Melissa Rosenburg Talks “Breaking Dawn”, “Afterseed”, and “Afterthought”
Collider: The Twilight films haven’t all come out yet, but you’re finished with filming. What’s it like to be able to step back from them a little bit? Is it weird that it’s all finished, as far as the production goes?
MELISSA ROSENBERG: The bulk of my work ended a year ago or more, so I’ve an opportunity to really move on, and am now deep in the middle of other projects. In some ways, it’s fun to come back and relive it, for the opening of this movie and the last one, in another year.
Do you typically prefer to just go right into the next project?
ROSENBERG: Yeah, that’s how I operate best. I just ignore feelings and jump right into the next thing.
The fans have shown such a tremendous support for this entire franchise. Reflecting back on it now, what’s been the most surprising thing about the experiences that you’ve had with the fans?
ROSENBERG: Their passion is overwhelming. I shouldn’t have been surprised by it, having been a young girl myself, at one point, but their passion and commitment is overwhelming and fantastic and, at times, terrifying. They’re the best audience in the world to write for, unless they hate you. And, I had my haters. We all do.
What was it like to collaborate with director Bill Condon on this, especially with him being such an accomplished screenwriter himself?
ROSENBERG: It was so wonderful. I was pretty tired, coming into the two Breaking Dawnfilms, having done several, and he just brought such a new, fresh energy to it. Bill is a storyteller, first and foremost. He really brings such a deep sense of theme and character and emotional complexity, and he really pushed me into those areas. Because this is much more of a grown-up story, it required a great deal more complexity. He just kept taking it to the next level and pushing me, and was always there, bouncing off ideas. It was very, very collaborative.
What was the most significant input that he had?
ROSENBERG: Gosh, absolutely everything! It would be impossible to parse out because he’s knitted into every fabric of the storytelling. There were sections that were harder for me to break, so we sat and banged our heads against the wall, specifically on those, particularly the section from the point where she gets pregnant until when she gives birth. That section was a big challenge because basically she’s lying around dying. How do you make that cinematic? How do you keep the energy moving forward? That was a very challenging section, and he really helped me break that and look at that.
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