While he was at Comic-Con last week, Bill Condon (director for The Twilight Saga: Breaking Dawn – Part 1 and The Twilight Saga: Breaking Dawn – Part 2) sat down with MTV to get into the nitty-gritty of what we Twilight fans need to know about Breaking Dawn.
Included in the discussion were bits about the wedding, the birth scene, the soundtrack (including a reveal that one of the castmates will appear on the album; my guess is Robert Pattinson), the whole James Franco issue, and more.
Here are some sample quotes from the interview, but you can watch the full rough cut in the video sidebar.
- On getting hired:
“I felt real enthusiasm for it . . . there were six or seven scenes that are scary . . . when something’s scary and you really gotta think about it, that’s when it gets interesting, so maybe it was discussions about that.”
- On the wedding:
“You stay true to the idea of the book which is that you’re inside Bella’s head. You tell it from Bella’s point of view . . . she’s walking down she’s nervous as always; that’s an essential part of who Bella is . . . and then her eyes lock on Edward . . . basically it’s about wanting to get to him and once you get to him you’ll be safe. “
- On the birth scene:
“I just gave myself one rule which is that let’s only see what Bella can see lying there. So, all this stuff is happening and she is seeing it from her point of view; she can look around, she can look up . . . so you get to experience every moment of that birth, including things that if you read the book, you know exactly what that image means. If you haven’t read the book you may not know because it’s not being explicit because we’re not putting the camera in every . . . I think you’ll get a very visceral experience.”
- On his favorite scene in Part 1:
“You know, I think there’s this really quiet moment when Bella discovers that she’s pregnant, and Edward leaves the room and says ‘Carlisle will get that thing out of you,’ and she realizes, ‘Oh my God, I’ve got trouble ahead.’ Edward, the person she’s been longing for all this time is on the other side of this very basic issue of this baby growing inside of her, and she puts all that aside, she turns, and she has a moment where she catches herself in the mirror . . . it’s actually a scene, just Kristen alone, where she falls in love with the idea of being a mother, and it’s just simple, but I think it’s very moving.”
- On Edward in the film:
“He really becomes an adult. In the beginning, he has this beautiful toast to her where he talks about, you’re so lucky if you find that one person who can see you for who you are and still accept you and allow you to move beyond who you’ve been, and that’s what Rob does in this movie. Sort of, he puts aside Edward’s self-loathing and all that stuff and actually becomes a man. So, at the end, when Bella is given birth and she’s died, and he’s trying to bring her back, there’s stuff in there where the camera just holds on him for a long time where he’s doing everything he can to make her live and to beg her to live.”
- On Part 2:
“The first one is kind of very intimate drama that turns into a full-on horror movie. The second one is an epic; the second one is this meeting of vampires from around the world . . . we end up on a field where there are eighty actors, all of them playing characters that you know. So it’s massive, and it has a very, very different approach.”
- On James Franco for Breaking Dawn:
“He told a friend of mine who then sent the message along to me, and for a moment, it’s like ‘What could James Franco play that doesn’t look like ‘Where’s Waldo?’ . . . So, I really thought about it for a second and then it’s like nothing made sense . . . I think he thinks there’s like somehow it involves some big rejection to the idea . . . Frankly, if I had called and said ‘Do you want to play that vampire from that country,’ it would’ve involved hanging around for two months in a scene with eighty people; I don’t know that he really would’ve wanted to do it.”
- On the prior directors:
“I always thought of Breaking Dawn – Part 1 as a real companion piece to Catherine Hardwicke’s movie . . . Everything that got set up there gets resolved here. I think you’ll find that there are stylistic and other nods to that film.”
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