Twilight in Forks

New Moon director Chris Weitz was recently interviewed by the Hollywood Reporter. The interview is very detailed, they leave nothing untouched. Even a Breaking Dawn mention (#ChrisWeitz4BD!!) and even touches base on Rachelle LeFevre being recast in Eclipse -

新月導演克里斯維茲最近讓好萊鄔報導做了專訪。這個訪問非常的詳細，他們談了一些以前沒提過的事。甚至說到破曉的和談到Rachelle在蝕中遭到換角的事件。

The Hollywood Reporter: Why did you want to do a “Twilight” movie?

好萊鄔訪問者：為什麼你想要製作twilight電影呢？

Chris Weitz: The tonality of the movie, which has a lot to do with heartbreak and longing, depression and reunion and ecstasy — these were emotions that struck a chord in me. I really loved the cast; Kristen (Stewart) and Rob (Pattinson) both are exceptionally talented. And I wanted to get my hand back in the game. There were a lot of things in this movie that I knew how to do: A combination of telling a character-based story but also handling special effects and working with young actors.

導演：電影的色調有很多心碎及漫長的意志消沉和團聚的喜悅。這些都是讓我迷戀的激烈情感。我真的很愛這些角色：Kristen和Rob他們兩個都是特別有天份的人。而且我想要在比賽中重新得到掌聲。有很多事物在這部電影中我知道了怎麼做：一個訴說一集的基本故事而且有著特殊效果的組合，而且還跟幾個年輕人一起工作呢。

THR: How much did you interact with Stephenie Meyer?

訪問者：你和史蒂芬妮沒爾之間影響有多深？

Weitz: A lot; we’ve had a real good collaboration. Crucially, she approved me as director, and she didn’t have to. We had some discussions that were very important — my convincing her that I didn’t want to take her baby and run away with it, or tell a story that was counter to the spirit of what she was trying to tell. I see myself, in the last few movies I’ve done, as adapting literary properties into film, so that’s how I treated this one. We got along like a house on fire.

導演：很多呢。我們有一個很棒的共同研究。非常了不起，她承認了我導演的地位，而且老實說她不必這樣。我們有一些非常重要的爭議：我能說服她的但我不想讓她的小孩因此離家出走，或者訴說故事去反駁她試著敘述的精神。我看到我自己，在上幾部電影中我做到了，如同從電影中改編文學的屬性，所以那就是我如何去看待這一點。我們真的很情投意合。

THR: What kind of suggestions did she give you?

好萊鄔：她給了你什麼樣的建議呢？

Weitz: It would normally be me e-mailing her and running things by her when I felt I was on the edge of getting a detail wrong, everything from the powers of a given vampire to the look of a particular scene or what she imaged a location looked like. And sometimes, when I felt that I was creating something new within the framework she had set up, making sure she was aware of it and that it didn’t make her sick.

導演：我常常e-mail給她並且倉卒的當我感覺我做了一些語氣尖銳的錯事，一切都給予吸血鬼看起來特別的場景中或是看起來是她想像的場景。而且有時候，當我感覺我創造了一些她已經建立好的新的架構，要確定她能理解，而且不會讓她感到不舒服。

THR: For example?

好萊鄔：例如呢？

Weitz: A good example is the headquarters of the Volturi. The oldest vampire family lives in Italy, and it was important to me there be nothing in their surroundings that reeked of any other vampire movie. So the interiors are done in a very classic Renaissance style and are very crisp and very bright, which you would not normally expect from a vampire movie.’

導演：一個最好的例子就是帶頭的佛度里。這個最古老的吸血鬼家族生活在義大利，而且這對我很重要的是在其他吸血鬼電影中散發的，在他們週遭什麼都沒有。所以內景非常的古典的文藝復興風格，而且非常的生動明白。哪一個原因你不會常常期待一部吸血鬼電影？