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wearing hoods,
which was supposed to keep them out
of the sunlight,
but actually just looks like they scratched
their heads in concert as they come in.
LAMBERT.: I think it looks like they're doing
sort of teapot impressions when they walk in.
Bella, why don't you go
and enjoy the rest of the festival?
The girl comes with us.
WEITZ.: The very large, intimidating,
but extraordinarily sweet Daniel Cudmore.
-LAMBERT.: He's a big man.
WEITZ.: All Canadian, all nice guy, actually.
And here comes Dakota,
who the moment she walks onto the screen,
it's just pow.
You know,
the camera's fascinated with her.
She's absolutely brilliant,
and her crazy praying mantis eyes,
and there's just a nice moment
where Bella's like,
''Why the heck are we following this chick?''
And the only explanation
is Jane's power, really.
And this is like,
''Put some clothes on for God's sake. ''
Now then you see the little popping
of diamond on him
and Ashley, explaining why,
because in between that shot and this shot
where they're walking down the stairs,
they will have popped in the sun,
the diamond effect.
And there's Dakota snickering at the idea
that Edward would not be afraid.
So now here, when they walk into the...
This is sort of a series of transitions
from sort of what you expect
of Dracula's castle
to something more modern, dark to light,
menacing to clinical,
and there's this music from Die Fladermaus,
which, of course, means ''the bat, ''
playing in the elevator.
And at first I thought it was a bit of a risky,
cheeky thing to do,
but then Stephenie Meyer said,
''I love the vampire elevator music.
''Can we have more of it?''
So, then we see the sort of strange
office-like environment and a human.
LAMBERT.: I love the fact that it's got
computer drives in it, that office.
WEITZ.: Oh, yeah, it's got a couple of servers
there, so the Volturi keep track of,
I don't know what they do,
the vampire population or something.
LAMBERT.: There's like a vampire
whose special skill is databasing,
in the background.
WEITZ.: He's the world's
best system administrator.
LAMBERT.: He was good at databasing
as a human being.
As a vampire, he's amazing.
WEITZ.: And here is the set.
Gorgeous, gorgeous set
designed by David Brisbin,
with his architectural background,
and here is wonderful Michael Sheen,
and this shot, I just love.
Right here, this is a painting, you know.
I happen to despise smoke,
which cinematographers use to layer
diffusion into the background, right.
It puts things out of focus
in a progressive fashion.
But Javier used smoke here in order to kind
of give a sense of depth to the background,
and it gives a kind of a softness
to the background
while in the front it's rather crisp.
LAMBERT.: And it doesn't feel like smoke,
I don't think.
WEITZ.: No, it doesn't.
LAMBERT.: I don't think
it feels like atmosphere
-in the way you thought it was gonna.
-WEITZ.: It doesn't. Yeah.
So get on with it.
WEITZ.: Now, I talked with Michael Sheen
about Aro before doing this.
And I said, ''Well, I think, you know,
''after about 2,000 years,
you'd start to go kind of crazy. ''
And so he plays him sort of like a mad man.
I mean he is both intrigued by
this relationship between Edward and Bella
and has this kind of vicarious pleasure
in them,
but is, at the same time, ready to kill them
at any moment.
And it's kind of one of the great
mad villain portrayals
since Hannibal Lecter I think.
And at this point in the movie...
Jamie Campbell Bower,
Christopher Heyerdahl, brilliant.
LAMBERT.: Not naked.
WEITZ.: Not naked, as you can see.
Proof positive.
LAMBERT.: ''In not-naked shocker!''
WEITZ.: So, what the heck was I saying?
LAMBERT.: You were talking
about Michael Sheen being Hannibal.
WEITZ.: Oh, yeah.
I just love these looks that he's giving.
There's so much going on in his eyes
and in his expression.
And, you
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