Hi, I'm Bradley Cooper. I co-wrote and directed 'Maestro'. It was very important to me, at the beginning of this scene, that she be in a position of power. Then, she was on the windowsill, with the light forming a halo behind her, waiting for someone to come in to be scolded. And then it's like a dog that knows it's done something wrong, comes in, stays right on that side of the frame, almost out of the frame, and then slowly approaches and then parks itself in that position again, almost trying to get out of the frame. frame. And then she wanted you to listen to this Thanksgiving parade and see these floats go by, to play with the juxtaposition between this kind of horrible scene that's happening and this joyful occasion outside, and so too. be somewhat comical, in a way, and ridiculous. This was a scene I wrote many years ago, when I started working on this project, and it maintained its integrity until we started filming five and a half years later. “You're letting your sadness get better…” “Oh, stop it!” “Let me at least finish!” “This has nothing to do with me!” “Let me finish what I'm going to say!” “No no!” “I think you're letting your sadness get the better of you.” “This has nothing to do with me! It's about you, so you should love it! So this is the point in the movie where everything has come to a boiling point, specifically for Felicia. She entered a marriage with her eyes wide open in terms of how she perceived it and how her husband, Leonard Bernstein, would behave, and now she has reached a point where he has so invaded her emotional state that she can not. bear it more. “Hate in your heart! Hate in my heart and anger for so many things that it is difficult to count. That's what motivates you. A very, very deep anger drives you. You're not on that podium allowing us all to experience music the way it was intended. “You're throwing it in our faces.” “How dare you?” My fear was that we wouldn't be able to maintain this frame for the entire scene. But because Carey Mulligan is such a killer actor, it was effortless. We did this three times. This was the third take. And once we got it, that was it. His main point is that he has hate in his heart and is not on the podium doing anything other than teaching the audience that they are not as good as him. It was very important to me that the audience, as they watched the film progress after this scene, know that that wasn't really how she felt, because there is no way that Felicia would have fallen in love with a man who has hate in his heart. heart. But when we try to hurt someone we love, we try to hit him where we think we can hurt him, and on the podium is where he feels, I think, freer and more capable of fulfilling his promise. potential. To me, when you're not cutting, as a viewer, you should feel insecure. You don't know where he's going. And if you start cutting, everything changes. “—zero chance to live, or even breathe, as ourselves. Your truth makes you brave and strong, and takes away any kind of bravery or strength from the rest of us! But what I loved was that Matty Libatique is so incredible as a cinematographer, able to execute what I wanted, which was to make her feel almost majestic. But it was, Felicia, at that moment. “If you are not careful, you will die like a lonely old queen.” Mom dad! [CHEERING] Dad! Snoopy is here! Hurry up! [KNOCKING ON DOOR] You're missing Snoopy! What are you guys doing in there? I love it when they are overshadowed here by their ego. Outside the window, this Snoopy represents where he is in his life. And then she leaves him in the middle at the end of the scene, and he's there, you know, in the center of the ring, as Snoopy walks by. That was always what he had imagined. [CHEERING]
