Love and Squalor: Anya Epstein's J.D. Salinger Memoir Adaptation Sets Syracuse, NY Shoot for Fall 2026

A feature film adaptation of Joyce Maynard's provocative memoir about her teenage relationship with J.D. Salinger is moving toward cameras, and working professionals in New York State should be paying attention. Love and Squalor is currently in casting and pre-production with principal photography set to begin September 13, 2026 in Syracuse, New York, wrapping October 15. That is a lean, focused five-week shoot on location, which means department heads across most disciplines are likely being approached right now.

At the helm is writer-director Anya Epstein, who is making her feature directorial debut with this project after a substantial career in prestige television. Epstein served as a writer and producer on The Affair for multiple seasons, as well as on In Treatment, two series known for their demanding, psychologically nuanced character work and intimate creative environments. That background makes her an intriguing choice for this material. Maynard's memoir, At Home in the World, chronicled in unflinching detail her nine-month relationship with Salinger beginning in 1972 when she was just 18 and he was in his early 50s. Epstein is adapting the book herself, keeping the creative vision tightly unified. Crew who thrive in character-driven, dialogue-heavy, intimate dramas will find themselves in familiar and rewarding territory here.

The producing team brings genuine independent film credibility to the project. Mary Jane Skalski is one of the more respected independent producers working today, with credits that include The Station Agent, The Visitor, and Win Win, films that consistently punch above their budgets and earn serious awards attention. Her involvement signals a production that values craft over spectacle, and one that tends to attract similarly committed crews. Producer Blye Faust rounds out the producing team, adding further production infrastructure to what looks like a well-organized independent feature setup.

Casting is being handled by the powerhouse team of Kerry Barden and Paul Schnee, two of the most prominent casting directors in independent American cinema. Barden and Schnee have cast an extraordinary range of films over their careers, including Brokeback Mountain, Capote, No Country for Old Men, Milk, and Moonlight, among many others. Their attachment alone elevates the profile of this production considerably and suggests the creative team is pursuing actors of genuine stature for the leads. Roya Semnanian is attached as Casting Associate. Talent agents and managers should be actively reaching out to this team, as the central roles of a young Joyce Maynard and an aging, reclusive Salinger will be among the most closely watched casting decisions in independent film this year.

The production is set to film entirely on location in Syracuse, New York, a choice that makes strong practical and financial sense. New York State's Film Tax Credit program is one of the most competitive in the country, offering up to 25 percent in transferable tax credits on qualified production expenditures for productions shooting outside of New York City. Syracuse, located in Central New York, provides a versatile range of architecture and landscape well-suited to period and contemporary storytelling alike, and the region has hosted a steady stream of independent and studio productions in recent years. The local crew base in the greater Syracuse and upstate New York corridor is solid, though productions of this caliber frequently bring key department heads from New York City, which is roughly four hours away. Location managers, art department coordinators, and crew with upstate New York availability would be well-positioned to make themselves known to this production now.

The format is a standalone feature film, and based on the producing team's track record, this is almost certainly a union shoot operating under a SAG-AFTRA agreement and likely IATSE terms as well, though that has not been officially confirmed. The intimate, period-inflected nature of the story suggests that the art and costume departments will carry significant creative weight. The story is set primarily in the early 1970s, which means production designers, costume designers, and set decorators with strong period experience should take particular note. The five-week schedule is compact, so the production will need a crew that can move quickly and efficiently without sacrificing the visual specificity this kind of material demands.

For the full production listing, including production office contact details, confirmed crew, and scheduling updates as they become available, visit ProductionList.com. With principal photography still several months out, this is exactly the right moment to get on the radar of the key department heads and producers before the core crew is locked. Productions staffed by teams like Skalski and Epstein tend to fill quickly with trusted collaborators. Getting in early is the move.

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