So at this moment in the film, the girls

have just reached the party, and it’s sort of like Dorothy

arriving in Oz.

They come through the doors.

They’re finally here.

Molly, played by Beanie Feldstein,

spots Nick, played by Mason Gooding.

Everyone else seems to disappear.

And what follows is a fantasy that

reveals that Molly has been the most romantic person

in the room this entire film.

The most interesting way to use

the language of filmmaking is to illustrate,

cinematically, something emotional about a character

that we can’t see on the surface,

that we can’t explain with words.

And I wanted to pay homage to the great films of the 1940s

and '50s in Hollywood that use dance.

In order to achieve it, it took an incredible amount

of collaboration between all departments.

Our Steadicam operator, Chris Haarhoff,

who had shot “Birdman,” so I knew

he could handle long, extended Steadicam shots,

shot this in one shot that would take us

through the entire house.

It was very difficult.

There was also the added complication

of the lighting design being cued

by the actors' choreography.

It was an effort on behalf of the entire crew together,

and no one more than the actors

themselves, who learned this intense choreography designed

by Denna Thomsen.

And Mason Gooding had never danced before in his life.

And when they nailed it, everybody

erupted into applause, and there

were tears, tears, tears.

You good?

Yeah.