I’m Olivia Wilde, director of “Booksmart.” 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.