DVD commentary
Welcome. This is Chris Weitz, director of New Moon.
I have with me, by magic, from London, Peter Lambert,
my accomplice in crime, the editor of New Moon.
PETER LAMBERT: Hello.
WEITZ: That was the Summit logo, delightful.
Now, part of the reason that... Okay, here's a moon.
(LAMBERT LAUGHING)
Now, the reason that we started this way was because I felt that in the theaters,
there would be nothing but screaming for about the first 30 seconds of the movie.
And so, interesting point, actually,
this is the proper way that a moon phases,
from right to left, in the northern hemisphere,
and I know this because I was at a science and film conference
in which someone complained that they'd gotten it wrong in every film ever.
Ironically, though, it reads like a palindrome, Noom Wen, not New Moon.
LAMBERT: This actually took the DP an entire month to film.
He had to stand very still with the camera pointing at the sky all that time.
(WEITZ LAUGHING)
It's not actually true.
WEITZ: Okay, so then in pops the sun. Here comes Bella,
and this is like in the book where she is seeing the clock at 12:00.
It's her worst nightmare.
Yes, and then we use that red flag as what we call a wipe
to transition us into the meadow.
Now here we are in the meadow,
and those things on the right are called god rays by the CGI people.
-LAMBERT: They're beautiful. -They're beautiful, but they're not real.
More god rays. We see Gran in the distance out of focus.
LAMBERT: I remember we talked about how there was Team Jacob and Team Edward.
I always wanted to mount a campaign for Team Gran, based on this scene,
for the more mature gentlemen Twilight fans.
They could go to conventions and support Team Gran.
WEITZ: It was a demographic we were trying to hit desperately.
I'm not sure that we've managed to do that.
LAMBERT: (LAUGHING) Hit them hard at the start of the movie.
WEITZ: Okay, first diamond shot of the movie.
Pretty good, I think, as far as our diamond shots go.
Some are better, I think, when we get to Italy,
but, obviously, this was a very big deal to kind of re-imagine the diamond shots
and get the effect both of subsurface scattering,
which is the light under the skin,
and also to have these rays of light coming out.
LAMBERT: You guys looked at lots of references, didn't you?
I remember there were loads of diamonds and things like that.
WEITZ: We did, and it turns out diamonds don't actually scatter light outwards,
but people think they do. So that's what we did.
And in fact, when we first shot this,
Rob had these kind of black dots all over his face to mark positions,
and he looked like a plague victim.
(LAMBERT LAUGHING)
If you can imagine Rob ever, ever looking not incredibly super handsome,
that might be the time.
LAMBERT: The shot coming out of the mirror, that was like a...
We made a mistake with that visual effect originally.
We forgot that Edward's not meant to sparkle in it to start with,
I seem to remember. And then we got a note from Stephenie
saying he shouldn't be sparkling in the reflection.
WEITZ: Wow, this film is going quickly.
Okay, notice in the book here on the left
that you see Montepulciano, or rather Volterra,
in the illustration of the Romeo and Juliet book.
LAMBERT: That took me about 2 months before I noticed that.
(WEITZ LAUGHING)
WEITZ: Bella doesn't seem very grateful about her presents. I don't know why.
I think Kristen was in a bad mood that day.
By the way, the reason that the kids aren't here today
is because at the after party for the premiere,
they ordered some burgers, right. They took quite a while to come,
and they left them sitting there, and I think I ate Kristen's hamburger,
and when she came back, it was all gone.
So there's a bit of an actor revolt against me,
which is why I had to call in Peter.
The old gray hair joke. He slays them.
(LAMBERT LAUGHING)
Happy birthday.
-WEITZ: Lovely Billy Burke. -He's great.
WEITZ: Very funny and not as old as his mustache would imply.
Actually quite a sexy young guy,
if I do say so.
LAMBERT: It's amazing how a'tache can age a man.
WEITZ: Yeah, it is. It is.
I think when I want to look more sophisticated, I'm gonna wear one.
LAMBERT: This top shot of the truck is the sort of...
It was not the top shot of the truck anymore,
I just realized from the dialogue I'm hearing.
But it's the one little bit that reminds me of Twilight.
It's like the start of Twilight, that shot.
-Oh, yeah. -Wherefore art thou, Bella?
(ALL LAUGH)
Let me take a picture of you guys. My mom wants me to put together, like,
a scrapbook full of memories.
ERIC: Oh. MIKE: Cool. Yeah.
I take them. I'm not in them.
-No, no, no, come here. -BELLA: Well, you are today.
You'll photoshop this if my nose looks big, right?
ERIC: Don't worry, I'm in the picture. No one will...
WEITZ: Volvo, one of our sponsors, offered us a new car for Edward,
and I thought, well, if I leave the car the same color as before, you know,
people are gonna think that I'm treating them like idiots,
like they can't tell the difference between one model of car and another.
So I thought, well, we'll make it black.
We won't make it too glossy black. It'll be kind of coal black,
and that'll show depression and sorrow.
And, yes, and here comes dream boat.
Bella, your birth is definitely something to celebrate.
Yeah, but my aging's not.
WEITZ: And for the longest time, Peter thought he said,
"Your breath is something to celebrate, " not "your birth. "
LAMBERT: I thought it was just creepy.
WEITZ: Yeah, well, she does have very good breath, I'm sure, Bella,
but it was her birth.
LAMBERT: Yeah, I kind of like that
sort of slow motion shot of him walking towards Kristen.
When we saw it with an audience at the premiere for the first time,
everyone cheered when Rob came on,
and then almost like a perfect response to them cheering,
he does that little sort of self-effacing smile
and looks down like he's actually responding to the audience.
It was good timing.
WEITZ: I have to say, I have to take credit for it.
I always knew that was gonna happen,
and I knew that his smile would almost seem to be in response
-to an audience actually reacting to him. -LAMBERT: You're pretty clever.
WEITZ: Okay, now this is another example of my genius. In that 2-shot,
when Jacob comes into the 2-shot, he completely blocks out Edward,
showing the possibility that he may be a threat to him.
LAMBERT: Is that what they call foreshadowing
-in the directing business? -WEITZ: Yes, it is, actually.
Yeah, in the directing biz, we call it "being really obvious. "
(BOTH LAUGHING)
No, we were shooting this over the course of an entire day and...
LAMBERT: This was a monster to shoot.
WEITZ: Yeah, in Vancouver.
And the light conditions were changing,
so what you do is in the DI, which is the digital intermediate
where you can manipulate colors and light variations,
we made it as even as possible, so that it didn't seem like a sunny day
and that Edward should be glowing and all.
And... Oh, poor Edward.
Edward, yeah, in some way, senses
that Jacob might be a better match for Bella,
and so, to me, he's a bit sad here.
And here, me being obvious again, when Jacob talks about bad dreams
and lifts the dream catcher, it's practically obscuring Edward.
And I've often thought how this is very much like the Brady Bunch episode
where the tiki is introduced.
You could actually say that this movie is about what happens
when Jacob gives Bella an evil dream catcher
and everything starts to go wrong in her life.
LAMBERT: We should have changed the music for that to a kind of...
(LAMBERT MIMICKING DRAMATIC MUSIC)
... when he brought it out.
(WEITZ LAUGHING)
WEITZ: Hello, Alice. Here she comes. People cheer.
-LAMBERT: She's just been in the art class. -Yes, lovely smock, Alice.
And there's old Jackson hanging back there.
Now, there is some controversy
over whether Jasper's mood control powers
could actually work on Bella, given that she's so resistant to vampire powers,
but it turns out that Jasper's powers work on her adrenal glands, not on her brain.
Therefore, it can calm her down,
which is why she found herself willing to agree to go
to this gathering at the Cullens', so that's why, really.
You can't trust vampires. Trust me.
WEITZ: And this was an ad-lib by Rob, which he subsequently hated,
but I think it's quite nice.
...hath had no power yet upon thy beauty.
Thou art not conquered.
Beauty's ensign yet is crimson in thy lips and in thy cheeks.
And death's pale flag is not advanced there.
BELLA: I hate being celebrated.
EDWARD: There are worse tragedies. I mean, look at Romeo.
Killed his true love out of sheer stupidity.
BELLA: Yeah.
Though I do envy him one thing.
BELLA: Juliet is, like, perfect.
If you like that obviously beautiful sort of thing.
(EDWARD LAUGHS)
Not the girl, the suicide.
WEITZ: Now, here's this kind of rather odd discussion about suicide where
Edward is surprisingly upbeat about the notion.
And I thought it was an interesting way for them to play it.
I mean, for him, the idea of dying has its own sort of appeal,
except that he'd have to say goodbye to Bella.
But as an immortal who has doubts about his own soul,
the idea of ending his existence is less upsetting
than it is to Bella who, of course, can't stand the notion.
Flashback to Twilight, and we're back.
What was the plan?
WEITZ: Moment of silence as I think of what to say.
Anyway, I quite enjoy Rob's performance here,
and I can't let a sentimental moment go by without interrupting it with a bit of comedy.
So, Mr. Berty messes with Edward,
and the entire class turns,
and then suddenly we realize that vampires have perfect recall.
So, for him, he's been through high school a bunch of times.
Probably everyone who's listening to this, by the way, is like,
"Shut up and just let me listen to Rob, "
but you can just turn this off and watch the regular DVD.
LAMBERT: This is a classic Edward Cullen moment, I think,
and I remember we actually experimented,
we flirted with cutting it out in order to get through
to the next section of the movie as quickly as possible,
but we realized it was a mistake, 'cause Rob completely nails it.
WEITZ: Well, and also, this is not in the book, but I think Stephenie rather liked it,
and that's actually one of the fun things of working with Stephenie
is that occasionally you come up with a little bit that she likes,
and she's like, "That's a really cool idea. Let's have more of that. "
So, now we're in Carlisle's room, and you can see sort of the...
Well, inside his room, you'll see later all of the art
that he's accumulated throughout his life, but here come the Volturi.
LAMBERT: Can you explain how the painting was done, this visual effect?
WEITZ: I can't explain it. It's magic.
(BOTH LAUGHING)
Oh, my God, how did we do it?
Well, first we had an idea of what the painting's dimensions were gonna be like,
but there's a big green screen that they're looking at as they're talking about it,
and saying, "Is Carlisle there?"
Then we shot the actual performance of the Volturi later,
and then we chose a starting frame, freeze-frame,
which was then painted by the painter as a separate oil painting,
which was then composited into the green screen in the first place.
So, really very, very complicated, and a lot of other people doing hard work,
which is how I like it.
There's the wonderful Christopher Heyerdahl, Canadian actor,
amazing face, fantastic performer,
and, of course, Jamie Campbell Bower, who shocked people by saying that
the Volturi scenes were going to be shot in the nude,
and then I had to go online to convince people that that was not gonna happen.
(BOTH LAUGHING)
At any rate, Carlisle really shouldn't have been hanging around with the Volturi,
given that he doesn't seem to hold the same ideas
about capital punishment as they do, but such is life.
-LAMBERT: That's why he went to Forks. -Yeah.
LAMBERT: What was the name of the rogue vampire, the actor?
-He had a great name, I remember. -WEITZ: Curtis Caravaggio is his name.
-It's a fantastic name. -LAMBERT: Great name, great guy.
WEITZ: Yeah, great guy, didn't mind getting his head torn off.
(BOTH CHUCKLING)
He was willing to end his career on that one moment.
No, just kidding, he's still alive. Hire him. He's brilliant.
(IN FRENCH ACCENT) Now, what do we have to say here? It's a beautiful love scene.
But it's my job to protect you.
LAMBERT: This was a Chris Weitz line. I remember, you were proud of this.
-WEITZ: Is it? -Yeah.
WEITZ: What, "It's my job to protect you"?
LAMBERT: Yeah, "It's my job to protect you from everything except my sister. "
WEITZ: No, no, I think that was in the script.
LAMBERT: Was it? Maybe the line before was a Chris Weitz line.
There was something you were proud about in that area.
WEITZ: (CHUCKLES) Well, I'm a prideful person.
All right, now we arranged this shot,
which is Bella's POV, as kind of almost like a conversation piece,
which is a certain 18th century kind of painting
where a family is arranged in a very specific way,
and our wonderful cinematographer, Javier Aguirresarobe,
lit this in such a way that it's kind of got a lovely golden mood to it,
and part of our intention was to make the colors in this film
much more golden and red and warm
than in the first film just to kind of switch things up.
And also because I think there's a sort of an epic romantic feel to this,
and I wanted things to look like a Pre-Raphaelite painting.
Look it up on Wikipedia, "Pre-Raphaelites. "
LAMBERT: That's what I did. That's what Javier did.
WEITZ: Yeah.
(BOTH LAUGHING)
LAMBERT: This was the first night of night shooting, wasn't it?
WEITZ: Yeah, and the funny thing was, about halfway through the night,
I realized that most of the shots were against walls,
so we could have shot this during the day,
and because Javier and I
were communicating through high school French,
because he speaks mostly Spanish and I speak mostly English,
there had been a misunderstanding.
And there we were, in the middle of the night,
really not having to be there, so sleepless.
Okay, big moment.
Woops. World's worst paper cut.
(WEITZ EXCLAIMING)
What can we say about this?
