Hi, Im Jay Roach. I am the director of the film Bombshell. So in this scene, we see Margot Robbie, whos playing Kayla, take a call from clearly, from Roger Ailes office. And Kate McKinnon, whos 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. Weve also seen that Kate McKinnons character has warned her not to talk about it. So right away, its about staying silent. The score is playing this sort of haunting, all womens 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 wont say a word to each other. And theyre going to ride this elevator up to the floor where Roger Ailes is. And this shot here is such a great example of Barry Ackroyds incredibly humanistic operating. Hes just watching the people and paying attention to what theyre reacting to, and finding the composition off of the performance. In comes Gretchen Carlson, played by Nicole Kidman, whos now a third woman in a different level of predicament, a different level of being harassed by Roger. And theyre all stuck in this space. So this was a very important scene, because its 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 womans face in the three-shot and compose for that. And as Megyn watches them walk away, she knows that Margo, especially, is walking into Rogers lair, where almost all of the harassment happened at Fox.

Excerpt from:
'Bombshell' | Anatomy of a Scene - The New York Times