Showing posts with label New Moon. Show all posts
Showing posts with label New Moon. Show all posts
Robert getting an Edward New Moon touch up
As delicious as Robert is in this pic,
that bitch should've been fired,
for making Edward look like shit.
Just Edward
Just not ready to give up New Moon ,
before I overdose on Remember Me,
or
before those confused,
greedy motherfuckers at Summit
decide to throw some Eclipse scraps out there,
for me to dissect and obsess over.
No, I'm not ready to give up Edward and Bella
for Taylor and Ally...
I'm not ready for Bella to be torn
between Edward and Jacob,
NO,
just not yet...
Robert talks about New Moon Edward
Holy shit, is it me or does Robert sound like his Brit accent is fading?
Has spending the last 2+ years in the States turned his vocal cords Americana?
It really struck me while watching this.
I love watching him give interviews.
I love watching him give interviews.
Anything. ANYTHING will do at this point.
.
.
One of my favorite scenes from New Moon
I love the way Chris Weitz incorporated the Meadow Scene in New Moon. It was the only point in the movie where it felt like Edward and Bella from Twilight. That's what Catherine Hardwick did so well. You felt the chemistry between the two....something Chris failed to do. How differently the reunion scene would have turned out if Catherine was in the director's chair...It would have been intense, like it should have been.
.
Still Nit-picking
When I saw this photo, I just assumed it was a scene from New Moon...maybe Bella dreaming? I couldn't wait...so now I'm wondering...what was this scene and why the fuck didn't Chris Weitz include it in the move?
My 'New Moon' balloon deflated...
After months of viewing trailers, spoilers, photo's, interviews and Youtube fan video's, I went into the 12:01 a.m. showing of New Moon with extremely high expectations. Unfortunately, it didn't take long for the disappointment to set in. (egads! I said it!)
I'll start with Edward because, well, it's Edward. I think his hair was way too flat, skin way too white, lips way too red and eyes way too orange. Insignificant I know, but annoying just the same. Also, being that Edward's appearance in New Moon was limited, I felt a couple of the scenes he was in were rushed. (i.e.) his reaction after speaking to Jacob and being told Charlie was making funeral arrangements. That was the first physical scene he was in after he left Bella and felt that more time should've been spent on his anguish. (Crushing the cell phone in his hand just didn't work for me). He's strong, I get it. But what about his heart? I was expecting him to drop to the floor in agonizing devastation. I also thought his visit to the Volturri in his request for death, again rushed. Where's was the dialogue as in the book? Two pivotal scenes, glossed over and brief.
I give it to Catherine Hardwick. Her version of twilight may have not followed the book as did New Moon, nor the effects as spectacular as New Moon, but she captured and brought out the chemistry between Robert and Kristen. In New Moon, I felt Chris Weitz failed to do that. At times it felt like Robert was reading lines from the script and found myself asking, "Does Edward even like Bella?". During most of the break up scene, he briefly looked into Bella's eyes. Whereas Twilight, his eyes hardly left hers. That stare...gone. (Still insignificant to many, but vital to the characters just the same).
There was no heart stopping moment between Edward and Bella (except the birthday kiss the night before the break up). I felt the reunion scene at the clock tower fell short. Where was all the footage of them wrapped in eachother's arms kissing that made it's way to the internet or youtube? That was another scene I felt was rushed. The dialogue between Edward and Bella was limited and again, brief. That was a key scene that should've followed the book exactly. Although the fight scene effects of Edward getting his ass kicked was worth the watch, where was the intensity between Edward and Bella?
Kristen Stewart, on the other hand, I thought did extremely well. After watching her portray Bella in Twilight (most scenes her just shaking her head as if in disgust) I never thought she would be able to pull off Bella's sorrow. But she did. Her scenes with Jacob had heart, chemistry. Which, by the way, I felt Taylor Lautner owned the movie. It was his and he ran with it. Kudos to Taylor!
I also want to know what drugs Make-up/Wardrobe was on. In "Twilight" all the vampires were gorgeous. In "New Moon" I felt as if they were dressed much older than what they were. Ex. what the fuck was that garb Carlisle was dressed in for vote scene? Ridiculous, but not as ridiculous as that poodle wig Jasper was sporting. Seriously, didn't anyone from production say, "Hey wait a minute, he looks ridiculous"?