You will notice, this is giving away all of the magic,
that in a lot of these stunt scenes, people are looking away,
and that's because they are not the actual actors.
They are the stunt actors, the stuntcators.
LAMBERT: I've got to say, they were pretty convincing, though.
-WEITZ: Yeah, they were very good. -Jasper's double looked amazing.
WEITZ: I love that shot, by the way, where she's looking up
and her hair is kind of mussed in such a way that it curls up around her eye.
Now, when Carlisle rushes over to Bella, it's called a whip pan,
and it's a very, very old-fashioned way
of showing someone getting somewhere quickly.
There's no CGl involved. You just take the camera, whip it quickly off someone,
and then later sit them down and whip it onto them.
It looks like they've moved very quickly.
So, part of the issue in this movie was how to establish vampire speed
and make it realistic and fun and dynamic.
And part of it was to just do it in camera.
Okay, so that's a Hogarth engraving, by the way.
More art for you guys. I know you're big art fans.
That is part of The Rake's Progress.
And you'll see throughout Carlisle's study,
there's a Tibetan Buddhist Thangka, spelled T-H-A-N-G-K-A.
I mean, I know there are a lot of Thangka fans out there
who are really pleased about that.
The Dalai Lama, huge Twihard fan, so he will definitely appreciate that.
LAMBERT: It's actually product placement from the Dalai Lama.
-WEITZ: (LAUGHS) Yeah. -He paid a lot of money for that.
WEITZ: He said that our next incarnation would be much better if we just put it in.
Lovely little moment, actually, between Peter and Kristen.
I like these sort of scenes where characters are interacting
in a way you wouldn't necessarily expect,
and it's a nice fatherly sort of moment.
LAMBERT: The music is also appropriate in this scene. Sorry to interrupt, Chris.
WEITZ: No, please, go ahead.
LAMBERT: 'Cause I just remember,
we spent a lot of time looking for the right track for this,
and I was pleased when we found one
that the translation is about sort of things being in peace or implying dying.
It's like a Goethe poem that ends on, "Soon you, too, will be at rest, "
which seems appropriate for those Goethe fans, as well.
WEITZ: Yeah, I know, we are making big fans.
LAMBERT: That's the most pretentious scene in the movie.
(WEITZ LAUGHS)
WEITZ: I rather love that shot of the bowl, of the flaming bowl,
and partly because the gauze there looks like a heart,
and so it evokes, to me, some of this kind of wonderful old-fashioned imagery,
but also you can see an upside-down wolf engraving in the shot, if you look carefully.
Anya Marina's Satellite Heart is playing on the radio here, a really lovely, lovely song.
...or old age...
WEITZ: And what I really like about these sorts of scenes
between Kristen and Rob is that the situations are utterly bizarre.
I mean, she's talking about being turned into a vampire,
and he's thinking about leaving because he's going to kill her,
but in some ways, it's like these horrible pre-breakup conversations that you have.
LAMBERT: Yeah, they play it so well, 'cause they just play it completely straight.
WEITZ: And here, this is a nice little shot where they're separated by the door, there.
I think Kristen just has this wonderful ability
to make lines which are about the soul or big ideas,
but to somehow sell them.
There's gonna be a lovely moment here
where even though Edward is usually the strong one, the aggressor,
Bella, just by kind of force of character, backs him up.
You know, she is the one who's forcing the issue here, really,
and although Edward cannot be moved, you know,
he's practically made of stone, she backs him up here.
So can I ask one thing?
WEITZ: "What, Bella? What do you want?"
Okay, now, when...
Usually in these kisses, we're on Bella's side, as it were.
So, you have 2 sides to choose from when you're shooting a kiss,
and I would say...
Now I'm gonna get myself in trouble.
Bella looks better when she's kissing than Rob does.
Kristen looks better when she's kissing than Rob does.
LAMBERT: You're only saying that because you ate her burger the other day.
WEITZ: Yeah, that's true. Sorry, Kristen.
I know you were hungry, but it was so delicious.
That burger was just... There are burger salvage rights.
If you leave a burger for long enough, someone's allowed to eat it. Anyway...
LAMBERT: The "I love you, " should we give the game away about that line,
-"I love you, " from Kristen? -WEITZ: Yes. Absolutely.
LAMBERT: It's a little bit of a sneaky cheat.
WEITZ: Yeah, well, that's an ADR line, which is a line that was recorded
after the fact, in which Bella says, "I love you. " And in fact,
she's saying something else at that moment,
but you can barely tell.
LAMBERT: I don't think she's saying anything.
I think she's just taking a breath
and about to say something completely different.
WEITZ: Interesting. Okay. So we wanted this moment.
And, you know, in the first film, they hadn't said, "I love you, " at all,
and we thought that it would be very, very interesting to have her say that.
It's actually Kristen and Rob who came up with the idea.
At this moment where things are really just going wrong,
rather than in the moment where things are going quite right.
And it's kind of, you know, strange and upsetting,
but the whole point about this sequence of the movie is things going wrong
and sort of what happens after "happily ever after"
and the kind of weird, tragic beauty of a romance going wrong.
-I'm sure you know all about that, Peter. -LAMBERT: I certainly do, yeah. Yeah.
This music's beautiful.
WEITZ: This is Bon lver, and it is a beautiful track.
And St. Vincent, and it is a gorgeous, gorgeous track.
And this shot of Kristen is fantastic in the way that she transitions
between the relief of seeing Edward, and then realizing something's wrong,
in part because he's still wearing the same clothes.
Now, it should be pointed out that vampires do not have body odor,
so when he wears clothes for several days in a row, or for months, in fact,
it's okay. It's all right. It's just the clothes are getting worn down.
Anyway, here we are, and I believe this is near Capilano Gorge in Vancouver.
And this is the big breakup scene,
and this is the scene that killed me when it got out on the Net.
I was so sad, because I wanted audiences to see it for the first time
as part of the whole picture.
Why?
LAMBERT: I love the way the camera works on this scene,
the kind of slightly sort of nauseous sense of it moving in and then falling back again
and then moving in. It's kind of like waves of badness.
WEITZ: There's...
We had Dave Crone, who's a fantastic Steadicam operator.
Steadicam is a system whereby you've got a guy
who's essentially holding up the camera, and it kind of floats.
And you can see there's a floatiness to this.
And it works here because her world is sort of floating away from her.
And, you know, we started with them together,
we're separating them gradually,
forcing into them so that we get the impact.
Then we'll jump back, and you'll feel sort of a distance
in an over-the-shoulder shot like this.
And then you'll see we cut to a 2-shot.
We cut to the 2-shot just when Edward says,
"You don't belong in my world, " I think.
And you know, a 2-shot is a very emotionally inert shot,
and you get this feeling... Here we go, there's that 2-shot.
There's no emotion at this moment,
and then we cut right back in to her, close.
Feeling it very, very, very seriously.
And the camera is always moving in this kind of queasy way.
LAMBERT: There's something queasy about the music, as well, I think,
the way it kind of swells in waves, and it's like the waves of bad news
that Edward keeps kind of crashing down on Bella,
and she keeps trying to sort of deflect or defend it.
-WEITZ: Yeah. -Defend herself from it,
but it just keeps swelling again.
WEITZ: And here where he says, "No, " we're tighter than we've been ever,
more fascinated with him,
the camera's more fascinated on him than it ever has been before.
But if it's not too much to ask...
WEITZ: And you'll see eventually that it gets so much for Bella
that the actual kind of access of the camera
starts to tilt into what is called a Dutch angle,
where the camera isn't parallel to the ground.
It starts kind of tilting off in a somewhat sickening way.
LAMBERT: Not something that we used very often, in the end.
WEITZ: No, I don't like Dutch angles except when it's for a good purpose.
It's coming in a while. Now I've kind of...
LAMBERT: You've pre-empted the Dutch angle.
WEITZ: I did. I pre-empted the Dutch.
(BOTH LAUGHING)
-LAMBERT: Never pre-empt a Dutch. -No.
And you can see, also, that the backgrounds in these shots,
having established what the forest looked like,
now become these kind of impressionistic colors, and it's really... Here we go.
It's shifting so that she's looking right up at him at this sort of angle,
and something feels quite wrong about it.
He's quite static and controlled. She is off angle.
And now it's righting itself as he comes in,
and when he leaves, there's a discontinuity here.
Normally you'd show him in space,
but he actually leaves quicker than... He's gone.
Normally, if you were trying to convey continuity of a person walking away,
you'd see him in this shot, you'd see him in the previous shot.
But that's another way that we kind of conveyed vampire speed
was just in the cut, where suddenly someone's not there anymore
or someone is there when they hadn't been moments ago.
Now, these are jump cuts, which, you either like them or you don't,
but when you do them, they're very obvious,
and this conveys the kind of frantic nature of things.
Pete, you talk about jump cuts a bit.
LAMBERT: Jump cuts convey the frantic nature of things,
and that's why we used them there, 'cause it's frantic.
WEITZ: Wow, that's really incisive.
LAMBERT: Okay. They're jump cuts because the camera is at the same angle
in relation to Bella and the composition is the same.
Normally, when you'd make a cut, you would cut a different angle
and maybe a different lens, so there would be, in fact, a huge visual discontinuity
between one shot and the next,
which your brain would interpret as a kind of fluid cut.
When you actually cut from one angle to another identical angle,
it creates a kind of visual jolt,
which gives you a sense of anxiety. Is that right?
-Have I nailed it? -WEITZ: There you go.
Yeah, yeah, no, and then we just had another jump cut right there.
And also, I should say, okay, there was a rather groovy shot
where we turned down the light on this long walking shot,
so that we transitioned from day into night within one shot.
And here now is a shot that I love to do, which is a crane shot,
pushing down on someone, circling.
I mean, I feel that audiences understand where someone is oriented in space,
so they're not going to be like, "Whoa, Bella is floating upside down. "
LAMBERT: "The whole floor is moving. "
WEITZ: So, they know that, okay, Bella ends up upside down,
obviously her world has been turned upside down,
and this thing is forcing down on her, just the horrific moment,
and so we use the camera to kind of convey that.
And here's our first shot of the wolves, and the tough thing was to make it seem
like it might be a wolf, it might be a bear, what the heck is it?
LAMBERT: We had a whole little mini scene here, didn't we,
of Bella waking up and actually explicitly seeing the shape in the woods.
WEITZ: And then she runs off, and then she falls asleep again,
but it was really hard to believe that she fell asleep again
having been so scared.
LAMBERT: It was also kind of... When you saw it that explicitly
rather than in that kind of dreamy way that we actually ended up cutting it,
it just felt like too direct a connection
between the werewolf and Sam Uley, didn't it?
WEITZ: Yeah, it did. We wanted to preserve a bit of mystery to it.
There is lovely Graham Greene.
LAMBERT: There's also Bob Marks in that scene,
who deserves a shout out because he doesn't appear elsewhere in the film.
WEITZ: Yeah, you'll see him in deleted scenes,
and he was not deleted for any reason other than for time.
Bob Marks, played by Adrien Dorval, good man.
Now, Graham Greene and Chaske Spencer having a little moment
'cause they both know about the werewolves.
Jacob doesn't know what the heck is going on,
and Chaske is giving him the stink eye, and he walks off.
LAMBERT: There's this creepy naked guy looking at him.
(BOTH LAUGHING)
WEITZ: So now we're going into this lovely Lykke Li song,
and also this very complicated CG sequence,
which involved first shooting the element of Bella with a Steadicam,
but having markers on the set so that we could match exactly the move
that Dave Crone did with the Steadicam, with a robotic camera,
which moved precisely the way that he did,
so that we could do multiple passes and that every time we looked out the window,
we would see a new month.
This corresponds directly to these chapter headings in the book,
which were rather clever and fun, where time just doesn't pass,
but you see the name of another month.
It's also worth noting that each time you go around
there are fewer and fewer photographs and paintings up on the wall.
You just see the marks that sun makes when it's covered up
the absence of photos,
so that her life is kind of becoming less and less full.
She's losing touch with her friends.
She is just becoming kind of dead to the world, really.
And this shot is still going on,
and this is just a match dissolve.
Okay, no CG here. Just very carefully positioning her
on 2 totally different days so that her position matches.
You get the sense of her not moving ahead.
Now some people think that Bella screams like a stuck pig here.
I rather enjoyed Kristen's first instinct, which was that she was in so much pain
that, you know, it wasn't just waking up from a nightmare,
but it was really like being stabbed in the gut.
LAMBERT: I think it's great, and she's been so restrained in a way
in terms of trying to keep it in throughout the break up,
it's like a big moment, I think,
-when that happens. -WEITZ: Yeah. I think it's a nice kind of jolt.
Oh, Charlie, asleep on the couch after watching his favorite sports team.
LAMBERT: (LAUGHING) A night on the beer!
WEITZ: And, yes,
so, very kind of Norman Rockwelly framing here...
I don't believe Norman Rockwell's a trademark, so I'm allowed to say that.
You know, the house, the very straight on shot of the house there,
but things are not so good with family at all.
And Bella is going to lie now, leading to a disastrous night out at the movies.
Movies don't really go well in this movie.
I don't, but just go. Go to Jacksonville.
WEITZ: Go on, say something interesting, Peter.
