Hi, I’m Bradley Cooper. I co-wrote and directed ‘Maestro.’ It was very important to me, at the beginning of this scene, that he was in a position of power. So, her on the windowsill, the light haloing behind her, waiting for who was gonna come in to scold. And then he’s like a dog who knows he’s done something wrong, comes in, stays right in that part of the frame, almost out of the scene, and then slowly approaches, and then parks himself in that position, almost trying to get out of the frame. And then I want you to hear this celebration of the Thanksgiving Day parade, and see these floats go by, to kind of play between this kind of horrible scene that’s going on and the happy this occasion outside, and also for this. to be kind of a comedian, in a way, and ridiculous. It’s a scene I wrote years ago, when I first started working on this project, and it kept its integrity until we started shooting five and a half years later. “You’re letting your sadness get the better of you —” “Oh, stop it!” “Let me finish!” “It has nothing to do with me!” “Let me finish what I have to say!” “No no!” “I think you’re letting your sadness go.” “It has nothing to do with me! It’s about you, so you should love it!” So this is the point in the movie that everything comes to a boiling point, particularly for Felicia. She enters a wedding with her eyes wide open to the rule of how she perceives it, and how her husband, Leonard Bernstein, behaves, and now it has reached a point where it has penetrated so deeply into her emotional state that she cannot. take it further. “Hate in your heart! Hate in your heart, and anger for so many things, it’s hard to count. That’s what drives you. Deep, deep anger drives you. You’re not on that podium that allows us all to experience the music in the way it was intended. You’re throwing it in our faces.” “How dare you?” My fear is that we won’t be able to maintain this frame for the entire scene. But because Carey Mulligan is an assassin actor, it’s effortless. We did this three times. This is the third take. And when we get it, that’s it. His main thrust is that he has hatred in his heart, and he’s not up there at the podium doing anything other than teaching the audience that they’re not as good as he is. It’s very important to me that the audience, as they watch the film progress after this scene, know that that’s not really how she felt, because there’s no way Felicia could fall in love with a man with hatred in her heart. But when we try to hurt someone we love, we try to hit them where we think we can hurt them, and on the podium is where he feels, I think, the freest, and the most able to fulfill the his potential. For me, when you don’t cut, it, as a viewer, should feel unsafe. You never know where it’s going. And if you start cutting, it just changes everything. “— no chance to live, or even breathe as our true selves. Your truth makes you stronger and makes you stronger, and drains the rest of us of any kind of courage or strength!” But what I loved about it was just, and Matty Libatique is so incredible, the cinematographer, able to execute what I wanted, which was to have her feel almost regal. But she was, Felicia, at that moment. “If you’re not careful, you’ll die a sad, old queen.” Mommy, daddy! [CHEERING] Daddy! Snoopy is here! Hurry up! [KNOCKING ON DOOR] You miss Snoopy! What are you doing there? I love when their ego is a shadow here. Outside the window, this Snoopy kind of represents where he is in his life. And then for him to leave him in the middle at the end of the scene, and he’s just there, you know, in the middle of the ring, as Snoopy walks by. That’s what I always thought. [CHEERING]