(Just finished seeing clips and trailer. Introductions of all present just concluded)
BC: So what did you all think? Any thoughts?
Q(Brazilian Blogger): I can’t find the words to explain seeing them where I am from, in my favorite movie. Seeing Kristen out in Rio—to see Kristen there was like…
BC: Yeah, it was great to go down there
Brazilian Blogger: I’m trying to recover.
BC: It was so fun. That’s how we started the movie, too. We spent our first couple weeks there, you know. And it was so great to actually feel, you know—it was actually our biggest experience of fans, kind of being on the set or tracking Rob and Kristen. It actually calmed down after that, but you really felt the excitement when you were there, you know?
Q: Was the fan interaction—I mean that was the one scene where it seemed like there were a lot of people around during filming.
Q: Was that distracting or did it help elevate the mood?
BC: Uh, it was weird ‘cause that was again like our second night and it was—I didn’t know what to expect and actually, it turned out to be the most extreme of anything that happened through the whole movie. But when we’re on the streets of Lapa, suddenly, you know, we’re shooting something and this girl suddenly jumps into the shot and throws herself on Rob, goes “ha ha ha ha”, gets pulled off, and I think she was beheaded. I never saw her again.
BC: Something happened to her. But after that—but yeah, it was a little crazy there. Yeah, definitely.
Q: How much of the fandom did you know about before you jumped into this?
Bill: We’d gotten big lectures from all the people at Summit about what it was going to be like. And I actually have to say, in Baton Rouge we were in the studio the whole time, so it was actually really under control, you know. It was actually only being on the streets in Brazil that we saw it.
Q: How much fun was it scouting the locations? I mean, I guess next to Chris Weitz getting to go to scout out in Italy—
BC: I know! Can you imagine? Yeah.
—you probably had the next most exciting things to go scout. How involved were you in the scouting of the locations?
BC: Well, I mean Richard Sherman scouted first. He spent a month there ‘cause it was tough to find Isle Esme, you know?
Jack Morrissey(Bill Condon’s partner): Richard Sherman’s the production designer.
BC: And then I got to go to the last five possibilities or something like that. But it was great. I mean, scouting in a boat and stopping off for lunch at the little fish place on an island…No problems there. It was fun.
Q: How familiar with the series were you before you decided to pop into the last installment?
BC: Right. Pretty familiar, I guess. But not you know—I wouldn’t say I was a student of it but I was aware of them all and had seen them all. But then obviously once I jumped in it was really about Twilight Lexicon and it was the books and rereading and just making sure that we had everything right. You know things like—you saw the—Rob’s thing about( referencing a clip showing a glimpse into Edward’s past where he is at a movie theatre stalking “human monsters” )“I haven’t told you everything about myself” and there was a moment when I moved away from Carlisle. That’s only one line I think in the first book, you know, and he’d mentioned it one offhanded comment in one of the movies. But that was an example of something where the first time I met with Rob we had a long great night, many, many, many beers [laughter] and um, he said that one thing that had frustrated him a little is that—I guess that had been more developed in the first book, that was from Edward’s point of view, and it kind of informed the way he was playing the part throughout the whole movie. This sense of self-loathing and guilt that came from having killed humans for that period and yet, it had never been explored in the movies. So it felt like then I went back and looked at the section that described it in Twilight and I felt like, God, what better time right before a wedding to lay out the last objection, you know? And to have it also explain who he’s been, and then in the wedding you’ll see he has a toast where he said—he talks about the fact “to find that one person who can look at you, know everything there is to know about you and still accept you for who you are. I’m ready to move on”. So that being caught in this perpetual 17, and this perpetual kind of—I think you’ll see starting from the moment he gets married he moves on. The performance changes. It’s about him becoming a man. So I think that will be an interesting shift for people, you know? So that—the whole idea of just sort of, between discussions with him, going back finding a line in the first book and then deciding to dramatize that with an episode of him being someone who was on the hunt for human blood felt like something we hadn’t seen before.
Q: Speaking of that scene, I was really interested in the whole black/white dynamic—
—and I guess it was a parallel to the Frankenstein movie that was on.(in the scene where Edward is in a movie theater in the 1920’s the film that is playing is Frankenstein in black and white)
BC: I think in a way it was sort of. I mean, there are a lot of levels. One of them is that—I just like the fun that they’re all screaming at Frankenstein and they’ve got Edward in their midst—
BC: —walking behind them, but also, yeah, he’s become the monster in the movie. And actually, the whole movie turns out to be creating his bride. I mean, basically at the end that is what he’s done. Also, the tone of that movie is very similar when you’ve got Aro cackling—it’s similar tonally to a movie like that, and then finally the black and white thing that we do there is just like—as he kills people the color goes away and then it comes into him. So just a film language way to kind of give that sense, you know.
Read the rest at Twilight Lexicon