We felt that it kind of lessened the impact
of the apparitions
if you saw Edward too much,
as you had done in a nightmare,
which we cut from that.
WEITZ.: Yeah, and also, I think that with film,
there's always a danger
-of one dream sequence too many.
-LAMBERT.: Yeah.
WEITZ.: Some films that I love, they just put in
one darn dream sequence too many.
There's the evil dream catcher again.
(WEITZ MIMICKING DRAMATIC MUSIC)
This is a sweet little scene
with Billy and Kristen
where he gives the conventional
wisdom of love the one you're with.
And for a second, you'll see
in the very first shot of the next scene,
she'll even consider it.
She'll be thinking, ''Should I settle?''
And I think that
that's part of the book of New Moon,
the notion that...
I mean, she knows in her mind,
she feels so low. She feels Edward is way
above her and will never come back.
And here is Jacob who is warm and special
and loves her, and what should she do?
But she never does. She never quite does.
There, she's looking at him.
She's thinking about it.
And then her head quickly goes away
as she notices Jacob
possibly catching her in that moment.
Are you doubting your mad skills?
WEITZ.: Now, it should be said
that this was shot against a green screen.
None of these trees that are currently
kind of flying across the windscreen.
There is no windscreen.
That windscreen was put in digitally.
The trees were put in digitally.
Anything that runs by the window is digital.
It was all shot in a barn,
which we had to use
when it was snowing one day
-in the middle of the sequence...
-LAMBERT.: Right. It was a meadow.
WEITZ.: Yeah, in the middle of the meadow
sequence with Laurent and Kristen,
it snowed, and we showed up one day
at 5.:00 in the morning,
and there was no way to shoot there.
LAMBERT.: But there was a barn
with a green screen ready to put in it.
WEITZ.: Yeah, and so we did
all of our green screen car work
during that time.
Here is a cliff,
which was put together from a real cliff,
CG additions to the cliff,
guys shot against green screen,
now that is Alex Meraz first jumping,
but about half way down,
he's taken over by CGI
and turned into a CGI Alex
who splashes into CGI water.
l don't know.
They just think they run this place.
Embry used to call them
hall monitors on steroids.
WEITZ.: Yeah, now you'll notice
that Sam Uley favors Capri length shorts,
and that's because the guy who was gonna
do the groovy stunt that's coming up
had injured his knee recently
and had to wear a brace.
So, JJ, the stunt coordinator
came to me and said,
''Is it possible for Sam
to wear extra long shorts?''
And I said, ''Okay. ''
(BO TH LAUGHING)
Hence Sam's fashion choice.
Now, I've taken a lot of flak
in the press recently
for why the Quileutes are always shirtless,
as though I were some creepy old man
who just wanted to show guys with abs
and six-packs.
That was the shot, by the way.
That was put together
from about three different elements,
a guy jumping off a huge tower and...
But let me finish talking
about these lack of shirts.
My answer's always that
the Quileutes do not have a lot of money
to waste on T-shirts,
so if you're running 108 fever,
you're gonna walk around
in a bunch of shorts.
LAMBERT.: And more to the point, if you're
gonna turn into a wolf the whole time
and lose your T-shirt
every time you transform...
WEITZ.: Exactly.
LAMBERT.: ...that's gonna
start getting expensive.
WEITZ.: It will get costly, and it gets tiresome
to have stashes of clothes
all around the woods.
I love this shot 'cause it looks like
a Magritte painting.
LAMBERT.: That's my favorite apparition.
WEITZ.: Yeah, I think it's mine, too.
I think it's mine, too.
I think it's rather nice how
the bike's stalling out
kind of conveys her shock at that moment.
And also Alexandre's weird music here
conveys adrenaline
and blood sort of pumping
through her head.
Notice, is this