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And then you'll see we cut to a two-shot.
We cut to the two-shot
just when Edward says,
''You don't belong in my world, '' I think.
And you know, a two-shot
is a very emotionally inert shot,
and you get this feeling...
Here we go, there's that two-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.
-LAMBERT.: Never pre-empt a Dutch.
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
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