it, rather.
l guess l understand
why that's the only part you remember.
WEITZ.: This is very sweet,
the way he says that.
And then Bella says the most extraordinary
thing, which is, ''Let's run away. ''
And I think it's allowable.
You know, you think she wouldn't say that,
what with Ed and her mind the way it is,
but she says it before
she even realizes what she's saying.
And it's out of the deep,
you know, friendship,
the love that comes from friendship.
And I think she says it before
she's realized she has.
-And then it kind of leads...
-LAMBERT.: Then you see her,
and she does a good job
of then double-taking almost,
-as she realizes what she said.
-WEITZ.: Yeah.
But l would run away with you
if l could.
WEITZ.: This is another ''Aw'' moment for me.
-LAMBERT.: Back in with the color.
-I think Alexandre's music is
-very lovely here, the way it comes back in.
-LAMBERT.: Yeah, yeah.
WEITZ.: Now we stay out in the two-shot here,
rather than going to close-ups.
Why? Because...
Well, because you can see the way
that Bella's touching his back,
you can see the way
that she leans against his chest
and you can guess at their emotions
rather than seeing it in their faces.
I think there's something rather touching
about that.
Uh-oh, nightmare coming.
LAMBERT.: Again, no CG there.
He really jumped out of that window
-with a cable.
-WEITZ.: He really jumped.
He really jumped on a cable.
He's very daring. I would not do that.
LAMBERT.: So the leaves that we keep
coming back to, to represent nightmares,
I can't even remember
where we found those in the dailies.
-WEITZ.: But they were from...
-They became a kind of shorthand,
-didn't they?
-WEITZ.: Yeah.
LAMBERT.: You know what,
they were from the actual...
They were outtakes
from when Sam is carrying her.
WEITZ.: Yeah, exactly. They were the moment
when the camera is sliding into position,
but not quite there yet.
And, well, this dream
is, of course, about Bella's realizing
that Jacob is a wolf, somehow,
although not fully viscerally realizing it,
'cause that's yet to come.
But she's starting
to put the pieces together.
And in the book in fact, though,
vis-a-vis the leaves, her nightmares
are really about emptiness, I think.
LAMBERT.: Yeah, they're about
her being in the woods, aren't they?
WEITZ.: Indeed they are.
Okay, l'm sorry, l really need to see him.
LAMBERT.: This is great, this little set.
-So, then anytime you see...
-WEITZ.: Yeah, fantastic set
which functions for what, seven seconds.
But when the kids who are cast
as the Quileutes came and saw it,
they said ''Wow, this is like... ''
-LAMBERT.: Were they? Oh, that's good.
-''This is like it is on the rez. ''
-Okay, what did you do?
-Hey.
-What did you do to him?
-Easy!
WEITZ.: Now, Bella's getting a bit aggro here,
but I love it,
because she's defending her friend.
He tells me nothing
because he's scared of you.
(SNlCKERlNG)
WEITZ.: Oh, you're gonna get a smack.
(BO TH EXCLAIMING)
-WEITZ.: Oh, no, you didn't.
-Face punch.
WEITZ.: That was a face punch.
-LAMBERT.: Actually it was a face slap.
-It was a face slap, yeah.
Well, it was slunch.
A plap.
Yeah, that was, you know,
obviously a mistake on her part,
because now he turned into a werewolf.
Run!
WEITZ.: And here we're setting up this kind of
hug moment, which doesn't happen.
I rather like setting it up
as though they're going to embrace,
and then over he goes.
And, of course, this would have been
a great moment
had it been seen first in the movie,
but instead we showed it in the first trailer.
(BO TH LAUGHING)
LAMBERT.: And then again in the second
and third and several other trailers.
WEITZ.: Yeah, so that everybody knew.
LAMBERT.: But probably if you looked at
each of those trailers now,
you could see the development of the wolf
from one to another,
'cause it's definitely different now
than at the start.
WEITZ.: Definitely that shot went through
550