know,
he's really quite kind of sadistic, really.
But to him,
he's not really doing that much harm.
Here's evil little Dakota Fanning
showing her true self.
No. Actually, she's a delightful young lady.
Not at all like Jane,
but I think she enjoyed playing that part.
LAMBERT.: Rob was on a cable,
wasn't he, for this?
WEITZ.: Yeah, Rob was on a cable,
which kind of kept him suspended,
as though his whole body
had gone so rigid
that he was standing
in this unnatural position
before he dropped to the ground.
And I love the way that the sound effects
here end just as she blinks.
Wonderful job by Scott Hecker
and his guys, again.
Go ahead, my dear.
WEITZ.: And lovely just
reading Dakota's face here
as she realizes
that her powers are just not happening.
LAMBERT.: Kristen's very good in this,
as well.
WEITZ.: Yeah, like, yeah, ''What the H?''
LAMBERT.: Sort of, she's taking her on,
in a way and then...
WEITZ.: Yeah, there's some defiance there.
And Michael says he was channeling
the Blue Meanies from Yellow Submarine,
but I think it's rather important
that we get to the point in this movie
and then something really strange
and new happens,
but which still somehow fits
into the context of the rest of the film,
but, you know, kind of reboots
the entire story at this point.
That's true.
WEITZ.: Now, I worked on a bit
that's coming up here.
Oh, no, it's later.
No, it's coming up later.
Okay, so, big fight scene, yeah.
We use everything that we've learned,
up to this point.
We use high speed, we use sound effects
of stones smashing together.
LAMBERT.: We used some whip pans,
I'm gonna mention that.
-WEITZ.: Some whip pans.
-Yeah, for Alice, I think.
WEITZ.: CG crack on Edward's face,
vampire speed, the whole nine yards, really.
Wire work
in which somebody's thrown on a wire
but the wire is later removed,
like there, boom.
The old Styrofoam table gag.
CG dome up there, on top of the set.
LAMBERT.: I think the... Almost the most
exciting thing about this sequence
is the fact that there's no music
and just this amazing sound.
-WEITZ.: Right.
-Which becomes kind of...
It's so percussive
that it almost becomes like a soundtrack.
WEITZ.: Right.
LAMBERT.: It's quite an unusual choice
I think,
in a way, in that very often you would
have big music over this kind of thing.
WEITZ.: Right.
LAMBERT.: And it becomes
a bit more sadistic
and sort of real in a way
when you don't play music underneath.
WEITZ.: Yeah, you do get sort of
vicariously involved.
Now, I love this look that Michael gives
as he's coming down.
He's utterly confused by the willingness
of a human to give their life up,
and fascinated by her.
You would give up your life...
WEITZ.: This bit of dialogue, we worked on,
and it means a lot to me that Bella says,
and this is just a big F you
to Aro and to all the Volturi,
''You don't know a thing about his soul. ''
Because they'd been talking
about the soul earlier.
You don't know a thing about his soul.
WEITZ.: And I think when you love someone,
that's what you believe,
that you know about their soul
more than anyone else does.
That kind of sums up the movie for me,
or her feelings for him, for me.
Makes you understand
why she's obsessed with him.
It's not just about the surface of it.
And here was a cheat,
where we went for the traditional
vampire-about-to-bite-someone-on-the-neck
thing,
rather than, as Stephenie called it,
the vampire high five attack,
which Laurent employs, where the vampire
holds up his hand in readiness
to slash someone's throat.
And here's the moment, interestingly,
which provokes the only moment,
or at least when I saw it at the premiere,
the only moment of unintentional laughter.
-LAMBERT.: Yeah.
-And I entirely blame Rob.
(LAMBERT LAUGHING)
-LAMBERT.: Why'd you blame Rob?
-'Cause I think he runs like a girl.
LAMBERT.: Yeah. I think it's hard to run in
slow motion without looking a bit like