Film Critic Debbie Lynn Elias Interview Melissa Rosenburg
Our friend Debbie Lynn Elias had the opportunity to speak 1:1 with Melissa Rosenburg during the Breaking Dawn Part 2 Press Junket in LA last month. Here is some of her interview where she talked with Melissa about who she writes for when doing an adaptation and her vision for Breaking Dawn Part 2! Head over to her site at Movie Shark Deblore to read the full interview.
When you’re writing, and specifically with Twilight, where does your loyalty and responsibility lie? Does it lie with making the fans happy? Does it lie with being true to the source material? Does it lie with making the characters how you want them to be perceived? Or does it lie with yourself, being true to yourself, even if it means changing the rules?
A little bit of everything but primarily being true to the source material because then you’re being true to the fans and the original author. That is sort of the Bible, the original book. Indistinguishable from Stephanie [Meyer] herself, she’s really my gauge. Is she responding to it? Does it feel like her story? And for me, I put myself in the perspective of an audience member. Is this something I want to see? I’m the audience in my own mind. I don’t write for an audience out there. You can’t possibly sit there and go, “Oh, the audience is going to love this scene? I don’t know. They may hate that scene.” But, do I love it, do I want to actually pay money to go see this, go see this character. So, it’s sort of all those things working in tandem.
With Breaking Dawn Part 2 it’s very visual, perhaps moreso than the others because of the twist and the “scene that shall not be named”. When you were constructing the script, and particularly that scene because this is a story twist not in the book and originates from you, do you visualize the scene and then give strong visual instruction to Bill Condon?
I give him visual “suggestions.” He and I work closely on every aspect of the story. He’s an Academy Award winning screenwriter. It’s tremendous to be working with him and bouncing ideas around him is a dream come true. He really brought me up several levels. Learned a lot from him in that process. I wrote an original draft of that whole sequence, and kind of placing people here and there and try to tell the story of what would happen in that situation, and then he would work with his stunt coordinators, special effects editor and he would come back and he’d say, “What if we put this character there?, etc.”. So, I would map it out per their stating. It was a little bit of my coming to them with, “Here’s sort of a general vicinity” and then him working with that and going back and forth and actually mapping it out on the page. Everything needs to be on the page, whether it’s my original idea or his or the stunt coordinator. It all gets there – somehow. It eventually lands on the page. [laughing]
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