LAMBERT: I think that Bella looks amazing in this scene.
-She looks so emaciated and unhappy. -WEITZ: Yeah, yeah.
LAMBERT: It's great the way her hair and makeup transforms throughout the movie.
WEITZ: Yeah, very nice makeup by Robin Mathews, very nice hair by Thom Maclntyre.
Yeah, and also I think the way
that Tish Monaghan designed her clothing at this point,
she's really not bothering to put herself together,
and a nice'stache by Billy, still there, the'stache remains.
LAMBERT: The'tache always remains.
Muse, the music of a liar.
WEITZ: The music of a liar?
LAMBERT: Yeah, when someone lies, Muse always plays in the background.
(WEITZ LAUGHING)
That's the rule.
JESSICA: I don't know why you want to sit through...
WEITZ: I don't know what that means, but I'll go with it.
Okay, so they've seen a zombie movie. We cleared this one title
as the one zombie movie title that's never been used,
and, of course, it refers back to the possibility,
or Bella's hope, that someday that Edward would come back.
-And actually... -LAMBERT: This was all...
Sorry, this was all ad-libbing from Anna Kendrick, wasn't it?
WEITZ: It was, except that I told her to do the thing where her cousin has leprosy.
I take full credit for that.
LAMBERT: Well, there were lots of different versions of this, I remember.
She gave lots of different things.
WEITZ: They're quite funny.
Now we're flashing back to the frat boys in Twilight.
LAMBERT: This was the first sequence I cut
because I could cut it before any dailies came in from the shoot.
WEITZ: Of course, there you go.
And here's our first view of Edward.
Controversially, we used visuals of Edward as well as just the aural,
A-U-R-A-L, hallucinations that Bella experiences.
I thought it was a worthwhile use of the power of film
and enough Edward without being too much.
Well, they seem great. Can we go?
WEITZ: I think that that's a very funny line reading by Anna there.
CHET: Hey, girlie!
WEITZ: You may have noticed that Port Angeles has become a larger city recently
and also a bit more of a post-industrial town.
(BOTH LAUGHING)
It was a charming town in Twilight, but it's really seen better days now.
LAMBERT: This is like the dark end of Port Angeles.
The bit you don't wanna hang out in.
WEITZ: Yeah, right near the movie theater.
(LAMBERT CHUCKLING)
LAMBERT: There's also a completely empty street just around the corner.
I'm sorry, I thought you were somebody else.
No, that's cool. I'll be whoever you want me to be, honey.
So, what do you say?
You promised me, nothing reckless.
(BREATHES DEEPLY)
You promised it would be as if you never existed.
(CHET CLEARS THROAT)
-You lied. -You say something, babe?
You know what? Never mind.
(ENGINE ROARING)
Stop! Stop, stop, stop!
(BRAKES SCREECHING)
WEITZ: Anyway, all that stuff that we just saw, of course,
was using CGl and modulating it
as much as we could to give Bella the notion
that she needed to put herself in danger,
which leads her to Jacob via the bikes, basically.
I was about to end up in an FBI interview room like some lame TV show.
God, that was such a rush.
Awesome. So you're an adrenaline junkie now?
That's cool. You can go bungee jumping.
You don't get on the back of some random loser's motorcycle.
Crazy.
BELLA: Alice, I saw him.
Maybe I'm crazy now. I guess that's okay.
WEITZ: So here she comes to Jacob's house, which we now see for the first time,
this lovely barn, which was green, which we repainted red
to be like in the book, and we put a lot of Quileute-type fishing gear around it
even though this was once a goat pasture, actually.
LAMBERT: Wow.
WEITZ: We moved away all the goats and replaced it with actors.
LAMBERT: And Bella's house was next to a turkey abattoir, as well.
WEITZ: Yes, abattoir being a slaughterhouse, by the way, for the non-British world.
Taylor hates this wig, and in a way, I can't blame him,
because I suppose it's kind of like, you know, being Chewbacca.
LAMBERT: Michael Sheen, of course, loved it,
and that's why he is wearing it at the end of the movie.
(WEITZ EXCLAIMS)
(BOTH LAUGHING)
WEITZ: Oh, yes, we like to joke about reusing wigs, but we didn't. We really didn't.
-LAMBERT: No, it's a different wig. -Yeah.
...really stupid and reckless.
Yeah, I mean, it's completely stupid...
WEITZ: So, we're gonna do a little thing here where Jacob manages to lift this bike,
and what it involves is having it on a very strong crane rig
which can lift it, making it look as though Jacob is actually putting in
just enough force to lift it,
and then erasing the wires that were holding it up.
And that thing is fricking heavy. I tried lifting it myself.
There is no way that even Taylor Lautner,
with his improved Taylor Lautner 2. 0 body, could have done it.
So, it's a nice little moment there.
It feels like that sometimes.
WEITZ: And this song is by the Magic Numbers,
but what you don't get to in this part of it
is the part by Amadou and Mariam, who are this Senegalese duo,
and I recommend their music very highly. They're on our soundtrack.
Did I just see a mike?
I thought I saw a boom up there. Oh, wait, never mind, anyway.
LAMBERT: Maybe you're looking at it in the wrong aspect ratio.
WEITZ: I think I'm probably looking at the wrong aspect ratio, yeah.
LAMBERT: Yeah, that'll be it.
WEITZ: Okay, well, this lovely barn here,
designed by David Brisbin, our production designer,
and his wonderful crew, filled with lovely stuff,
and when you build these interiors,
you want it to be full of detail and interest
and lovely, crunchy texture for the light to play off of,
but you don't want things to pop out so much
that you're not paying attention to the actors.
And so now we're establishing this lovely friendship
that's forming between him and Kristen.
I think it conveys very well the life that he's kind of infusing into her,
and that's kind of what Taylor is like. He's just such a wonderful, warm person.
Now, here come Quil and Embry.
The guy who's playing Quil, Tyson Houseman...
I love this joke, by the way, where he's just so keen on himself.
I think he was just kind of walking around
and saw a big line of people and said, "What's going on?"
And they're like, "Somebody's lining up, people are lining up
"to audition for this movie, "
and then he found himself, about a week later, cast as Quil.
-LAMBERT: That's pretty cool. -Yeah.
And Kiowa does not have hair like that. That is a wig, also.
A rather good wig.
You want funny, Black? I'll give you funny.
WEITZ: The thing here, I think, was to cast guys who just seemed like regular kids.
All the Quileutes were played by First Nations,
as they call them in Canada, or Native American actors.
And also, they don't talk about "my tribe" and "my people" all the time,
which I think Native Americans and First Nations people
are really sick of hearing in everything,
every piece of popular culture that involves an Indian,
as they're often called.
Okay, this is another motion control shot,
which means that you can sort of stay within the same atmosphere,
but pick it up at very different times of day
with the actors in positions it would have been impossible for them to reach.
So, very subtly, you see their relationship developing
as this bike comes together, as the time of day changes.
And you hardly notice it happening, but they're changing positions,
they're changing relative to one another,
and things are coming together, especially motorbikes.
(LAMBERT LAUGHING)
-And I think... -LAMBERT: Until Jacob messes it up.
WEITZ: I know. Poor Jake. He's kind of always saying the wrong thing at the time.
Why is he talking about Edward Cullen now?
He's like, "I shouldn't have said that. That was a mistake. "
LAMBERT: And it did lead to an entire nightmare scene, didn't it?
WEITZ: Yeah.
LAMBERT: Which we took out for various reasons.
We felt that it kind of lessened the impact of the apparitions
if you saw Edward too much, as you had done in a nightmare,
which we cut from that.
WEITZ: Yeah, and also, I think that with film, there's always a danger
-of one dream sequence too many. -LAMBERT: Yeah.
WEITZ: Some films that I love, they just put in one darn dream sequence too many.
There's the evil dream catcher again.
(WEITZ MIMICKING DRAMATIC MUSIC)
This is a sweet little scene with Billy and Kristen
where he gives the conventional wisdom of love the one you're with.
And for a second, you'll see in the very first shot of the next scene,
she'll even consider it. She'll be thinking, "Should I settle?"
And I think that that's part of the book of New Moon,
the notion that... I mean, she knows in her mind,
she feels so low. She feels Edward is way above her and will never come back.
And here is Jacob who is warm and special and loves her, and what should she do?
But she never does. She never quite does.
There, she's looking at him. She's thinking about it.
And then her head quickly goes away
as she notices Jacob possibly catching her in that moment.
Are you doubting your mad skills?
WEITZ: Now, it should be said that this was shot against a green screen.
None of these trees that are currently kind of flying across the windscreen.
There is no windscreen. That windscreen was put in digitally.
The trees were put in digitally. Anything that runs by the window is digital.
It was all shot in a barn,
which we had to use when it was snowing one day
-in the middle of the sequence... -LAMBERT: Right. It was a meadow.
WEITZ: Yeah, in the middle of the meadow sequence with Laurent and Kristen,
it snowed, and we showed up one day at 5:00 in the morning,
and there was no way to shoot there.
LAMBERT: But there was a barn with a green screen ready to put in it.
WEITZ: Yeah, and so we did
all of our green screen car work during that time.
Here is a cliff, which was put together from a real cliff,
CG additions to the cliff, guys shot against green screen,
now that is Alex Meraz first jumping,
but about half way down, he's taken over by CGl
and turned into a CGl Alex who splashes into CGl water.
I don't know.
They just think they run this place.
Embry used to call them hall monitors on steroids.
WEITZ: Yeah, now you'll notice
that Sam Uley favors Capri length shorts,
and that's because the guy who was gonna do the groovy stunt that's coming up
had injured his knee recently and had to wear a brace.
So, JJ, the stunt coordinator came to me and said,
"Is it possible for Sam to wear extra long shorts?"
And I said, "Okay. "
(BOTH LAUGHING)
Hence Sam's fashion choice.
Now, I've taken a lot of flak in the press recently
for why the Quileutes are always shirtless,
as though I were some creepy old man who just wanted to show guys with abs
and 6-packs.
That was the shot, by the way.
That was put together from about 3 different elements,
a guy jumping off a huge tower and...
But let me finish talking about these lack of shirts.
My answer's always that the Quileutes do not have a lot of money
to waste on T-shirts,
so if you're running 108 fever,
you're gonna walk around in a bunch of shorts.
LAMBERT: And more to the point, if you're gonna turn into a wolf the whole time
and lose your T-shirt every time you transform...
WEITZ: Exactly.
LAMBERT:... that's gonna start getting expensive.
WEITZ: It will get costly, and it gets tiresome
to have stashes of clothes all around the woods.
I love this shot 'cause it looks like a Magritte painting.
LAMBERT: That's my favorite apparition.
WEITZ: Yeah, I think it's mine, too. I think it's mine, too.
I think it's rather nice how the bike's stalling out
kind of conveys her shock at that moment.
And also Alexandre's weird music here conveys adrenaline
and blood sort of pumping through her head.
Notice, is this Kristen?
-Not so much. -LAMBERT: It's Christopher.
(BOTH LAUGHING)
WEITZ: Okay, that was a dude.
-But you know... -LAMBERT: The rest is all Kristen.
WEITZ: The rest is all Kristen.
LAMBERT: And the person driving the motorbike
when Jacob comes up is, in fact, a woman.
No, it's not. That's Taylor.
(BOTH LAUGHING)
No more bikes.
-LAMBERT: Here comes a big moment. -Here comes a big moment.
Now, this used to be a wider shot.
All you ladies who wanted a wider shot of Taylor taking his shirt off,
I had it in and then Stephenie Meyer called it
Jacob's Chippendales audition, and so we went to a tighter shot of it.
LAMBERT: A tighter and quicker shot, as well,
where he kind of does it all a bit quicker.
The one we originally had, which I think you could probably see
in the Comic-Con footage online,
-he kind of labors it a little. -WEITZ: He sort of luxuriates in it.
It is a bit much. It's true.
LAMBERT: Good for Comic-Con but not necessary at this stage.
You're sort of beautiful.
LAMBERT: Now this is when he should kiss her.
WEITZ: Yeah, here's where Jacob loses another great chance,
but he's too nice a guy. She's just hit her head, so...
LAMBERT: No, you don't kiss a girl when she's just hit her head.
WEITZ: Why don't we count out the number of times
he has missed opportunities? Twice so far, I'd say, at least.
LAMBERT: What was the first time again? I've forgotten.
WEITZ: I think it was when he started talking about Edward Cullen.
He couldn't have kissed her then, but he really shouldn't have said that,
so 2 mistakes, 2 Jacob romantic mistakes,
guys, anyone out there listening.
So now, Kristen has been sort of pulled back into the world
by her association with Jacob. She's ready to deal with
-humanity again. -LAMBERT: It's nice the way the music
that's kind of represented her sort of tender feelings towards Jacob
at the end of the last scene continues through
to the moment where she decides to join her friends.
It's like somehow there's a link.
WEITZ: And she goes to join her unfeasibly attractive normal friends.
(BOTH LAUGHING)
And I really like this bit with Mike here.
It's really well-delivered, his kind of... I don't know. It's terribly funny,
but it's also rather touching at the moment.
I mean, the guy who really loses in all of this is Mike,
-much worse than Jacob, I think, in a way. -LAMBERT: Yeah.
