My name is Guillermo del Toro, and I’m the director, producer, co-writer of “The Shape of Water.” This is an important scene because it’s a scene that sets the communication between Elisa and the creature. It was important in the story because the way I introduce the creature in the screenplay first is with a shock, very much like a monster movie, with a hand against the glass. Then, I introduce the fact that he ate two of the fingers of the villain in the piece, you know, the antagonist. And then I introduce him on a scene previous to this, and I keep it on an edge. You know, I show you an innocent and a beauty through the way his eyes move and look. But it’s still a dangerous creature, maybe. Maybe not. But there is definitely a contact between them. I also show you that he’s bleeding, that he has been tortured, so you know the reaction maybe was justified. So in this sequence, I do it — I knew it was a prologue to a montage, so I wanted to keep it very much stylistically in one piece. So I do three — three shots, two of them very elaborate with a small crane. And I show you the placing of the egg, the — the placing of the record. Everything is a single shot. Until we go out to a wide shot of Eliza, and it’s a very quaint composition. It’s a — it’s very, very sort of meek, you know? She’s sitting by the pool eating her little sandwich. It’s sort of a beautiful picnic of — of — of really intense oddity, you know? And — and — and that’s what the movie is. The movie is the marriage of the ordinary and the extraordinary, which is a very Mexican vocation, because it’s the story of a woman that falls in love with a river god. And where does she keep him? In her bathtub. So in this montage, I’m going to show you symbolic little things that remind you of her routine alone. The — the boiled eggs, which she used to share alone, and that have a very sexual connotation of activities alone. The bathtub, she’s looking at the bathtub, making plans, perhaps, for her future with the creature, you know? All this is going on with her. And at the same time, her love of musicals, which has been set up in the movie several times. I wanted to show her dancing with the mop like Fred Astaire, you know, sort of a very classical musical routine solo, and the connection between them through the glass. They are still not together. There’s a glass separating them. And they both — both move beautifully together, but they are not together yet, so there’s a longing to the scene that I find very moving. [music]