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WEITZ.: Harry had a heart attack.
LAMBERT.: It sounded like
a kind of ABC primer.
WEITZ.: Actually, it sounds like sort of a band
that plays at your prom or something.
Come on. l'll get you something dry
and drive you home.
WEITZ.: Anyway. A beautiful beach.
LAMBERT.: A little outtake there,
that wide shot of him, lifting her up.
WEITZ.: Outtake. It wasn't.
It was after we had said cut, wasn't it?
LAMBERT.: Yeah, it was indeed, yeah.
WEITZ.: Okay, again, we're shooting in a barn
on a green screen,
but, you know,
CG is able to put in this lovely road,
and the beautiful kind of sense of shadow
of these trees above them
and passing over them and the opacity
of them and the translucence of them.
lt's a Jacob thing.
You're just warm.
You're like your own sun.
LAMBERT.: I always think it sounds like
she says, ''You like your own son. ''
WEITZ.: Oh, right.
LAMBERT.: Which is ironic 'cause
he's gonna end up liking her daughter.
WEITZ.: Well, I thought it was even more
confusing, ''You are like your own son, ''
which would be deeply, deeply confusing.
LAMBERT.: Okay, yeah. Is that compliment?
You saw what happened to Emily.
-WEITZ.: Now we deal with...
-Now, we're not in a barn.
-Now we're in real.
-WEITZ.: No, this is real.
This is real, and we are shooting,
you know, one single long take
of the two of them together,
as Jacob kind of explains his fears
of hurting her really.
And there were several takes
to choose from here,
and it was really about choosing
the near kiss that was
I suppose the most tortuous, really,
and one in which it didn't seem like
she was suddenly saying talk to the hand.
But where you could tell
in her thought processes
that this was a possibility for her.
And, in the book, I believe
Edward pops up over Jacob's shoulder
and says, ''Be happy. ''
-LAMBERT.: ''Be happy. ''
-''Be happy. ''
Thereby totally spoiling the moment
in a kind of passive aggressive apparition
sort of way.
But here it's just sort of Bella
recalling herself
from this moment of intense gratitude
of emotionalism
and of deep, deep friendship,
which almost pulls her into Jacob's orbit.
Now Jake's making the right move here
for once in his life.
Still doesn't work, though.
Close, no. No cigar.
That little micro movement there by Bella,
that says, no, no, thanks.
LAMBERT.: II think we put a little sound,
a kind of...sound.
I don't know if that can be picked up
-on the microphone.
-WEITZ.: Yeah.
LAMBERT.: Which actually, amazingly,
is Taylor making that noise,
but we shifted it so it sounded
like it was Bella as a kind of...
-WEITZ.: Oh, how creepy.
-A little rejection sound.
WEITZ.: This look here,
before he says there's a vampire,
almost looks like Bella is saying,
''Wow, he's actually gonna go for it. ''
LAMBERT.: Yeah, yeah, it's cool.
WEITZ.: It's kind of a cool, confusing moment.
There's Carlisle's car.
Now here, this is kind of an interesting
moment, where he actually hurts her.
He grabs her so hard that he hurts her,
and it's kind of this little reminder
of the moment earlier
where he said that he's a bit afraid
of the danger that he might pose to her.
LAMBERT.: Amazingly, coincidentally,
he grabs her in roughly the place
where I believe a bruise ends up
on Kristen's arm,
which you can see later in the movie,
in Italy,
which actually came
from her running into the fountain.
WEITZ.: Yes, we'll talk about that later.
-That's a good one.
-LAMBERT.: That will be a fun one.
WEITZ.: You can actually hear Alice
give a little ''huh'' of surprise
when Bella is surprised,
which I find kind of charming,
which we had to position very carefully
when it came to doing the sound.
Now, there are moments where
they're just about to talk about Edward
but they don't, here,
which is probably
very frustrating to the audience,
but don't want to get them
to quite talking about him yet.
l was cliff jumping.
lt was fun.
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