WEITZ: Although, Jacob goes through a lot more with Bella,
so I suppose he's got more to lose, but Mike, Mike is just...
LAMBERT: And Jacob also has to turn into a wolf, as well.
Mike doesn't have to live with that.
WEITZ: And also, Mike could have gone out with Jessica, and he dumped her.
That was probably
-the biggest mistake of his life. -LAMBERT: Douche. Douche move.
WEITZ: They might get back together. Who knows? Do they?
LAMBERT: I'm trying to remember.
We'll have to watch The Twilight Saga: Eclipse to find out.
(WEITZ LAUGHING)
Coming out in June 2010.
WEITZ: I love this moment here where... Oh, no, we missed it.
Where Kristen says, "Yeah, I'd like to go, " and then she has nothing to add,
and you sort of see her opening her mouth and closing it.
Now, Face Punch is a title
that my brother and I always thought would be a great name for a hockey movie,
and so I had to give a list of clearable titles for action movies,
and Face Punch was 1 of the 2 that cleared.
You'd be surprised the number of stupid names for action movies
that have actually been turned into stupid action movies.
The only choices we had were Face Punch and Kill Hunt.
We went with Face Punch.
LAMBERT: Yeah, I think that was the right choice.
WEITZ: Yeah. Definitely.
LAMBERT: I love this scene, as well.
-WEITZ: I do, too, where Jacob is kind of... -He's so sweet.
WEITZ: Jacob's sweet, but he's also sort of messing with Mike,
and Mike is really being a bit pissy with Jacob, but Jacob is unflappable.
LAMBERT: Did you just use our one curse word?
WEITZ: Was that our one swear word?
I don't think that counts, does it?
LAMBERT: I don't know. I'm not gonna say it again, though.
WEITZ: Well, if I haven't, I'm just gonna swear at you.
I think we get one swear word in this entire commentary,
so I'm just gonna swear at you at the end of this whole thing.
LAMBERT: Okay, okay.
MAN 2 ON SCREEN: Put your gun down or I'm gonna blow your frickin' head off.
MAN 3 ON SCREEN: Both of you put both of your guns down
or I'm gonna blow both of your frickin' heads off.
MAN 1 ON SCREEN: All right, forget it, let's do this!
(GUNS FIRING)
(MAN SCREAMS)
(GUNS FIRING)
(WOMAN SCREAMS)
Okay, I think I'm gonna throw up.
(SCREAMING CONTINUES)
He's...
(SCOFFS) What a marshmallow!
LAMBERT: Always gets a line, that laugh.
WEITZ: I think you just did a spoonerism.
"Always gets a laugh, that line, " you meant, surely?
-LAMBERT: What did I say? -Always get a line, that laugh.
-LAMBERT: Did I? -Yeah.
-LAMBERT: Okay, can I explain why? -Yeah.
LAMBERT: It's 'cause I haven't slept for 32 hours
'cause I flew back from Los Angeles to London yesterday.
WEITZ: Oh, I see. All right.
LAMBERT: That's why. There'll be more of those.
WEITZ: Now, funny... We just saw the premiere,
and people laugh when Bella disengages her hand from Jacob's.
I think perhaps because girls feel that's a very identifiable moment for them,
when a guy kind of gets a bit closer than you are ready for them to be.
LAMBERT: I would add that that is probably a 3rd mistaken moment from Jacob,
because I think he times it very badly,
-the hand-holding. -WEITZ: Yeah, what he should do is...
Well, I don't know.
I rather admire Jacob's persistence at this moment,
because I think sometimes if you're gonna go for it,
you should just lay out your case and not try to play any games
and just tell someone what you feel about them.
-I admire him for how he does that here. -LAMBERT: Okay. I'll retract that.
WEITZ: Well, I don't know, I mean, maybe you wanna go about it differently, Pete.
-It's up to you. -LAMBERT: Okay.
WEITZ: But all I'm saying is that's, I think, how I first got to date my wife,
-was just by being straight with her. -LAMBERT: Belligerent.
WEITZ: And grabbing her.
No, it was by... I said, you know, "I like you and I think
"that we could have a relationship, and I'd like to see if that's possible. "
-LAMBERT: Wow, that's amazing. -Yeah.
-LAMBERT: That's really touching. -And it worked, I think.
-She's still here. -LAMBERT: I think it did.
WEITZ: She's waving at me right now, yeah, yeah.
LAMBERT: Aw...
Should we explain that we're not in the same room at the moment?
-WEITZ: I think we did at the beginning. -Oh, we did, really? Okay.
WEITZ: Yeah. But, yeah, you are connected via the magic of ISDN.
I don't even know what the heck that means.
LAMBERT: I'm not actually watching the movie at the moment.
WEITZ: All you can do is hear it,
so that's why occasionally I describe what's happening.
LAMBERT: Now, maybe we should talk about the movie.
WEITZ: Yeah, okay, now Jacob's doing what he should do, I think.
LAMBERT: Yeah, definitely.
WEITZ: But Bella can't. Bella can't do it.
And this is a very sad moment here. They're both trapped, really.
LAMBERT: This music, which is Jacob's theme,
has a great quality of being kind of unresolved.
You get a lot with the music that accompanies him
a sort of a repetitive motif
that never quite lands where you hope it will,
which I think is a really nice way
-of illustrating Jacob's feelings. -WEITZ: Notice also, though,
if you go back about 5 seconds,
old Jacob had snuck his left hand onto Bella's right knee.
-LAMBERT: Yeah. -You know, cheeky.
LAMBERT: Yeah, there's a couple of little cheeky continuity errors, as well,
if you wanna look carefully around that area.
WEITZ: Continuity, by the way, being in editing terms,
making sure that things match, so you don't cut from one moment
where a guy is standing with his arms crossed,
and then the next moment his hands are up in the air.
Now, when I worked on this scene in the script,
I pushed for Jacob to be suddenly and unexpectedly aggressive.
And people were like, "Well, that's weird. Why would he do that?"
And I thought, "Well, this will be good.
"It'll signal something is up, something's wrong here,
"and this usually very sweet-natured Jacob is acting very odd. "
BELLA: (ON PHONE) He won't let me visit, but would you call me?
LAMBERT: And it's a little gesture
towards the sort of sudden nature of the transformation
from human being to wolf, which is gonna come later, as well, isn't it?
WEITZ: Yeah, that it's very, very rapid-fire.
BELLA: I just wanted to hear your voice, so no pressure.
Jacob, please...
Call me.
WEITZ: Okay, so that was fake rain, by the way, amazing fake rain.
What the heck is going on with that salmon up there,
which seems to be swimming around without any skin?
He's a pre-smoked salmon.
It's amazing that you can catch pre-smoked salmon in Forks, Washington.
Anyway... So, okay, Bella's very much realizing
how much of a lifesaver Jacob has been, and is about to go over to him.
But meanwhile, we're still trying to press the fact that people are dying in Forks,
leading to the question, why is Charlie going fishing?
Why isn't he on the case?
Okay, well, this moment usually leads to some hoots and hollers.
Jacob, short hair, buffed out, tattoo, damn.
I think that was my swear, wasn't it?
LAMBERT: I don't know. I think you may have used 2 now, Chris.
WEITZ: Oh, no. Oh, dear.
LAMBERT: We'll have to do the whole thing again.
WEITZ: Well, now, I love this sequence,
although it really involved torturing the poor actors,
because all this rain is fake rain, but it's very, very cold.
Imagine, it's very cold here in British Columbia.
I'm all dressed up in a parka, you know, with a scarf and a nice hat,
and poor Taylor is naked from the waist up,
and we're dumping ice cold water from these towers onto them.
For about the first few takes, Kristen's contacts,
because you know she has these hazel eyes,
which are, you know, quite a special color,
and they're re-colored with brown contacts,
they were getting washed out.
So, eventually the eye color that was put back in was done with CGl.
Yeah, poor Taylor here is...
I mean, you can tell, actually, from some of these shots
that the water's so cold that steam is rising off him,
which only works to my advantage
because, of course, he's supposed to be a wolf running a very high temperature.
But there are moments where you can almost tell
that he's shivering with the cold, but I see it as intense emotion.
LAMBERT: I remember this was shot within the first week of shooting, I think.
-WEITZ: Yeah. -And I remember
it was definitely one of Taylor's first big scenes,
and I remember just watching, the day after in the dailies trailer,
all of the material that was shot for this
and there just being this kind of palpable feeling of excitement
that he was really nailing it.
-It's a good scene. WEITZ: Yeah, it's a really lovely one,
and Taylor is great in it,
and I always knew he was gonna bring it home,
which makes me so proud of him.
Maybe give me, like,
some time or something.
LAMBERT: Incidentally, there's a little musical motif coming up,
which is almost my favorite bit of music in the movie,
and it never recurs anywhere else in it,
-but it's an absolute humdinger. -WEITZ: Which bit?
LAMBERT: It's literally about to happen
if I'm hearing this at the same time as you are.
It's coming up now. It's just amazing.
It kind of swells. They swell it in the mix, and here it goes. Now.
Not anymore.
This doesn't even matter. All right?
LAMBERT: And Alexandre's only used it once,
so he could probably get away with ripping himself off
-and putting it in another film a lot. -WEITZ: Why not?
Yeah, no, that is nice, the way those strings are
sort of competing with each other and swelling.
I don't know much about music.
Anyway, this is a very sad scene.
LAMBERT: Should we talk about what the rain did to the microphones,
-that it made it a little difficult? -WEITZ: Oh, yeah, of course.
We had to rerecord all the dialogue here
because the rain was hitting the microphones.
Taylor couldn't wear a microphone on his body
because there's nothing to attach it to.
So all of this is rerecorded, but it's rerecorded to match
exactly the sort of tone in which they said it the first time.
So, it's pretty much just what we had.
LAMBERT: Now, is there something hanging off the back of Bella's rucksack?
WEITZ: There is something, which might refer to a previous movie of mine,
which did not go as well as this one.
(BOTH LAUGHING)
LAMBERT: That's right. There's an American Pie in her backpack.
WEITZ: Yes.
Okay, so...
(WEITZ SNORTS)
Sorry that was just me snorting.
I think some of these diamond shots are not our best, I'll be honest about it.
And, you know, you get the effect and then it goes...
Oh, that's a nice one, though.
-This is nice, when he's doing this. -LAMBERT: The one on the side is amazing,
-the top shots... -WEITZ: Yeah.
LAMBERT: We were just like, "If we'd had one more day before our deadline... "
WEITZ: Yeah, the top shots we dialed up too high,
and I apologize to Susan MacLeod, our visual effects supervisor,
for having done that.
You have to be very careful when these effects come in
and then you start treating things in the DI, the digital intermediate,
where you can change the lighting and color on things,
and these effects are very fragile when you receive them,
and just one little tweak one way or the other
can make them kind of buzz or can completely make them disappear.
Anyway, Bella has a terrible stomachache at this moment,
and then who should appear but Laurent?
Well, of course, we did all this stuff,
all this beautiful reshooting of this meadow,
in order to then establish that it looked terrible and depressing and dead now.
So, the garden sequences from the first movie we reshot in this place
in order to proliferate it with flowers and what not.
And here comes Edi Gathegi, very good man.
Not a Rastafarian, actually, that is also a wig.
And, again, the danger brings on the apparition of Edward.
One thing we should say about the apparition shots
is that when we decided to do it,
I wanted them to be as subtle as possible
and impose some kind of elegant metaphor on them,
visual metaphor, so that they turned out a certain way.
And in this case, we used elements of a candle's flame moving very slowly,
so that when he flickers, the bits of him that are opaque
and the bits that are translucent
are mapped onto an image of a candle's flame.
So that is what is determining the kind of physics
of how we're seeing him and not seeing him.
Now, Laurent, wearing what I like to call his vampire pimp outfit.
(BOTH LAUGHING)
'Cause I think that's what a vampire pimp would wear.
-LAMBERT: Totally. -Yeah.
Here to inject a little fright into the proceedings.
Rather fun because, of course, we seem to remember him as a positive figure
from the last one, where he was cooperative with the Cullens.
-LAMBERT: He's fickle. -Yeah.
He is fickle. Well, you can't depend on Laurent.
We're not gonna have to worry about him much anymore after this
'cause the wolves are gonna get him.
You'll notice that there was a little bit there where we changed Bella's eye line
to represent it as though she were looking at someone far away
and then at someone very close.
Another very simple in-camera way to show the vampires moving quickly
without having to show them.
-WEITZ: "I don't believe it. " -"I don't believe it. "
WEITZ: Here come the wolves.
So, here is Sam-wolf, and this went through hundreds of iterations
to make him dark enough,
to make him reflect the light in the right way,
to make the wind move him enough,
to make sure that when he breathed, it'd reflect the cold of the atmosphere.
And in this shot, he always reminds me of a friend of mine's,
now passed away, Pomeranian.
(LAMBERT CHUCKLES)
LAMBERT: But not for long.
WEITZ: Okay, here's our first vampire speed shot.
Well, actually, we've seen little bits of it here.
I love this shot. This is gorgeous.
That's a gorgeous little CGl shot with Bella reflected.
We took an element of Bella and mapped it onto an eye.
The iris was colored based upon Taylor's,
and it all turned out lovely.