Ok so some may say I'm nit-picking. So be it. Like I said, I went in with high expectations. I also didn't truly appreciate the job Catherine Hardwick did with Twilight until I saw "New Moon". Would I want Chris Weitz back as director for "Breaking Dawn"? At this point my thoughts are Summit would have to hire an extremely talented director to bring that mess to the big screen. Do I think Melissa Rosenberg has the writing skills to make the transitition from book to the big screen and be successful? NO. And that's not dissing Melissa. I think she tied "New Moon" together nicely. She stayed true to Stephenie Meyers dialogue and I attribute that to the success of "New Moon." But I've said it before, I think Breaking Dawn was ridiculously bizarre and I just think a script of that magnitude would not be best served written by her.
I will give credit where credit is due. Although I think Chris Weitz fell short on capturing the chemistry between Robert and Kristen, he did a great job with the special effects. If anyone really gives a shit, I give New Moon 3 stars and that's because I love the saga regardless!
'New Moon' Director Chris Weitz Tells EW: 'If You Stay True To The Book, You Win'
When EW went to meet Chris at his beach house after the film's release, they said he looked "like a wilted rose. He’s unshaven, pale and wearing clothes he appears to have found wadded in a ball on his bedroom floor." The man has been exhausted by the recent press tour insanity surrounding the record-breaking film (“I’m at the point of physical collapse,” he told the mag, and recently admitted he wants to retire after making one final movie), but at least he is not letting the film's negative reviews get him down.
"What I’ve realized over the last week is I won’t necessarily get good reviews for this movie," he admitted. "Having been a reviewer myself, there are only two ways to spin this story. You can either be the one guy who says this is a great movie, or more likely, take a more jaundiced view of the whole thing. And given the media blitz that has accompanied 'New Moon,' it’s rather unsurprising."
"In terms of what I wanted to do with the gloss of the picture, the look of the picture, I’m very satisfied with it," he said. "And satisfied to touch back with the crew and the actors and to feel we made it under humane conditions as well. No actors were harmed in the making of this movie."
He added, "I had this theory that if you stay true to the book, you would win. You would not only win with the fans, but other people will get what the fans care about. If the box office tells us anything, then it’s a win."
He was quick to draw comparisons to his last attempt at a book-to-film adaptation, "The Golden Compass." Chris noted that in its opening weekend, "New Moon" made more money than "The Golden Compass" made in its entire run. But the bad experience with the studio destroying his vision for "Compass" wasn't enough to keep him away from this story and these actors, he said.
"The studio, my editor, and I were all working off the same piece of music," said Chris in regards to "New Moon." "The only way I can make that interesting is to compare it to my previous experience of "The Golden Compass." I don’t think the studio had read the book. Maybe they had heard the audio book while sipping Zinfandel. Eventually, they were appalled and frightened by it. At a certain point they considered cutting loose the author. They considered and executed the complete regearing and destruction of what I thought was going to be a pretty good movie. It was a shame and pursued me through what should have been my sleep for a good year."
As for the main heartthrob of the box office smash, Robert Pattinson, he says he now thinks he understood how the Beatles felt back in the day. "I imagine it was close to this," he said. "Very few human beings will ever get to experience the love we feel at 'Twilight' events.”
To read the rest of the interview with Chris and learn more about how the movie became such a success, check out the EW story here and buy all three covers of the magazine when it hits shelves Nov. 27!
Source
Robert Pattinson's New Moon wardrobe
You have to immediately like a costume designer who’ll admit that she’s wearing sweatpants while chatting with you from her Vancouver home. We phoned Tish Monaghan, who took over styling duties for The Twilight Saga: New Moon and Eclipse, to talk about how Edward ended up in a suit, why Jacob’s muscles are bulging through his shirt (when he actually wears one), what department mandated that the wolf pack’s jean shorts be extra tight, and more.
ENTERTAINMENT WEEKLY: Anyone who’s listened to the Twilight DVD commentary knows that Robert Pattinson wasn’t a fan of Edward’s pea coat.
TISH MONAGHAN: He wasn’t a fan of the pea coat. He wore it in virtually every scene, and I think maybe he just got tired of it. I’m guessing. [Laughs] He just wanted a more mature look. That was part of Edward’s Grade 11 year, and now he’s getting into his graduation year, he’s in a relationship. He had worn hoodies and jeans and sneakers, and Robert, the director [Chris Weitz], and I all wanted to portray him more as a gentleman, more elegant and classic. With our vampire characters, I always went back to the time period in which they were turned to see if there’s any element I could try to simulate in contemporary clothing. He came out of the Edwardian period, around 1910. Of course, most of the gentleman from that time would be wearing suits, coats, hats, etc. We had to pick something that was iconic for the character that would suffice to be used throughout the whole film. At the very beginning of the film, he has one school outfit, and then there’s Bella’s birthday party and disaster strikes. So Edward ends up in that same costume for the remainder of the film. I was thinking of just putting him in a dress shirt and a pair of pants, but Robert wanted to be in a suit.
