I am the director of the film "Bombshell."

So in this scene, we see Margot Robbie, who's

playing Kayla, take a call from-- clearly,

from Roger Ailes' office.

And Kate McKinnon, who's playing Jess,

in the cubicle with her.

We have just seen, a few scenes back,

that Roger is harassing Kayla right this minute

and is now pressuring her to come back up.

We've also seen that Kate McKinnon's character

has warned her not to talk about it.

So right away, it's about staying silent.

The score is playing this sort of haunting,

all women's voices as the instrumentation, almost Phillip Glass

thing that Teddy Shapiro came up with

to emphasize how alone she is on this walk.

And she walks into this elevator

and thinks she can be alone.

But in walks her actual idol, Megyn Kelly,

played by Charlize Theron.

And now, two women, who both have secrets,

who both have been harassed, are in the same tight space

and won't say a word to each other.

And they're going to ride this elevator up to the floor

where Roger Ailes is.

And this shot here is such a great example

of Barry Ackroyd's incredibly humanistic operating.

He's just watching the people and paying attention

to what they're reacting to, and finding the composition

off of the performance.

In comes Gretchen Carlson, played

by Nicole Kidman, who's now a third woman

in a different level of predicament,

a different level of being harassed by Roger.

And they're all stuck in this space.

So this was a very important scene,

because it's the only time in the whole movie when

all three women are in the same place.

And we wanted a kind of combination

of capturing the predicament of them being in the elevator

but not supporting each other, and seeing that

in the wide shot, that you could actually jump around

to watch each woman's face in the three-shot

and compose for that.

And as Megyn watches them walk away,

she knows that Margo, especially,

is walking into Roger's lair, where

almost all of the harassment happened at Fox.