Here is Laurent ready to pimp slap a wolf.
LAMBERT: Great bit of sound work there from Scott Hecker and the sound guys.
WEITZ: Lovely stuff of the galloping wolves coming up.
And so now we're gonna... You know, Bella has run away
before she's seen the conclusion of this fight,
so there's kind of a Laurent wolf fight Rashōmon thing that's gonna go on.
Where she perceives it as impossible that the wolves could have killed Laurent.
Also notice Harry looking very antsy
about the wolves having been discovered.
Not stoked.
LAMBERT: We notice it, but Charlie doesn't.
WEITZ: Yeah, Charlie, Charlie...
LAMBERT: He's the least perceptive policeman.
WEITZ: Super cop Charlie, not noticing these subtleties.
Okay, here's Bella's imagining, I love this shot,
of what Laurent's gonna do to these guys,
which is, you know, take them out.
LAMBERT: This was a kind of completely unscripted thing, wasn't it?
As I remember it, there was a weather issue when this stuff was being shot
of Laurent running from the wolves with the visual effects guys.
-WEITZ: Correct. -And they had a bit of extra time,
and Edi said, "I would love to fight the wolves. "
So they shot a bunch of stuff, and then later in the edit we sort of...
-WEITZ: We added in some wolves. -...just suddenly realized
it would be really cool to drop it in in different places.
WEITZ: I mean, Edi basically said,
"Laurent would not go out like that, just running. He would turn and fight. "
And so we ended up with this kind of cool stuff.
LAMBERT: And then, prudent actor that he is, he then gave a series of interviews
where he told people that we were gonna see him
being attacked by the wolves at the end of the movie,
at which point we were pretty much tied into doing it,
and it works well.
WEITZ: So there's this lovely parkour moment or free running moment,
where Jacob jumps up.
And that's really Taylor doing his own stunt.
He had a wire on him, but only to keep him from falling to his death,
not to help him jump.
And the tree outside Bella's window was constructed specifically,
it was made in order to allow for that gag.
And I always wanted to put a little music over this shot of the...
-LAMBERT: The evil Brady Bunch music? -Yeah.
But it seemed a bit too much.
LAMBERT: Alexandre did write something for that.
WEITZ: He did.
LAMBERT: But we'd had music so recently that it was just a real push.
WEITZ: Yeah, it seemed like we were trying to push it too much.
But people sort of get it that Jacob is heartened by this view
and the fact that she's actually got it hanging over her head
when she sleeps is very touching to him.
And now they realize how much they have in common.
How they've both been trapped in this kind of web of supernatural terror,
I suppose, when he sees the bite
-that James inflicted on Bella. -LAMBERT: Yes, yes.
Bella, do you remember when we walked on the beach at La Push?
WEITZ: Yeah, there's a rather touching moment now
where Bella can't remember Jacob's side of the story.
He's trying to tell her, but she can only remember the Eddy part of it,
the Ed part of it, the Edward part of it, rather.
I guess I understand why that's the only part you remember.
WEITZ: This is very sweet, the way he says that.
And then Bella says the most extraordinary thing, which is, "Let's run away. "
And I think it's allowable.
You know, you think she wouldn't say that, what with Ed and her mind the way it is,
but she says it before she even realizes what she's saying.
And it's out of the deep, you know, friendship,
the love that comes from friendship.
And I think she says it before she's realized she has.
-And then it kind of leads... -LAMBERT: Then you see her,
and she does a good job of then double-taking almost,
-as she realizes what she said. -WEITZ: Yeah.
But I would run away with you
if I could.
WEITZ: This is another "Aw" moment for me.
-LAMBERT: Back in with the color. -I think Alexandre's music is
-very lovely here, the way it comes back in. -LAMBERT: Yeah, yeah.
WEITZ: Now we stay out in the 2-shot here, rather than going to close-ups.
Why? Because...
Well, because you can see the way that Bella's touching his back,
you can see the way that she leans against his chest
and you can guess at their emotions rather than seeing it in their faces.
I think there's something rather touching about that.
Uh-oh, nightmare coming.
LAMBERT: Again, no CG there. He really jumped out of that window
-with a cable. -WEITZ: He really jumped.
He really jumped on a cable.
He's very daring. I would not do that.
LAMBERT: So the leaves that we keep coming back to, to represent nightmares,
I can't even remember where we found those in the dailies.
-WEITZ: But they were from... -They became a kind of shorthand,
-didn't they? -WEITZ: Yeah.
LAMBERT: You know what, they were from the actual...
They were outtakes from when Sam is carrying her.
WEITZ: Yeah, exactly. They were the moment when the camera is sliding into position,
but not quite there yet.
And, well, this dream is, of course, about Bella's realizing
that Jacob is a wolf, somehow,
although not fully viscerally realizing it, 'cause that's yet to come.
But she's starting to put the pieces together.
And in the book in fact, though,
vis-ą-vis the leaves, her nightmares are really about emptiness, I think.
LAMBERT: Yeah, they're about her being in the woods, aren't they?
WEITZ: Indeed they are.
Okay, I'm sorry, I really need to see him.
LAMBERT: This is great, this little set.
-So, then anytime you see... -WEITZ: Yeah, fantastic set
which functions for what, 7 seconds.
But when the kids who are cast as the Quileutes came and saw it,
they said "Wow, this is like... "
-LAMBERT: Were they? Oh, that's good. -"This is like it is on the rez. "
-Okay, what did you do? -Hey.
-What did you do to him? -Easy!
WEITZ: Now, Bella's getting a bit aggro here, but I love it,
because she's defending her friend.
He tells me nothing because he's scared of you.
(SNICKERING)
WEITZ: Oh, you're gonna get a smack.
(BOTH EXCLAIMING)
-WEITZ: Oh, no, you didn't. -Face punch.
WEITZ: That was a face punch.
-LAMBERT: Actually it was a face slap. -It was a face slap, yeah.
Well, it was slunch.
A plap.
Yeah, that was, you know, obviously a mistake on her part,
because now he turned into a werewolf.
Run!
WEITZ: And here we're setting up this kind of hug moment, which doesn't happen.
I rather like setting it up as though they're going to embrace,
and then over he goes.
And, of course, this would have been a great moment
had it been seen first in the movie, but instead we showed it in the 1st trailer.
(BOTH LAUGHING)
LAMBERT: And then again in the 2nd and 3rd and several other trailers.
WEITZ: Yeah, so that everybody knew.
LAMBERT: But probably if you looked at each of those trailers now,
you could see the development of the wolf from one to another,
'cause it's definitely different now than at the start.
WEITZ: Definitely that shot went through 550 something different versions.
And each time, as you progress, the musculature moves differently,
the fur behaves differently, the wind goes through the fur.
And here I played a little trick where the camera gets knocked over by the wolves,
and you sort of hardly notice it,
but it was to sort of lend a little extra credibility to the moment.
I suppose it's a bit of a joke, too, an in-joke to oneself.
Of course the wolves are not real and they wouldn't knock over a camera ever,
but it's as though it's a camera standing there on a tripod
and the wolves knock it over.
Now that sound they just made...
(MIMICKS SOUND)
...is actually a Quileute thing,
and it's actually at a higher pitch than I can do with my voice,
but it's the kind of thing that young Quileute dudes do to say hey to each other.
Oh, hey, about Emily, Sam's fiancée? Don't stare. It bugs Sam.
Why would I stare?
Are you guys hungry? Like I have to ask.
(EMILY LAUGHING)
Who's this?
JARED: Bella Swan
WEITZ: This is Tinsel Korey, who does a lovely job as Emily.
LAMBERT: She's about to call Bella "Muffin, "
as was always our joke in the cutting rooms.
-Or has she done it already? -WEITZ: Nope.
She's going to, and we always laughed.
-We snickered like a couple of school girls. -LAMBERT: Oh, how we laughed.
WEITZ: Now, of course she's really offering Bella a muffin,
but we thought it almost seemed like she was calling her muffin,
and that was the funniest thing we'd ever heard in our lives.
LAMBERT: (LAUGHING) I still laugh thinking about it now.
You've got to understand that we spent a lot of hours in the cutting rooms
on this movie.
WEITZ: Yeah. We go a little crazy in a dark room
looking at footage again and again.
Would you shut up? These are trade secrets. Damn it!
LAMBERT: Bella makes a little joke here.
WEITZ: Yeah, she tries to be funny, "You can't run with vampires. "
Emily gets it. The other kids don't.
Now this is a beautiful decoration job
done by the production design team, set decoration team,
because this was a kind of abandoned little shed
that was turned into this lovely,
you know, homey, sort of fairy tale little cottage.
And here it was very important to me that we see that Bella can't look,
but it's not because of the scar.
It's because Sam and Emily are in love and are together.
Sorry.
WEITZ: I love that little moment. That was an ad-lib by Alex, very, very funny.
Now they have the werewolf talk.
LAMBERT: First day of shooting was this, the wolf talk?
WEITZ: Yeah, this was the first day of shooting on Vancouver Island.
Those were skip dissolves where you maintain exactly the same frame
but you position and dissolve the actors into different places.
LAMBERT: If we hadn't dissolved, they would be jump cuts.
-WEITZ: They would be. But they're not. -To continue the lesson, yeah.
WEITZ: Or it would have been an extraordinarily long shot.
LAMBERT: Yeah. Okay, yeah.
WEITZ: So, yes, this is our very first day, and while we were shooting this scene...
We shot this scene and the beach rescue scene on the same day.
And during the time that we were shooting this scene,
there was this overcast, there was direct sunshine,
there was hail, unbelievably, there was hail,
and I just thought, what more can Mother Nature throw at us
to mess up our shooting day? But somehow we managed.
You know, the shot back towards Jacob was actually much more sunny,
and what we did was take the blue from the sky and desaturate it,
so that it's gray, which matches with the look back at Bella,
and it all kind of matches together.
Now we're gonna find out what really happened to Laurent.
-The one thing we do kill, Rastafarians. -LAMBERT: Rastafarians.
(BOTH LAUGHING)
Wait, Jake, you can't.
Don't worry. We can't touch your little precious Cullens...
WEITZ: A little reference to the treaty
and then we'll see Laurent getting ripped up.
LAMBERT: I think the flash of Laurent was really also a useful way of us
cutting some unnecessary dialogue out of this scene, wasn't it?
We used it as a way to skip around a bit.
WEITZ: Yeah, well, there is a bit where
Bella thinks for quite a long time
that Jacob is responsible for all the deaths that have been occurring,
having just encountered Laurent.
So I think that it was better to move on quickly to the fact that
Laurent is the murderer in question.
The butler did it.
And now, this is just pushing in on Jacob. He's mad.
Now he's got it in for Victoria big time.
So that shot, rather nicely opened with Bella alone before we rejoined Jacob,
so it had a sense of her vulnerability before he shows up.
And now this great Thom Yorke...
Oh, wait, okay, here's another mistake by Jacob.
LAMBERT: Yeah, yeah, go inside. Unbelievable.
WEITZ: "Come in for a cup of tea, Jacob. "
Have some tea before you go off chasing vampires. See what happens.
Something might happen.
Look, she wants you to hang around. Don't go.
-Oh, he's gone. -LAMBERT: He's got a vampire to kill.
WEITZ: Yeah, I know, but I mean, it can wait 10 minutes.
LAMBERT: Yeah, I'd let Sam do that. Let Sam take that on.
WEITZ: I know, she's like, "Why did he just... All right. "
BELLA: Until I'm alone.
-LAMBERT: This track is great. -This track is great.
This shot is very nicely done by Javier Aguirresarobe,
because it doesn't just go from dark to light,
it goes through the different color temperatures that it would go through.
And she's trying to imagine Edward but can't,
and there are happy couples all around.
And so this song from Thom Yorke came in, and it was a surprising song,
because it was kind of a bit techno, and yet it had a tremendous amount of soul,
but it also had a beat,
and weirdly, it just fit perfectly into this kind of action sequence.
LAMBERT: As our temporary music score,
we'd had much more kind of conventional action-y music
under the whole wolf-chasing-Victoria sequence.
And then we put this on, and it turned it into something a bit more dreamy
-and strange. And lovely, yeah. -WEITZ: And weird, yeah.
LAMBERT: And the whole sentiment of the lyrics if you pick it up being,
"You can do no wrong in my eyes, "
seems very appropriate for everything that's going on.
WEITZ: 'Cause this sequence, you know, really is about
Jacob protecting Bella.
LAMBERT: And meanwhile Bella trying to get Edward.
WEITZ: Bella seeking Edward.
LAMBERT: And Victoria mourning James.
WEITZ: Victoria mourning James.
-And then... -LAMBERT: Yeah, and of course,
poor Charlie's love for Harry.
WEITZ: Charlie's friend dying,
which is V sad.
LAMBERT: (LAUGHS) V sad. I'm sorry, I didn't mean to make light.
-WEITZ: Yeah, don't laugh. -I'm sorry.
WEITZ: All right, so here's Jacob. He's had enough of this red-haired chick.
Okay, there's the shot that's too cool for school for me.
You know, I always like CGl shots to not be too cool.
LAMBERT: What was that shot? Sorry?
WEITZ: The first shot where Jacob-wolf is charging towards Victoria...
