HitFix intervjuar Chris Wietz om New Moon
Q: 'Twilight' is very emotional at its core, but it also has a lot of CG elements. Would you say you are in a comfort zone? Is this familiar ground?
Right, I'm never really in a comfort zone making a movie which is a discomfort zone, because you're always working under pressured circumstances, because you don't have an unlimited amount of time or money to do these things. There were a number of things I was familiar with -- familiar enough so that I could do what I think is really important which is not to foreground the special effects for the action elements, but to make those kind of settle into the story. You never really want someone to watch a movie and go, 'Wow, those were great special effects.' You hope they won't notice the majority of what you are doing. Obviously, people are going to notice horse-sized wolves and realize on some level they are special effects, but they are photorealistic and they should be as expressive as a good actor if possible. So, in terms of kind of wrangling that sort of process it is something I am used to.
Q: In terms of the effects, I think everyone on this call was probably stunned after we'd been on set and we'd talked to the producer and he was like 'We're still working on some of the designs for the wolfpack' and I think it was like two or three weeks later we saw the first trailer and that great shot at the end. Have you ever worked in such a quick process from beginning to end?
It is. I myself was surprised Phil Tippet's company was able to turn out that wolf shot and I think they kind of did that as a matter of institutional pride that they could. Even that shot that was in the trailer has gone through 20-30 iterations since then, but they have done a really extraordinary job and Phil Tippet is a complete genius. He's responsible for the walkers in 'Star Wars: The Empire Strikes Back' and he's kind of one of the legends of the visual effects community and it pretty amazing what they have been able to do on such short notice. We are working at kind of breakneck speed at the same time as trying to achieve something really quite elegant as well. It's not just Tippet, it's Frantic/CBS (LOOK UP) which is headed up by Mike Fink who is my old friend who was the visual effects supervisor on 'Golden Compass' which won the Oscar the year it came out. So, yeah, working very fast, but we're also trying to work as beautifully as possible to make these effect kind of settle into the amazing cinematography that Javier Aguirresarobe brought us. We are kind of moving at light speed,but trying to deliver something that's really elegant and beautiful.
Q: Just to follow that up, can you tell us how far along you are to completion right now?
I am about two weeks away from showing the director's cut to the studio. I've got some wolves with fur. Some wolves are still invisible basically and some wolves are like -- you've all probably seen the claymation versions. We are still in the light RD phases of what Edward looks like when he's hit -- what the vampires look like when he's hit with light and the diamond effect. Also, the kind of hallucinatory effect Bella has when she hears Edward's voice and she imagines him there. And then we are Alexandre Desplat has just started working on his music for the film. And we are just starting to put together what acts will be on the soundtrack, so it's kind of like keeping ten plates spinning at once, but it's all good because we've got Alexander Desplat who I think is one of the greatest film composers living and because of the kind of the strength of the franchise that I inherited, a lot of bands are really interested in working on the soundtrack and we got visual effects people. And that just leaves me hopefully not dropping the ball in terms of editing together the story.
Q: Sounds like a lot.
It is a lot, and with Comic-Con on the 24th were we are going to show a couple of scenes to whoever can get in that auditorium. And yeah, it's a lot to be getting on with, but it's fun at the same time.
Q: In regards to the music, will Alexander Desplat be using Carter Burwell's theme at all?
I think, y'know, yes, because like any franchise there are certain themes that become familiar. I suspect he's going to transpose it in some manner and most of the music will be entirely new to the franchise, because his style is somewhat different from Carter Burwell's, but I think there is some value to having a familiar -- I believe the words are 'light motifs' -- running through the entire series.
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