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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.
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 two 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.
l 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
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