LAMBERT: And it goes in slow mo.
WEITZ: And there's some distortion and slow mo.
LAMBERT: Yeah.
WEITZ: But it is beautiful.
That's the very first shot of the movie that we're looking at right now.
The very first shot that we took on Vancouver Island.
Love this shot because you show how she's moving so much faster than the crow
who's just moving backwards in the screen.
Here comes Victoria running towards us, camera drops down.
I should say, I didn't film any of this shot.
This is all Phil Neilson, our amazing second unit director,
and all this stunt-y stuff, all the great stuff is done by someone other than me.
But...
LAMBERT: We should talk about the vampire speed effect,
'cause that was a kind of a last-minute addition, really, wasn't it?
WEITZ: Yeah.
LAMBERT: We always planned that we would never make the vampires run any faster than,
effectively, as if they'd been shot at 24 frames per second.
-WEITZ: Right. -So in other words,
faster than a human being would run, we would only go slower
-and go into slow motion. -WEITZ: Right.
LAMBERT: But we suddenly realized that we could, well, we couldn't,
but the visual effects guys could do these cool little effects
-to sort of shoot them forward. -WEITZ: Yeah.
LAMBERT: And suddenly they did it once, and we were like, "That's cool, "
and then Susan MacLeod, the visual effects supervisor, kept pushing.
And then suddenly it was everywhere.
WEITZ: Her jumping off the cliff.
Yeah, at first, the technique was to slow them down
in order show them going faster.
We would only shoot them in slow mo, as it were.
And then we saw some kind of time-space distortion effects
that conveyed the idea of someone going so quickly
that the space around them was kind of warped,
which worked rather nicely.
And here's just the really perverse moment
where Bella is doing something extraordinarily dangerous and near suicidal,
just to get another taste of Edward's presence.
LAMBERT: It's kind of interesting
the music choice that ended up for the score here, as well.
'Cause I always thought this would be kind of a big adrenaline-y thing
of her at the top of the cliff.
And then Alexandre wrote this really lush, romantic music,
the kind of music of longing, which comes up every now and again in the movie,
and, again, it changes, it transforms it into something kind of romantic and beautiful.
WEITZ: Right. Yeah, very weird stuff happening here.
Okay, so, now we're in a swimming pool in Vancouver.
And anything that you see which doesn't look like a swimming pool
in Vancouver is added with CGl.
So, the color of the water, those waves in the background, CGl.
That cliff there, CGl. This wave, CGl.
This is real, because poor Kristen, with a cold,
was slammed with hundreds of gallons of water,
producing these beautiful kind of bubble effects that are going on.
But this, however is Rachelle Lefevre swimming
in a swimming pool in Vancouver.
But with all the water around her turned into what looks like murky, cliff side water.
And now we go into sort of a dream state where she's close to death.
She's close to drowning and...
LAMBERT: This again was Kristen and Rob with weights in their pockets, wasn't it?
-WEITZ: Yes. -Just dragging them down.
WEITZ: Although, Rob actually did sit at the bottom of the pool.
-LAMBERT: That's right. -We filmed them separately.
-LAMBERT: Someone had to hold him down. -Rob was at the bottom of the pool
with weights in his pockets.
And then Kristen was feeling a bit worried about that,
so I said, "Oh, that's no big deal, come on, "
and I got into the pool with some weights on me,
went to the bottom of the pool and started panicking immediately.
And so I thought, "Okay, I'm not gonna make Kristen do this. "
So we actually filmed her laterally, sideways,
but of course, you know, when you can't tell the background, you don't know.
So she looks like she's floating downwards, Edward's floating upwards,
and since he was shot separately, we could dissolve him in that manner.
And that beautiful Grizzly Bear track
keeps on going at a very, very, very, very subtle level until she wakes up,
so even when she's on the beach there.
And this again was what we shot that first day,
when I was saying that we had all this kind of crazy, crazy weather,
and was the beginning of the torture that I was inflicting on our actors.
Because, there's poor Taylor, on Vancouver Island,
it is cold, it is cold, cold, cold, and they're wet down.
And now here's the hardest line to say in the movie.
"Harry Clearwater had a heart attack. " 4 H's in very quick succession.
LAMBERT: It was good that the Clearwater was put in there,
'cause I think originally it was, "Harry had a heart attack. "
WEITZ: Harry had a heart attack.
LAMBERT: It sounded like a kind of ABC primer.
WEITZ: Actually, it sounds like sort of a band that plays at your prom or something.
Come on. I'll get you something dry and drive you home.
WEITZ: Anyway. A beautiful beach.
LAMBERT: A little outtake there, that wide shot of him, lifting her up.
WEITZ: Outtake. It wasn't. It was after we had said cut, wasn't it?
LAMBERT: Yeah, it was indeed, yeah.
WEITZ: Okay, again, we're shooting in a barn on a green screen,
but, you know, CG is able to put in this lovely road,
and the beautiful kind of sense of shadow of these trees above them
and passing over them and the opacity of them and the translucence of them.
It's a Jacob thing.
You're just warm.
You're like your own sun.
LAMBERT: I always think it sounds like she says, "You like your own son. "
WEITZ: Oh, right.
LAMBERT: Which is ironic 'cause he's gonna end up liking her daughter.
WEITZ: Well, I thought it was even more confusing, "You are like your own son, "
which would be deeply, deeply confusing.
LAMBERT: Okay, yeah. Is that compliment?
You saw what happened to Emily.
-WEITZ: Now we deal with... -Now, we're not in a barn.
-Now we're in real. -WEITZ: No, this is real.
This is real, and we are shooting,
you know, 1 single long take of the 2 of them together,
as Jacob kind of explains his fears
of hurting her really.
And there were several takes to choose from here,
and it was really about choosing the near kiss that was
I suppose the most tortuous, really,
and one in which it didn't seem like she was suddenly saying talk to the hand.
But where you could tell in her thought processes
that this was a possibility for her.
And, in the book, I believe Edward pops up over Jacob's shoulder
and says, "Be happy. "
-LAMBERT: "Be happy. " -"Be happy. "
Thereby totally spoiling the moment
in a kind of passive aggressive apparition sort of way.
But here it's just sort of Bella recalling herself
from this moment of intense gratitude
of emotionalism and of deep, deep friendship,
which almost pulls her into Jacob's orbit.
Now Jake's making the right move here for once in his life.
Still doesn't work, though.
Close, no. No cigar.
That little micro movement there by Bella, that says, no, no, thanks.
LAMBERT: ll think we put a little sound, a kind of...sound.
I don't know if that can be picked up
-on the microphone. -WEITZ: Yeah.
LAMBERT: Which actually, amazingly, is Taylor making that noise,
but we shifted it so it sounded like it was Bella as a kind of...
-WEITZ: Oh, how creepy. -A little rejection sound.
WEITZ: This look here, before he says there's a vampire,
almost looks like Bella is saying, "Wow, he's actually gonna go for it. "
LAMBERT: Yeah, yeah, it's cool.
WEITZ: It's kind of a cool, confusing moment.
There's Carlisle's car.
Now here, this is kind of an interesting moment, where he actually hurts her.
He grabs her so hard that he hurts her,
and it's kind of this little reminder of the moment earlier
where he said that he's a bit afraid of the danger that he might pose to her.
LAMBERT: Amazingly, coincidentally, he grabs her in roughly the place
where I believe a bruise ends up on Kristen's arm,
which you can see later in the movie, in Italy,
which actually came from her running into the fountain.
WEITZ: Yes, we'll talk about that later.
-That's a good one. -LAMBERT: That will be a fun one.
WEITZ: You can actually hear Alice give a little "huh" of surprise
when Bella is surprised, which I find kind of charming,
which we had to position very carefully when it came to doing the sound.
Now, there are moments where they're just about to talk about Edward
but they don't, here,
which is probably very frustrating to the audience,
but don't want to get them to quite talking about him yet.
I was cliff jumping.
Recreationally.
It was fun.
(EXHALES)
I have never met anyone more prone to life-threatening idiocy.
Does...
Did you tell him?
No.
He only calls in once every few months.
He said he wants to be alone.
Bella, what is that God-awful wet dog smell?
Um...
That's probably me.
WEITZ: There's a lovely look that we kind of cheated in there,
where Bella looks just so terribly defeated at the mention of Edward.
And it's like when, you know,
someone has broken your heart and their name comes up,
and there's just nothing to do about it.
And here, to me, is a really nice moment where this theme comes in,
and so she's just been slammed again
with the fact of Edward's seeming non-interest in her, and here comes Jacob,
who, against the treaty, against all odds, is still coming back for her,
which to me, justifies the moment that we're about to have in the kitchen.
I'm talking about the other bloodsucker who tried to kill Bella because of you.
Victoria?
Yeah, Victoria's been around.
I didn't see her.
LAMBERT: This always, for me, kind of puts paid to Edward's theory
that he was going away to protect her.
It's like, he really should have picked up on the fact that Victoria was in town,
rather than going to South America to hunt her.
WEITZ: Yeah. Well, not a great decision by Edward.
-LAMBERT: Bad decision. -Not one of the great decisions
of all time, let's be honest.
But without that, we wouldn't have a movie, really.
LAMBERT: Good point, yeah, okay, yeah, fair enough.
WEITZ: So, thank you, Edward.
And I think in a weird way...
That's part of the reason that Romeo and Juliet
sort of plays a big function in this movie, because in Romeo and Juliet,
there are just a bunch of horrible mistakes that people make.
-LAMBERT: Yeah, yeah. -And misunderstandings,
which could be rectified in about 10 seconds
or by just waiting for just a minute.
And yet things go awfully, terribly wrong.
LAMBERT: Yeah.
WEITZ: And that Edward is very kind of snooty about Romeo
at the beginning of the movie,
just saying how stupid he was, and yet he does exactly the same thing.
LAMBERT: Yeah.
And she can stay as long as she'd like.
WEITZ: Bella's kind of annoyed at Jake now,
'cause it seems like all Jacob cares about is the Cullens.
She hasn't quite twigged to the fact
that he's just threatened by the possibility of Edward coming.
Anything else?
WEITZ: All right, Jacob's both about to make his best move in the movie and his worst.
LAMBERT: Yeah.
Well, if that's all, then you'd better go run back to Sam.
LAMBERT: This is exactly the same little sting, musically here,
that we heard when Jacob comes in. It's like he's picking it back up again,
-and then it develops. -WEITZ: Now,
I think that her annoyance here, you can interpret it any way you like,
but part of it is her annoyance at Jake
for not giving himself enough credit in her life, in a weird way,
and being more of a werewolf than a suitor.
Okay, now, he's about to say something...
LAMBERT: Yeah, are you gonna tell people what he's saying?
-WEITZ: No. -Okay, good.
WEITZ: But I will tell you that it is genuine Quileute,
a language spoken fluently by only a few people in the world.
LAMBERT: And we hope that they've told us the correct translation
of what we wanted them to say.
'Cause otherwise he might be saying something terrible.
WEITZ: So somewhere in the background, I am controlling the telephone.
Don't answer the phone, Jacob. You idiot. Okay.
-LAMBERT: So, that ring, actually, you timed. -Yeah.
LAMBERT: So you could decide how long to let them
nearly kiss.
WEITZ: Well, that ring was on a 2 second delay,
so I had to decide, actually...
LAMBERT: 2 seconds beforehand.
-how close their lips would be. -LAMBERT: Wow.
WEITZ: And they just, just, just, just touch or appear to touch.
LAMBERT: People think directing is easy,
-but when you hear stories like that... -WEITZ: No, it's not easy.
It's not easy. It's very stressful.
Edward, a mistake by him, too, destroying his cell phone.
LAMBERT: Yeah, they could have just done
-the reverse call thing. -WEITZ: Instead of calling back.
-Yeah. -LAMBERT: Otherwise, couldn't they?
She could have just done whatever the American equivalent of 1471 is, yeah.
-It's star 69, and she doesn't do that. -LAMBERT: Not that.
-Yeah. -WEITZ: Yeah.
LAMBERT: She probably did do it, but in the sort of time transition
-that we cut around... -WEITZ: Yeah, we don't see that.
LAMBERT: But he'd smashed the phone by then.
-She would have got voicemail. -WEITZ: Yeah, yeah.
"Hi, this is Edward Cullen. I'm away from the phone at the moment
"or I've crushed it in despair. "
(LAMBERT LAUGHING)
Okay, here comes another whip pan.
(WEITZ CHUCKLES)
The old whip pan, my fave.
Notice that Bella has a passport.
We just wanna make sure that you know that.
-LAMBERT: Wow, I never even noticed that. -Yeah.
LAMBERT: Where's she got her passport?
-WEITZ: In her hand. -Oh, okay.
WEITZ: You mean, where'd she get it? I don't know.
LAMBERT: No, no. Where is it? I can't see the shot.
WEITZ: In Seattle.
LAMBERT: I don't know why I didn't notice it before.
WEITZ: (EXCLAIMS) Jacob takes a pounding again.
How much emotional letdown can this kid take?
And I just realized, watching this at the premiere, when he says,
"I'm begging you, " he's in the position of a dog and he's begging like a dog.
(BOTH LAUGHING)
Which I suppose is either funny or sad.
LAMBERT: Yeah.
