Breaking Dawn News – Fansites COOL interview with Bill Condon MUST READ!
In June Twilight Fansites namely: TwilightLexicon,TwiSource, TSTPodcast, TwilightMOMS, TwiExaminer & Twilighters Anonymous were invited to interview the Director of The Twilight Saga: Part 1 & Part 1 – Bill Condon at the Editing Room (!!)
Here’s part of the transcript of the Part 1 of the interview from Twilight Lexicon. Please head on to Twilight Lexicon for the FULL INTERVIEW.
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.
Q: Should we expect to see a lot of that kind of playing with new dimensions that we haven’t seen before in the other [films]?
BC: Yeah, I think so. You know why I think? Because in this movie it’s Jacob, in the next movie it’s Bella. You know as that surprising thing that Stephenie did in the book where having told the story through Bella’s point of view, then suddenly she shifted to Jacob’s point of view in the middle, and then you’re back to Bella’s. In this movie you do—there is this chunk of movie where you get inside the head of what it’s like to be a wolf. So that involves a certain stylization. And then in the next movie, the big change is we’ve been watching these vampires from Bella’s point of view but now it’s like we—because we are her—now it’s like you’re inside what it’s like to be a vampire. What it’s like to move that fast. What it’s like to have those powers. What it looks like. What the world looks like through her eyes. So both of those—they are more—it does become more the point of view of those characters and you get more—it’s more immersive, I think, and that involves a certain kind of stylization.
Q: I love that you’re talking point of view. I mean one of the things that I really love and that other people love too about the movies is that because the books are first person, either from Bella’s point of view or Jacob’s point of view, that now you get to expand out into that scene in Volterra—
BC: That’s right. Yes.
—and you get to see that total—what you only can imagine is occurring. How much collaboration did you have with Stephenie Meyer on those sort of alternate point of view moments that you don’t see in the books, but clearly were happening to get everything to spin.
BC: Right. Well, I think my kind of most intense collaboration was with Melissa Rosenberg—Stephenie was there and part of it all the time, and then—but we were the ones who sort of day-by-day, once I got involved in a rough outline form, we would be there kind of shaping what the scripts would be, and then Stephenie, along with the other producers, would have comments and things like that. Obviously, she’s this great resource that we would go to all the time.
Q: So how much collaboration did you do on the day to day script writing? I mean after doing Chicago and doing Dreamgirls as a screenwriter, I was wondering how’s the adaptation different going from a musical to a movie to going from this large volume of a book to a movie?
BC: Right, which I’d done before too. Gods and Monsters was an adaptation of a book, so that was something, but Melissa wrote these scripts—*his phone rings* Excuse me, this is her right now—
—which was great ‘cause I mean you know I jumped into this in March or April or something and we were shooting—you know if you’re prepping two movies and all that stuff—so it was sort of just—it was kind of overwhelming right there in the beginning. So Melissa, who knew it so well and is such a solid, strong writer—we would collaborate and talk through scene after scene after scene, structure, all that stuff, and then she’d come back. And it was really very, as I said, very intense for several months. But it was her. It was her knowing the stuff inside out…and creating. She’s done a lot of creating too on these movies.
Q: Speaking of Melissa and Stephenie, I think it was you that pointed out the cameo first—
BC: Oh right! Yeah.
It was Laura from the Lexicon.(room points at Laura)
Q: What—how did that come about? Who’s idea was that?
BC: Um, I kinda like nudged them all into doing it.
BC: And I stuck them in the back so you could see them as Bella’s coming down the aisle and get a good glimpse of them, you know.
Thank you on behalf of all of us!