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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.
LAMBERT.: That's right.
There's an American Pie in her backpack.
WEITZ.: Yes.
Okay, so...
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.
'Cause I think
that's what a vampire pimp would wear.
-LAMBERT.: Totally.
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.
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. ''
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