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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.
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 CGI 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.
-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.: 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
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