose, Poetic License feels like the most important one. And Spa Weekend was one of the most fun.
How has comedy changed in Hollywood since you first started?
I think people are a lot braver now. They’re more willing to be experimental, push boundaries and take risks. Comedy feels edgier in some ways. People are trying new things and exploring different voices and perspectives. Although, honestly, there still aren’t enough comedies being made.
dress TOM FORD
What keeps you creatively excited after so many years in the industry?
Working with my daughter was incredibly exciting. That experience was so special. But honestly, I still have the same excitement I’ve always had about this job. When everything comes together — the right script, the right cast, the right group of people — and you get to travel somewhere interesting and do what you love, it’s amazing. What more could you ask for? It’s truly the best job in the world if you’re lucky enough to do it. I feel very fortunate.
Are there genres or types of roles you still feel you haven’t fully explored yet?
Maybe a murderer. I think I’d be a good murderer because nobody would expect it.
But I don’t really approach things this way. I live my life, I read scripts, and if I connect with something personally, that’s usually what draws me in. Most of the roles I choose reflect where I am emotionally at that point in my life. I’m not sitting around saying, “I really want to play an 18th-century aristocrat.” At least not today. Tomorrow I may feel completely differently. I change my mind all the time.
How do you stay grounded while navigating such a long career in Hollywood?
I’ve never really struggled with staying grounded. Part of that is probably because I had children young and lived a very normal life. I spent my days taking care of my kids and focusing on family. I’m not really the type of person who gets caught up in a fantasy version of life. If anything, I’m probably too grounded. I’ve spent the last three days deep cleaning my house. That’s pretty grounding.
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What excites you most about this current chapter of your life and career?
I get excited about whatever is closest in front of me. Tomorrow. Next week. Seeing my cats again. I’m genuinely excited about that. Those are the things I look forward to.
What is one movie that has had a big impact on you or changed you in a way?
My two favourite films are Terms of Endearment and Harold and Maude (1971). Harold and Maude became such an important movie to me because it was the only VHS tape we had at home growing up. My mother had seen it at a drive-in years earlier and kept a copy, so I watched it over and over and over again. It’s become my comfort movie.
As I’ve gotten older, I’ve connected with different parts of it and different themes at different stages of my life. I especially relate to RUTH GORDON’s character in ways I didn’t when I was younger. It also has an incredible soundtrack by CAT STEVENS. I would say Harold and Maude is probably the most impactful movie for me. It absolutely shaped my sense of humour. It’s been burned into my brain for as long as I can remember.
dress and shoes CHLOÉ
TEAM CREDITS:
talent LESLIE MANN
photography TYLER PATRICK KENNY
styling ANNA KATSANIS at WALTER SCHUPFER MANAGEMENT
makeup KALE TETER at THE WALL GROUP
hair REBEKAH FORECAST at A-FRAME AGENCY
photography assistant LUCA THALEMANN
styling assistant AMELIA EVANS
editor TIMI LETONJA
casting & interview TIMI LETONJA and JANA LETONJA
cover design ARTHUR ROELOFFZEN
location BIZARRE BUSHWICK STUDIO
