for a record historical number of Grammys.
And so right from the beginning
of the filming process,
the initial conceit changed.
And it was the kind of project
and really a testament to Matt's style,
where we weren't too worried
about figuring out what the story was.
Matt specializes in cinema verité,
and so he followed us from sun up
until we went to sleep every single day
for about seven months.
And at the end of that process,
we had 1,500 hours of footage,
which, as you can imagine,
is a lot of footage.
But we knew that we wanted
to document all of it,
to document what it means
to be living a life of contrasts,
what is required of us
when we're in the belly of the beast
and how creativity and our individual
and joint, sort of, creative language
inform that project.
SZ: For two people,
who are very much the directors
of their own creative projects and worlds,
how did you negotiate creative control
in your work with Matt Heineman,
especially in such vulnerable
and personal circumstances?