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because we're trying to avoid it being
on her and the road long enough,
to see that the road does not match
her movements.
WEITZ.: Now, there's the famous bruise
which we say
was made by Jacob grabbing her.
-LAMBERT.: Is it on the same arm?
-These are real Italian cops
acting, actually, relatively unconcerned
given the speed at which...
LAMBERT.: Did they know
that they were being filmed?
-WEITZ.: They did. They did, yes.
-They were just doing their job.
WEITZ.: Just doing their job.
Okay, notice now that we actually,
throughout this movie,
saved the color red for use here,
so that now you've suddenly got this sense
of blood and danger.
We really rarely, rarely, rarely used red.
There was kind of a prohibition against red
throughout the film, until this point.
And here we are in Italy, of course,
by the way.
Having finished in Vancouver,
we flew to Italy
for a week's work, four days of shooting,
two days of prep.
And voila.
And about a thousand extras,
and this thing which is called a palanchino,
that saint's processional, palanquin thing.
And you'll see that that's a vampire
being chained by a golden saint,
which accords with what's talked about
in the book,
and here we're going in and out of various
speeds to get Bella to that moment.
That's where she scratched her arm,
and voila, noon.
Now, very difficult to shoot, over
the course of several days,
a shot which is supposed to take place
at exactly noon.
You have to be careful to plan
your camera angles,
so that it falls just at the right time.
And poor Peter wasn't here
for the Italian part of the shoot.
LAMBERT.: I was in LA having a great time.
WEITZ.: Yeah, well, I was eating pasta
at the Relais San Bruno, buddy,
with homemade mozzarella.
-LAMBERT.: That sounds good, though.
LAMBERT.: I can go to Italy whenever I want.
-I'm English. It's just around the corner.
-WEITZ.: That's true.
-LAMBERT.: LA was more exciting to me.
-It's a two hour drive.
Now these are the beautiful
diamond effects,
and now why is this little kid
suddenly interested.
I wanted to give some sense of threat
that somebody had noticed
but that they wouldn't ever be believed,
so that we were constantly kind of
riding the line between
the possibility of being noticed or not.
I thought it would be odd if you see him
and then nobody's looking at him.
But then we had this sweet little girl
who just couldn't stop smiling
'cause she was so happy to be in the movie.
We tried to make her look surprised
or amazed,
but all she could just do is smile.
Sweet little Italian girl.
I rather love this scene.
LAMBERT.: Unfortunately,
she will now, of course,
have to be assassinated by the Volturi,
having seen this.
WEITZ.: Now, the colors here, you know,
certainly if you compare this
to the first movie,
golds, gold, gold and red.
And, well, I don't know, I mean,
it's just a lovely little intimate scene.
And this is actually played out
in the city hall of Montepulciano,
-while business was being conducted.
-LAMBERT.: Really?
WEITZ.: Yeah, in between shots,
there are guys rushing around
with papers to Xerox and things.
And they're doing
this incredibly emotional scene.
And also, between every shot,
Kristen would run...
-LAMBERT.: Kristen would run around.
-...up and down the corridor
in order to get as out of breath
as she would have been having just arrived.
We did some work on this dialogue.
I do love that she just says
she's human, she's nothing,
which I think we all sort of feel,
at certain points, in relationships,
when we've been missing someone
or lacking someone.
''I'm nothing. I'm human. ''
And, of course,
that's what's most important to him.
LAMBERT.: Epic, epic kissing here.
-WEITZ.: Yeah. Yeah.
-Epic snog.
WEITZ.: Epic snogage with dissolve,
snog dissolve,
and also Alexandre hitting his strings
at the highest.
Now, those guys were actually
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