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Fansite Fridays: 2nd part of Chris Weitz interview

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The Lexicon brings us the final installment of their Fansite Fridays and this week it is the final part of their two-part interview with Chris Weitz. Here are some highlights where he talks about the CGI for New Moon, the Volturi, and his personal touches on the film.

Q: I’m wondering since you’re so good with CGI, and it’s your forte, how’s the design for the werewolves coming?

Chris: I think it’s going to be good. We’re taking Stephenie’s lead really they’re supposed to be wolves the size of horses. The temptation…we’ve avoided any temptation to kind of go Lon Chaney with it, or to make it kind of humanoid. The werewolves are very much creatures of nature.

Phil Tippet is doing the …it’s not me, I’m not the one who’s good at doing CGI I just happened to have lucked into working with people who are very good at it. So, I just know a good thing when I see it, and Phil Tippet who is a multi-Oscared guy (ILM) worked on Stars Wars and all that stuff is doing the wolves, and they’re going to be great. They’re going to be fantastic.

So and at the same time they are going to fit that world that’s already there. You can’t suddenly hop out of reality. Somehow what Stephenie manages to do is to mix the emotions that everybody feels at some point in their lives with these kinds of supernatural things: vampires and werewolves and stuff. It would be wrong if you suddenly saw a werewolf in a different kind of movie. They have to be carefully integrated. If there’s one thing I’m good at with CG is that I don’t like it to jump to the foreground too much. I like it to settle in like any other aspect.

Q: There were a lot of parts in Twilight that were a homage to the cover and Stephenie had a cameo. Are there any plans to put your spin on that I this movie at all?

Chris: Well I know that Stephenie did not like the tulip on the cover. So we won’t seeing that. Let me see, I don’t know that there are any trick cameos per say, but every time I make a movie I definitely want there to be 20-30 moments where if you had a DVD and stopped it and really looked carefully to see what was going on…whether it be kind of strange bits of foreshadowing, sort of as though you could see into the future in certain scenes or whether it would just be little moments that passed by unnoticed, or details of the architecture of things. I love doing that sort of stuff.

Q:What has been your biggest challenge?

Chris It’s a challenge to make a movie anyway, especially one that’s coming out in November. Probably the biggest challenge will be getting it out on time and making sure that every little detail at least in my mind is right. I’m rather obsessive and I tend to be a worry-wart about things. You know going into it that there’s going to be a lot of interest, that people are going to see it. For me that’s not enough, like I really want to deliver on everything that I’ve promised. So that’s the really tough thing, making sure that you don’t just go do your job and go home. Every second is an opportunity either exploited or wasted to get something right basically.

Q: Have you seen any costume designs for the Volturi. How is it different from the books.

Chris: It fits with the books.

Q: The Black cloaks?

Chris: Yes the black cloaks are all there. The degrees of blackness are very carefully kind of rationed out.

Q: The sets for the Volturi’s lair?

Chris: I think the set for the Volturi’s lair is going to be really interesting for the fans. It’s going to be really fun. It’s first of all one of the biggest sets I’ve ever seen. It’s one of the grandest that I’ve ever seen. It’s what it deserves. (Well they are the Volturi) They’re a big deal. (They don’t go small) No, they don’t go small. (laughs)I think it’s first of all just shooting Volterra itself obviously you have to get that right the race to the square and all that but when we get inside it’s going to be fairly extraordinary. I’m very happy with it.

Q: Are you filming the interiors here in Vancouver?

Chris: Were filming the interiors here. Yeah we’re building the interiors because we get to make up that interior and control it ourselves. The exteriors belong in Italy.

Q: How the chase seen looking, is it any longer, and changes?

Chris: Not really. No I think we are going to try to deliver down to the yellow Porsche to get the details right.

Read or listen to the whole interview here!

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  • ilovEdwardcullen

    Every second is an opportunity either exploited or wasted to get something right basically, Chris Weitz said.

    OH I LUV THIS SENTENCE

  • ilovEdwardcullen

    Every second is an opportunity either exploited or wasted to get something right basically, Chris Weitz said.

    OH I LUV THIS SENTENCE

  • ilovEdwardcullen

    Every second is an opportunity either exploited or wasted to get something right basically, Chris Weitz said.

    OH I LUV THIS SENTENCE

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