We owe working with Bradley than his first film was incredible.

He's a powerhouse.

He's worked really hard.

You're so specific.

And it was so obvious that you knew what you wanted.

All the years I've done this for all the different sets I've been on, I love the culture of his set.

It's gonna be a set that's gonna demand a lot of you, but it should hopefully feel utterly safe and that I'm gonna walk off the cliff with you into that place of who knows what's gonna happen.

I love so much your choice to film from the stage so that we could see the audience and that we were always with the performer, the movies I loved the most.

Or when you feel like you're right there with the action with the characters, when he's wrapping the thing when she touches his ear, the camera goes right to any time.

That's tactical because you always remember the first touch of somebody thinking about these two characters, informed how I was going to shoot both of them and Jackson to me, Is somebody being looked at all the time?

So he's avoiding it.

So we're often shooting the back of his neck or profile.

Ali isn't even aware of her power, and so the camera's always looking at her full on one of my favorite compositions.

She walks out to look in the mirror.

All of a sudden, the bathroom is a stage I just wanted to tell as honestly as I could, what a relationship can be like.

But I wanted to make it cinematic.

So you want to create characters that are compelling and in times larger than life.

And then you add the element of music to it just brings it up and even higher range.

What with have the woman I love?

Yes, all right.