Director Shawn Levy on the ‘Deadpool 3’ ending and the Ryan Reynolds-Hugh Jackman bromance

Director Shawn Levy has no problem sharing how “Deadpool 3” ends.

Levy, who will receive the Toronto International Film Festival‘s inaugural Norman Jewison Career Achievement Award, stopped by the L.A. Times video studio at the festival to discuss his upcoming miniseries “All the Light We Cannot See.” But the filmmaker could not avoid fielding questions about the upcoming Marvel antihero film and its star, Ryan Reynolds.

“OK, get ready,” Levy said, staring directly into the camera. “‘Deadpool 3’ ends with the end credits.”

There you have it.

Levy also shared some truth bombs about the public “feud” slash simmering bromance between “Deadpool 3” stars Ryan Reynolds and Hugh Jackman.

The bromance “is real,” Levy said. “It’s f— real ... The guys love each other almost as much as Ryan Reynolds and I love each other. Because that bromance is a tale for all time.”

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In addition to his career achievement honor, Levy is attending TIFF as the director of “All the Light We Cannot See.” Developed and written by Steven Knight, the four-episode limited series is based on Anthony Doerr’s eponymous Pulitzer Prize-winning novel about two teenagers during World War II.

“I love the book,” Levy said. “I try to make things that I either am or would be a fan of. It’s why I made ‘Stranger Things.’ It’s why I’m making ‘Deadpool.’ And ‘All the Light We Cannot See’ was a book, maybe my favorite book of the last decade. So the day that I got the rights to this book and knew that I could collaborate with that creative genius was a happy day.”

The adaptation features Aria Mia Loberti as Marie-Laure LeBlanc, a blind French girl who is hiding from the Nazis with her father (Mark Ruffalo) in her uncle’s house in St. Malo, as well as Louis Hofmann as Werner Pfennig, a German boy forced to fight for the Nazi regime.

Levy, whose producing credits also include “Shadow and Bone,” “The Adam Project” and “Unsolved Mysteries,” also discussed jumping between comedic and dramatic projects.

“I don’t find them that different because at the end of the day, you’re trying to get that actor to feel comfortable being their best,” Levy said. “If you’re going for a laugh, you want that actor loose. If you’re going for emotion, you want that actor loose. My job is to identify the tone of the material [and] create a connection with the actor so that I’m setting them up to be their best selves and do their best work.”