-WEITZ: And I rather like the look that... -Alice gives.
WEITZ: That Alice gives when Jacob first reaches in,
which is like "Girlfriend, what is he doing?"
Anyway, transition shot to this plane.
Let's just get them to Italy quickly, shall we?
It was kind of the idea, 'cause we didn't really want to see them
in the waiting lounge at Seattle Sea-Tac airport
and doing duty free shopping and all that kind of stuff.
LAMBERT: Alice playing Tetris on her phone while they wait.
WEITZ: Yeah, let's just get them there.
And the beloved yellow Porsche.
And here we are with the Volturi.
LAMBERT: We only added this scene back into the movie at the last minute.
Amazingly, we were stupid enough to cut it out
-for a long time, weren't we? -WEITZ: Yeah, we did think for a while
that we shouldn't see Edward until Bella sees him
and that we didn't want any back-at-the-ranch scenes.
But this was a good way to break up the rush, the headlong rush.
And so now, when Bella first encounters Aro,
we know a bit more about him. He isn't just some weirdo who pops up.
LAMBERT: I like the way you introduce the Volturi so gradually throughout the movie.
And not just them as their characters, but also the set.
The way, both in the first flashback in the painting and in this scene,
you don't really get a sense of the scale of the set.
Such a waste.
WEITZ: But in the movie, we very...
LAMBERT: But I don't think anyone was doing it,
-to be honest. -WEITZ: We very carefully...
No, people don't use the Internet.
We very carefully rationed out what bits of that set that we would see
and in what degree of elimination, so that when you finally saw it,
it was like, "Wow, this is really something. "
He's gonna make a scene.
Show himself to the humans.
LAMBERT: This was a great moment of genius on your part,
throwing in this little vision.
WEITZ: Oh, was it? Thank you.
LAMBERT: Yeah, it was you. You thought of it.
WEITZ: Yeah, we cheated a little vision there.
Well, now...
Ashley used her hands on the steering wheel quite well,
and then someone told me that it looked like she wasn't driving.
And then I told her to move it more, which then became a bit
looking as though she was Toonces, the driving cat,
making it very hard to composite in the background.
LAMBERT: You'll notice that that sequence is cut very fast, mostly in singles,
because we're trying to avoid it being on her and the road long enough,
to see that the road does not match her movements.
WEITZ: Now, there's the famous bruise which we say
was made by Jacob grabbing her.
-LAMBERT: Is it on the same arm? -These are real Italian cops
acting, actually, relatively unconcerned
given the speed at which...
LAMBERT: Did they know that they were being filmed?
-WEITZ: They did. They did, yes. -They were just doing their job.
WEITZ: Just doing their job.
Okay, notice now that we actually, throughout this movie,
saved the color red for use here,
so that now you've suddenly got this sense of blood and danger.
We really rarely, rarely, rarely used red.
There was kind of a prohibition against red throughout the film, until this point.
And here we are in Italy, of course, by the way.
Having finished in Vancouver, we flew to Italy
for a week's work, 4 days of shooting, 2 days of prep.
And voilą.
(WEITZ SPEAKING FOREIGN LANGUAGE)
And about a thousand extras, and this thing which is called a palanchino,
that saint's processional, palanquin thing.
And you'll see that that's a vampire being chained by a golden saint,
which accords with what's talked about in the book,
and here we're going in and out of various speeds to get Bella to that moment.
That's where she scratched her arm,
and voilą, noon.
Now, very difficult to shoot, over the course of several days,
a shot which is supposed to take place at exactly noon.
You have to be careful to plan your camera angles,
so that it falls just at the right time.
And poor Peter wasn't here for the Italian part of the shoot.
LAMBERT: I was in LA having a great time.
WEITZ: Yeah, well, I was eating pasta at the Relais San Bruno, buddy,
with homemade mozzarella.
-LAMBERT: That sounds good, though. -Yeah.
LAMBERT: I can go to Italy whenever I want.
-I'm English. It's just around the corner. -WEITZ: That's true.
-LAMBERT: LA was more exciting to me. -It's a 2 hour drive.
Now these are the beautiful diamond effects,
and now why is this little kid suddenly interested.
I wanted to give some sense of threat that somebody had noticed
but that they wouldn't ever be believed, so that we were constantly kind of
riding the line between the possibility of being noticed or not.
I thought it would be odd if you see him and then nobody's looking at him.
But then we had this sweet little girl who just couldn't stop smiling
'cause she was so happy to be in the movie.
We tried to make her look surprised or amazed,
but all she could just do is smile. Sweet little Italian girl.
I rather love this scene.
LAMBERT: Unfortunately, she will now, of course,
have to be assassinated by the Volturi, having seen this.
WEITZ: Now, the colors here, you know,
certainly if you compare this to the first movie,
golds, gold, gold and red.
And, well, I don't know, I mean, it's just a lovely little intimate scene.
And this is actually played out in the city hall of Montepulciano,
-while business was being conducted. -LAMBERT: Really?
WEITZ: Yeah, in between shots, there are guys rushing around
with papers to Xerox and things.
And they're doing this incredibly emotional scene.
And also, between every shot, Kristen would run...
-LAMBERT: Kristen would run around. -... up and down the corridor
in order to get as out of breath as she would have been having just arrived.
We did some work on this dialogue.
I do love that she just says she's human, she's nothing,
which I think we all sort of feel, at certain points, in relationships,
when we've been missing someone or lacking someone.
"I'm nothing. I'm human. "
And, of course, that's what's most important to him.
LAMBERT: Epic, epic kissing here.
-WEITZ: Yeah. Yeah. -Epic snog.
WEITZ: Epic snogage with dissolve, snog dissolve,
and also Alexandre hitting his strings at the highest.
Now, those guys were actually wearing hoods,
which was supposed to keep them out of the sunlight,
but actually just looks like they scratched their heads in concert as they come in.
LAMBERT: I think it looks like they're doing sort of teapot impressions when they walk in.
Bella, why don't you go and enjoy the rest of the festival?
The girl comes with us.
WEITZ: The very large, intimidating, but extraordinarily sweet Daniel Cudmore.
-6'8". -LAMBERT: He's a big man.
WEITZ: All Canadian, all nice guy, actually.
And here comes Dakota,
who the moment she walks onto the screen, it's just pow.
You know, the camera's fascinated with her.
She's absolutely brilliant, and her crazy praying mantis eyes,
and there's just a nice moment where Bella's like,
"Why the heck are we following this chick?"
And the only explanation is Jane's power, really.
And this is like, "Put some clothes on for God's sake. "
Now then you see the little popping of diamond on him
and Ashley, explaining why,
because in between that shot and this shot where they're walking down the stairs,
they will have popped in the sun, the diamond effect.
And there's Dakota snickering at the idea that Edward would not be afraid.
So now here, when they walk into the...
This is sort of a series of transitions
from sort of what you expect of Dracula's castle
to something more modern, dark to light, menacing to clinical,
and there's this music from Die Fladermaus,
which, of course, means "the bat, " playing in the elevator.
And at first I thought it was a bit of a risky, cheeky thing to do,
but then Stephenie Meyer said, "I love the vampire elevator music.
"Can we have more of it?"
So, then we see the sort of strange office-like environment and a human.
LAMBERT: I love the fact that it's got computer drives in it, that office.
WEITZ: Oh, yeah, it's got a couple of servers there, so the Volturi keep track of,
I don't know what they do, the vampire population or something.
LAMBERT: There's like a vampire
whose special skill is databasing, in the background.
WEITZ: He's the world's best system administrator.
LAMBERT: He was good at databasing as a human being.
As a vampire, he's amazing.
(BOTH LAUGHING)
WEITZ: And here is the set. Gorgeous, gorgeous set
designed by David Brisbin, with his architectural background,
and here is wonderful Michael Sheen,
and this shot, I just love.
Right here, this is a painting, you know.
I happen to despise smoke,
which cinematographers use to layer diffusion into the background, right.
It puts things out of focus in a progressive fashion.
But Javier used smoke here in order to kind of give a sense of depth to the background,
and it gives a kind of a softness to the background
while in the front it's rather crisp.
LAMBERT: And it doesn't feel like smoke, I don't think.
WEITZ: No, it doesn't.
LAMBERT: I don't think it feels like atmosphere
-in the way you thought it was gonna. -WEITZ: It doesn't. Yeah.
So get on with it.
WEITZ: Now, I talked with Michael Sheen about Aro before doing this.
And I said, "Well, I think, you know,
"after about 2, 000 years, you'd start to go kind of crazy. "
And so he plays him sort of like a mad man.
I mean he is both intrigued by this relationship between Edward and Bella
and has this kind of vicarious pleasure in them,
but is, at the same time, ready to kill them at any moment.
And it's kind of one of the great mad villain portrayals
since Hannibal Lecter I think.
And at this point in the movie...
Jamie Campbell Bower, Christopher Heyerdahl, brilliant.
LAMBERT: Not naked.
WEITZ: Not naked, as you can see. Proof positive.
LAMBERT: "In not-naked shocker!"
(WEITZ LAUGHING)
WEITZ: So, what the heck was I saying?
LAMBERT: You were talking about Michael Sheen being Hannibal.
WEITZ: Oh, yeah. I just love these looks that he's giving.
There's so much going on in his eyes and in his expression.
And, you know, he's really quite kind of sadistic, really.
But to him, he's not really doing that much harm.
Here's evil little Dakota Fanning showing her true self.
No. Actually, she's a delightful young lady.
Not at all like Jane, but I think she enjoyed playing that part.
LAMBERT: Rob was on a cable, wasn't he, for this?
WEITZ: Yeah, Rob was on a cable,
which kind of kept him suspended,
as though his whole body had gone so rigid
that he was standing in this unnatural position
before he dropped to the ground.
And I love the way that the sound effects here end just as she blinks.
Wonderful job by Scott Hecker and his guys, again.
Go ahead, my dear.
WEITZ: And lovely just reading Dakota's face here
as she realizes that her powers are just not happening.
LAMBERT: Kristen's very good in this, as well.
WEITZ: Yeah, like, yeah, "What the H?"
LAMBERT: Sort of, she's taking her on, in a way and then...
WEITZ: Yeah, there's some defiance there.
And Michael says he was channeling the Blue Meanies from Y ellow Submarine,
but I think it's rather important that we get to the point in this movie
and then something really strange and new happens,
but which still somehow fits into the context of the rest of the film,
but, you know, kind of reboots the entire story at this point.
That's true.
WEITZ: Now, I worked on a bit that's coming up here.
Oh, no, it's later.
No, it's coming up later.
Okay, so, big fight scene, yeah.
We use everything that we've learned, up to this point.
We use high speed, we use sound effects
of stones smashing together.
LAMBERT: We used some whip pans, I'm gonna mention that.
-WEITZ: Some whip pans. -Yeah, for Alice, I think.
WEITZ: CG crack on Edward's face, vampire speed, the whole 9 yards, really.
Wire work in which somebody's thrown on a wire
but the wire is later removed, like there, boom.
The old Styrofoam table gag.
CG dome up there, on top of the set.
LAMBERT: I think the... Almost the most exciting thing about this sequence
is the fact that there's no music and just this amazing sound.
-WEITZ: Right. -Which becomes kind of...
It's so percussive that it almost becomes like a soundtrack.
WEITZ: Right.
LAMBERT: It's quite an unusual choice I think,
in a way, in that very often you would have big music over this kind of thing.
WEITZ: Right.
LAMBERT: And it becomes a bit more sadistic
and sort of real in a way when you don't play music underneath.
WEITZ: Yeah, you do get sort of vicariously involved.
Now, I love this look that Michael gives as he's coming down.
He's utterly confused by the willingness of a human to give their life up,
and fascinated by her.
You would give up your life...
WEITZ: This bit of dialogue, we worked on, and it means a lot to me that Bella says,
and this is just a big F you to Aro and to all the Volturi,
"You don't know a thing about his soul. "
Because they'd been talking about the soul earlier.
You don't know a thing about his soul.
WEITZ: And I think when you love someone, that's what you believe,
that you know about their soul more than anyone else does.
That kind of sums up the movie for me, or her feelings for him, for me.
Makes you understand why she's obsessed with him.
It's not just about the surface of it.
And here was a cheat,
where we went for the traditional
vampire-about-to-bite-someone-on-the-neck thing,
rather than, as Stephenie called it, the vampire high five attack,
which Laurent employs, where the vampire holds up his hand in readiness
to slash someone's throat.
And here's the moment, interestingly, which provokes the only moment,
or at least when I saw it at the premiere, the only moment of unintentional laughter.
-LAMBERT: Yeah. -And I entirely blame Rob.
(LAMBERT LAUGHING)
-LAMBERT: Why'd you blame Rob? -'Cause I think he runs like a girl.
LAMBERT: Yeah. I think it's hard to run in slow motion without looking a bit like a girl,
unless, as your assistant, Dave Roker, said, you are Sylvester Stallone,
in which case you can pull it off.
WEITZ: We should have used Sylvester Stallone for that moment.
LAMBERT: Yeah, you're right. Yeah.
WEITZ: Well, hold on, Chariots of Fire,
they're running in slow motion the whole time.
-LAMBERT: Good point, good point. Yeah. -Yeah. Yeah.
