not easy.
It's not easy. It's very stressful.
Edward, a mistake by him, too,
destroying his cell phone.
LAMBERT.: Yeah, they could have just done
-the reverse call thing.
-WEITZ.: Instead of calling back.
-Yeah.
-LAMBERT.: Otherwise, couldn't they?
She could have just done whatever
the American equivalent of 147 1 is, yeah.
-It's star 69, and she doesn't do that.
-LAMBERT.: Not that.
-Yeah.
-WEITZ.: Yeah.
LAMBERT.: She probably did do it,
but in the sort of time transition
-that we cut around...
-WEITZ.: Yeah, we don't see that.
LAMBERT.: But he'd smashed
the phone by then.
-She would have got voicemail.
-WEITZ.: Yeah, yeah.
''Hi, this is Edward Cullen.
I'm away from the phone at the moment
''or I've crushed it in despair. ''
(LAMBERT LAUGHING)
Okay, here comes another whip pan.
(WEITZ CHUCKLES)
The old whip pan, my fave.
Notice that Bella has a passport.
We just wanna make sure
that you know that.
-LAMBERT.: Wow, I never even noticed that.
-Yeah.
LAMBERT.: Where's she got her passport?
-WEITZ.: In her hand.
-Oh, okay.
WEITZ.: You mean, where'd she get it?
I don't know.
LAMBERT.: No, no. Where is it?
I can't see the shot.
WEITZ.: In Seattle.
LAMBERT.: I don't know
why I didn't notice it before.
WEITZ.: (EXCLAIMS)
Jacob takes a pounding again.
How much emotional letdown
can this kid take?
And I just realized, watching this
at the premiere, when he says,
''I'm begging you, '' he's in the position
of a dog and he's begging like a dog.
(BO TH LAUGHING)
Which I suppose is either funny or sad.
LAMBERT.: Yeah.
-WEITZ.: And I rather like the look that...
-Alice gives.
WEITZ.: That Alice gives
when Jacob first reaches in,
which is like ''Girlfriend, what is he doing?''
Anyway, transition shot to this plane.
Let's just get them to Italy quickly,
shall we?
It was kind of the idea,
'cause we didn't really want to see them
in the waiting lounge
at Seattle Sea-Tac airport
and doing duty free shopping
and all that kind of stuff.
LAMBERT.: Alice playing Tetris on her phone
while they wait.
WEITZ.: Yeah, let's just get them there.
And the beloved yellow Porsche.
And here we are with the Volturi.
LAMBERT.: We only added this scene back
into the movie at the last minute.
Amazingly, we were stupid enough
to cut it out
-for a long time, weren't we?
-WEITZ.: Yeah, we did think for a while
that we shouldn't see Edward
until Bella sees him
and that we didn't want any
back-at-the-ranch scenes.
But this was a good way
to break up the rush, the headlong rush.
And so now,
when Bella first encounters Aro,
we know a bit more about him.
He isn't just some weirdo who pops up.
LAMBERT.: I like the way you introduce the
Volturi so gradually throughout the movie.
And not just them as their characters,
but also the set.
The way, both in the first flashback
in the painting and in this scene,
you don't really get
a sense of the scale of the set.
Such a waste.
WEITZ.: But in the movie, we very...
LAMBERT.: But I don't think
anyone was doing it,
-to be honest.
-WEITZ.: We very carefully...
No, people don't use the Internet.
We very carefully rationed out
what bits of that set that we would see
and in what degree of elimination,
so that when you finally saw it,
it was like, ''Wow, this is really something. ''
He's gonna make a scene.
Show himself to the humans.
LAMBERT.: This was a great moment
of genius on your part,
throwing in this little vision.
WEITZ.: Oh, was it? Thank you.
LAMBERT.: Yeah, it was you.
You thought of it.
WEITZ.: Yeah, we cheated a little vision there.
Well, now...
Ashley used her hands
on the steering wheel quite well,
and then someone told me
that it looked like she wasn't driving.
And then I told her to move it more,
which then became a bit
looking as though
she was Toonces, the driving cat,
making it very hard
to composite in the background.
LAMBERT.: You'll notice that that sequence
is cut very fast, mostly in