“I’m not asking for any sort of pity,” says Olivia Wilde. “But I do wish, for the betterment of society in general, that we would all disengage from a cycle of bullying and hatred...We just assume the worst from women, and I don’t know why.”
star as a married couple living in a quaint, experimental utopia called Victory. Pugh plays Alice, a “Mad Men”-type housewife whose reality begins to crack, revealing disturbing truths underneath her seemingly perfect world. When the trailer for the sci-fi thriller dropped in May, social media was buzzing about Styles’ character, Jack, going down on Alice on top of a dining room table.
Wilde, whose acting credits include everything from the medical drama “House” to Ron Howard’s “Rush” and Clint Eastwood’s “Richard Jewell,” is wearing a black T-shirt, baggy jeans and scuffed-up Converse low tops. On this July afternoon, she has come to Claridge’s directly from a pottery class, with dried clay on her arms when she arrives.
At the time, Sudeikis said in a statement that he had “no prior knowledge” of the ambush and “would never condone her being served in such an inappropriate manner.” Since then, a judge has granted Wilde’s request to dismiss Sudeikis’ petition, which asked for Otis and Daisy to eventually reside with him in New York.
Back to CinemaCon, Wilde says, “The only people who suffered were my kids, because they’ll have to see that, and they shouldn’t ever have to know that happened. For me, it was appalling, but the victims were an 8- and 5-year-old, and that’s really sad. I chose to become an actress; I willingly walked into the spotlight. But it’s not something my children have asked for. And when my kids are dragged into it, it’s deeply painful.”was offered another comedy to direct. But she had other plans.
“It felt like adapting a great piece of IP,” Wilde says. “It allowed for a really inspiring jumping-off point.” She brought on Katie Silberman, her partner from “Booksmart,” to rewrite what became the current screenplay. In the prep phase, the duo came back to Betty’s Friedan’s 1963 classic “The Feminine Mystique” more than a few times.
Looking back on the negotiations to acquire the script, Richard Brener, the president and chief creative officer of New Line, tells, “We had to have it.” As for Wilde’s insistence on a theatrical release, he says, “If somebody makes us make it theatrical, we’re not going to fight them.” Pugh — who declined to be interviewed for this story — was initially in talks for the role of Bunny, the supporting character that Wilde ended up playing. But after a lunch together, Wilde walked away knowing she’d found her Alice. At that point, Pugh’s Oscar-nominated turn in “Little Women” hadn’t yet been released, “but we knew she was a superstar,” Wilde says.
“We were all brought so close by the bubble of the production,” Wilde says, and she praises Pugh and Styles as acting partners. “She was really a great supporter of his as someone who was newer to a film set. And he was such a great supporter of hers, as someone who understood it was her film.” “A lot came to light after this happened that really troubled me, in terms of his behavior,” Wilde says. “I find myself just really wishing him health and evolution because I believe in restorative justice. But for our film, what we really needed was an energy that was incredibly supportive. Particularly with a movie like this, I knew that I was going to be asking Florence to be in very vulnerable situations, and my priority was making her feel safe and making her feel supported.
He says he was inspired by Wilde’s passion for her work. “As a director, Olivia is incredibly focused. She communicated what she was looking for from the cast with both clarity and respect,” Styles says. “I think transitioning from acting into directing has made her a director who knows how to get the best out of everyone.”
Since her breakup with Sudeikis and dating Styles, Wilde has felt her privacy violated. “The last two years, my family has gone through this kind of restructuring and a revolution that should be a totally personal experience,” Wilde says. “And it’s not. The most painful element of it has been women shaming me for making a decision that was for my own health and happiness.”
“I do feel very passionately that if more female filmmakers are trusted with bigger budgets, we will see box office successes that will then inspire more female-directed films to get greenlit,” Wilde says. Before helming “Booksmart,” Wilde forged her own path behind the camera on short films and music videos, including for the Red Hot Chili Peppers and Edward Sharpe and the Magnetic Zeros.
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