-LAMBERT: They did look a bit like girls. -Oh, all right, good point.
Anyways. Yes, so Aro discovers
that she'll be turned into a vampire.
Let us be done with this.
-LAMBERT: This guy is great, by the way. -He just gives so much.
So much.
LAMBERT: My hope is that his line, "Not without cause"
from the earlier scene will actually become a catch phrase
which people will have on T-shirts with pictures of his face, after this movie.
WEITZ: Yeah. Or like it'll become a meme on the Internet.
-"Not without cause. " -LAMBERT: "Cause. "
WEITZ: And when we first shot it, we just loved that line so much,
that we'd make up things like, "Have you ever met a cat?"
"Not without paws. "
LAMBERT: Again, that's the kind of comedy which takes place
in the New Moon cutting rooms.
WEITZ: That is the kind of hilarity which goes on.
That was an all too brief shot of Noot Seear, the lovely Canadian model, now actress,
who plays Heidi, the girl who was sent out to fish for tourists
for the vampires to go and eat.
Now this scene, for a while, we called the schnozberry scene,
because it was... Let me see, how to explain?
-LAMBERT: I can explain this. -Okay, please explain it.
LAMBERT: So, when your film has been shot, it gets rushed to a laboratory
where they do a very quick version of it, which you can edit on your computer
at a sort of not-perfect resolution
just so that you can get to work on it straight away.
And they have to make their own quick decisions
based purely on some notes from the camera department
as to how to color them.
And this was the one occasion where it didn't quite work perfectly.
And due to sort of an accident based on the pillow being lilac colored,
the entire scene came out very blue.
WEITZ: Yeah, because the guy who was coloring it thought
that that lilac pillow in back of her head was white.
So he thought that everything white was supposed to go lilac.
And suddenly this scene looked like they'd all been eating schnozberries,
from, you know, that movie...
LAMBERT: Willie Wonka's Chocolate Factory.
WEITZ: I think we're not supposed to say the name of movies.
-And so... -LAMBERT: It's a book. It's a book.
WEITZ: Okay, well, whatever.
Anyway, everyone looked like they'd been eating schnozberries.
All right, too many blueberries.
LAMBERT: We called it the blueberry scene for a long time.
-WEITZ: The blueberry scene. All right, yeah. -Yeah.
-Anyway, it was soon rectified. -WEITZ: Yeah.
And I hope that people don't think that Edward is now hiding
in a cowering fashion underneath the bed so that Charlie can't see him.
That's what I suddenly thought when he opened the door there.
'Cause that would be a very undignified thing for a vampire to do.
LAMBERT: No, I think people have got used to the fact that
he can sort of jump out of windows
-and dart around wherever. -WEITZ: Right. Right.
LAMBERT: I think he's actually on the ceiling. If the camera just tilted up,
you'd find him, just hanging there like a beetle.
WEITZ: Like a ninja.
Okay.
LAMBERT: Just like a bead of sweat's gonna drop down and Charlie'll be on to him.
WEITZ: Now, that, I think, was from the first film, that wolf painting, I assume.
But it's funny because it's as though you see Jacob,
and then you see Edward.
Now here is where most fans of the books will be expecting the proposal.
But in an act of sadism,
I kept Edward from proposing here.
LAMBERT: When you got him to kneel down, was that on your mind?
Did you think, "People will think he's definitely gonna propose now?"
Or was that just a happy accident.
-You can tell the truth. -WEITZ: A happy accident.
LAMBERT: It was probably your subconscious instinct was saying,
"Make him kneel down, "
'cause part of you knew.
WEITZ: Yes, it did. I think so. I think you're right.
LAMBERT: The mark of a true genius.
WEITZ: It is, when you don't even know what you're doing.
And for a bit, I didn't have a kiss here,
but Gillian Bohrer at the studio insisted that they kiss.
Once you say something as romantic as, "I can't live without you, "
-you have to kiss. -LAMBERT: Yeah.
-WEITZ: Yeah. -She was right.
WEITZ: She was. Yeah, she was right. She was right.
Okay, so, why Edward keeps on insisting
that she not turn into a vampire is a matter of much frustration to me,
but anyway, he's again trying to get along without turning her into a vampire,
and now he's made her angry.
Now she's like, "All right, let's... "
Well, actually it's not like he wakes them up. They're awake anyway.
-They're sort of hanging out, I guess. -LAMBERT: Yeah.
They've been in the pool outside, which you can see through the back door.
-WEITZ: That is not a pool, Peter. That is a... -Is it not?
-WEITZ: A water feature. -Oh, I'm sorry.
WEITZ: They don't swim for fun.
It's just, you know, they look at the water and contemplate it.
-LAMBERT: Kind of a Zen thing. -Yeah, it's a Zen thing, exactly.
It would be nice to not want to kill you all the time.
WEITZ: Laughter ensues.
The vote is actually going pretty well for Bella.
I think she already has a...
-No, actually no... -LAMBERT: No, she's gotta wait for...
-Yeah, she's gotta wait for Esme and... -WEITZ: But it's actually...
When Kellan votes, that kind of tips it in her favor.
-LAMBERT: Who's Calum? -So she's got most of the delegates.
-LAMBERT: Oh, Kellan. -Kellan, yeah.
LAMBERT: Yeah, sorry, thought you said Calum.
WEITZ: Oh, no, Emmett. Kellan.
-LAMBERT: Yep. -So now she's even stevens here,
2 against 2 and Kellan, 3 to 2,
when Esme says yes,
then, boom, she's got a majority.
LAMBERT: Unless Carlisle goes against her.
WEITZ: Interesting. Interesting.
Wait, no, no, 'cause she...
How does this voting go?
There should be a big board, like at the presidential elections.
LAMBERT: Yeah.
-WEITZ: We should have had a little... -A little commentator, as well,
-taking the count. -WEITZ: Yeah, a counter, yeah.
Anyway, here's a lovely song by the Editors coming on,
which is fantastic, and you should hear more of.
Edward is not very pleased
at the notion of Bella becoming a vampire.
And there's Jacob.
The unresolved issue, here.
LAMBERT: Beautiful shot coming up of that.
WEITZ: Lovely shot, thank you Javier and Dave Crone.
Jacob, I know you have something to say to me.
But I want to say something to you first, if that's all right.
WEITZ: Well, now,
this whole sort of confrontation is all about the last second of the movie to me.
You know, leading, sort of...
You know, playing on these emotions,
crushing Jacob's heart once more
before the ultimate cliffhanger.
Hey, my turn to talk.
LAMBERT: There was an unfortunate sort of
thing that happened when this scene was shot
where, through a sort of freak accident of angles,
it made it look like Taylor was absolutely tiny
when he jumped off the log.
WEITZ: Yeah.
LAMBERT: And not because he is absolutely tiny.
He looked like he was about 2-feet tall,
and it was some sort of trick of the depth of the shot or something,
so he had to be CG'd up a bit.
(LAUGHING) I remember the first iteration of the visual effect,
they made him absolutely vast.
-WEITZ: Oh, yeah, he looked... -Which was kind of exciting.
WEITZ: He suddenly looked like a troll from The Lord of the Rings,
or the Balrog or something.
LAMBERT: He's about perfect now, I would say.
WEITZ: Yeah, I'd say he's just about perfect, too. Yeah.
This is the old "I love you, but... "
I love you.
LAMBERT: But...
She says, "So. "
-That's good management tactic. -WEITZ: Yeah, the thing you do
when you're disappointing someone, is you don't say "positive thing but, "
you say "positive thing and or so, " you know.
-So, it's not a big letdown. -LAMBERT: Yeah. "I love you,
"so, I'm letting you go from your job. "
That would be an example in the workplace.
WEITZ: "We really appreciate the job you're doing, so... "
LAMBERT: "So please pack up and be out of the office within half an hour
"or security will escort you out. "
WEITZ: I'm sorry. We shouldn't be laughing. This is a very...
LAMBERT: Yeah, it's only 'cause it's so painful
-that I can't take it seriously. -WEITZ: That you can't face it.
-This is a lovely moment from Taylor. -LAMBERT: Otherwise, we see this every day,
-I'd be crying all the time. -WEITZ: Yeah. Yeah.
Things are about to get a bit sticky.
Yeah, vampire-wolf fight on the way unless someone stops them.
Stop!
You can't hurt each other without hurting me.
WEITZ: So true.
LAMBERT: The Jacob theme in the music at its most extreme.
WEITZ: Yeah.
And now a reprise of the eye shot,
but there is frickin' Edward in the background.
Different. Different times.
And off he goes.
Jake.
WEITZ: Sorry, Jake.
Now this is a 20-second-long shot on Bella's face,
and it's rare the actor who could support that.
But you can sort of see what's going on in her mind.
She's giving up Jake. She's realizing what she's sacrificed,
and then, helpfully, we ADR'ed in this bit of Edward again,
saying that he doesn't want her to become a vampire.
Okay, so from this moment, this is all about...
What I'm trying to do is manipulate the audiences' emotions
to a fever pitch
as the music swells, as we get more and more emotional,
and it's gonna just come to this moment of sheer frenzy.
LAMBERT: I love the way Rob plays this.
I remember you saying, when we first watched dailies
and you were suggesting how to assemble it,
that you'd told him that he should be a little flirtatious and it's almost...
I think you said Darcy in Pride and Prejudice,
-like he's toying with her, almost. -WEITZ: Well, he knows that he's got this...
LAMBERT: But he's also nervous. He's also nervous.
WEITZ: Yeah, it's nice that he's got some hesitations,
but he also knows that he's about to drop a nuclear bomb.
...if you want me to do it myself.
WEITZ: He's nervous about it. He knows she loves him.
He knows this is gonna change everything, though.
That's what I'm asking.
WEITZ: And then I really wanted the end of the movie
to be an intake of breath. I don't know why.
LAMBERT: 'Cause it's what vampires don't do.
WEITZ: Very good point.
-LAMBERT: That's what makes her human. -You're so right.
LAMBERT: Again, you didn't know that, but your instinct did.
WEITZ: That has been...
Oh, me.
Let's wait until... Melissa!
LAMBERT: You know, I think as a bonus, Chris...
(WEITZ CLAPPING SOFTLY)
Should we clap everyone? I can't see this.
WEITZ: Stephenie.
There's Wyck and Karen, well done.
(BOTH CHEERING HALF-HEARTEDLY)
Marty, Greg, Mark, Guy.
Okay, Bill Bannerman.
Okay, so, Kerry, well done.
Obviously, I wanna thank all of these people.
I wanna thank Summit Entertainment for giving me the chance to do this.
I would like to thank Peter Lambert for being such a brilliant editor
-and a good friend through this process. -LAMBERT: You're welcome. Thank you.
WEITZ: Thank you for everyone who's worked on the making of DVD extras.
Thank you, guys.
Alexandre, well done by you with your music.
Alexandra, well done music supervising.
All of these people, lovely...
Thank you, Mercedes and Sebastian, for coming to Vancouver with me.
That's my wife and child, of course.
Thank you to all the actors, the extraordinary crews,
both in Vancouver and in Italy.
Thank you to the Quileute Executive Council.
Gosh, the city of Vancouver, the city of Forks, Washington,
the city of Montepulciano. The city of Volterra, sorry.
Stephenie Meyer of course, gosh.
-All right. -LAMBERT: All right, bye-bye.
WEITZ: Bye-bye. Thanks. Have a good dinner. LAMBERT: Thanks.
Subtitles: Arigon
(A WHITE DEMON LOVE SONG PLAYING)
White demon love song down the hall
White demon shadow on the road
Back up your mind, there is a call
He isn't coming after all
Love this time
She likes the way he sings
White demon love song's in her dreams
White demon, where's your selfish kiss?
White demon sorrow will arrange
Let's not forget about the fear
Black invitation to this place that cannot change
While strangely holy
Come for a rain
White demon, widen your heart's scope
White demon, who let your friend go?
White demon, widen your heart's scope
White demon, who let your friend go?
-Let us be in love -Let us be in love
-Let's do old and gray -Let's do old and gray
-I won't make you cry -I won't make you cry
-I will never stray -I will never stray
-I will do my part -I will do my part
Let us be in love tonight
White demon, widen your heart's scope
White demon, who let your friend go?
White demon, widen your heart's scope
White demon, who let your friend go?
Stand it anymore, darling
Stand it
(MEET ME ON THE EQUINOX PLAYING)
Meet me on the equinox
Meet me halfway
When the sun is perched at its highest peak
In the middle of the day
Let me give my love to you
Let me take your hand
As we walk in the dimming light
Oh, darling, understand
That everything, everything ends
Meet me on your best behavior
Meet me at your worst
For there will be no stone unturned
Or bubble left to burst
Let me lay beside you, darling
Let me be your man
And let our bodies intertwine
But always understand
That everything, everything ends
That everything, everything, everything ends
A window
An opened tomb
The sun crawls
Across your bedroom
A halo
A waiting room
Your last breaths
Moving through you
As everything, everything ends
As everything, everything, everything
Everything, everything, everything ends
Meet me on the equinox
Meet me halfway
When the sun is perched at its highest peak
In the middle of the day
Let me give my love to you
Let me take your hand
And as we walk in the dimming light
Oh, darling, understand
That everything, everything ends