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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.
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,
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.
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.
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.
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?
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.
Well, I'm a prideful person.
All right, now we arranged this shot,
which is Bella's PO V, 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.
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