TISH MONAGHAN: He wasn’t a fan of the pea coat. He wore it in virtually every scene, and I think maybe he just got tired of it. I’m guessing. [Laughs] He just wanted a more mature look. That was part of Edward’s Grade 11 year, and now he’s getting into his graduation year, he’s in a relationship. He had worn hoodies and jeans and sneakers, and Robert, the director [Chris Weitz], and I all wanted to portray him more as a gentleman, more elegant and classic. With our vampire characters, I always went back to the time period in which they were turned to see if there’s any element I could try to simulate in contemporary clothing. He came out of the Edwardian period, around 1910. Of course, most of the gentleman from that time would be wearing suits, coats, hats, etc. We had to pick something that was iconic for the character that would suffice to be used throughout the whole film. At the very beginning of the film, he has one school outfit, and then there’s Bella’s birthday party and disaster strikes. So Edward ends up in that same costume for the remainder of the film. I was thinking of just putting him in a dress shirt and a pair of pants, but Robert wanted to be in a suit.
So I found a modern contemporary look that would be appealing to him and to the massive fan base, a very slim cut, and a fabric that to me was a bit Old World — this beautiful tweed fabric that we got out of England. It had the gray base, which is kind of essential for the Cullen characters in their cool tones, but also had little interesting flecks of blue, which is also Cullen, and a tiny little bit of rust, which I liked because Bella wears earth tones and that kinda linked her into the picture. The general texture of the suit would hold up well no matter what setting he was in: Inside the house for the party, or in the forest, or in the Volturi chamber. We had to show wear on the suit, and it’s much easier to rough up something that has texture to it than just a flat piece of wool. His pants are worn at the knees, they’re rumpled.
I don’t know if anyone’s looking at his pants when he removes his shirt in Italy.
The fans were very excited to see that, I don’t know if Robert was particularly excited to perform that in front of 1,500 people. I think it was quite hard for him to do. We originally tested Edward in a plain white shirt, as a forlorn-looking option. That is also what Robert wanted — he wanted something that would wash him out. But you need to have a color that makes you pop, and so we actually dyed the fabric this beautiful ink blue ourselves. It highlighted his vampire white skin really well. I think it’s a great moment when we see him in these clothes that he’s worn from September to May. When he goes to sacrifice himself, he’s in disrepair. Robert and Chris wanted his shirt to have a rip across the chest, so that’s what we gave him. It’s really kind of tragic to watch him take off his shirt, because he really is sacrificing himself. It looks like he’s just giving up. He’s exposing himself and he’s completely vulnerable, and he just takes his shirt off and he drops it at his feet with his eyes downcast. Then he gets attacked by Bella, who shoves him inside the doors. [Laughs] I don’t find it like a beefcake moment. It really is a moving moment, and I think Robert did a really amazing job for that scene.
The fans were very excited to see that, I don’t know if Robert was particularly excited to perform that in front of 1,500 people. I think it was quite hard for him to do. We originally tested Edward in a plain white shirt, as a forlorn-looking option. That is also what Robert wanted — he wanted something that would wash him out. But you need to have a color that makes you pop, and so we actually dyed the fabric this beautiful ink blue ourselves. It highlighted his vampire white skin really well. I think it’s a great moment when we see him in these clothes that he’s worn from September to May. When he goes to sacrifice himself, he’s in disrepair. Robert and Chris wanted his shirt to have a rip across the chest, so that’s what we gave him. It’s really kind of tragic to watch him take off his shirt, because he really is sacrificing himself. It looks like he’s just giving up. He’s exposing himself and he’s completely vulnerable, and he just takes his shirt off and he drops it at his feet with his eyes downcast. Then he gets attacked by Bella, who shoves him inside the doors. [Laughs] I don’t find it like a beefcake moment. It really is a moving moment, and I think Robert did a really amazing job for that scene.
The tear across the chest was to symbolize that his heart was torn out when he thought he lost Bella?
Maybe. [Laughs] They just said, “Rip it across the chest.” I said, “Are you sure? No shirt’s gonna rip like this.” And they said, “Yes.” So I did it.
Maybe. [Laughs] They just said, “Rip it across the chest.” I said, “Are you sure? No shirt’s gonna rip like this.” And they said, “Yes.” So I did it.
Why couldn’t he remain shirtless for the indoor fight scene? Why put on the robe?
Originally, the guards who grab him were supposed to be coming from the outside — that’s why they give him the robe. But the setting was changed, and they grab him on the inside. So why do they hand him this robe? Because, quite honestly, it looks very cool fighting with this long, flowing garment, and it does hide pads, protect him.
Originally, the guards who grab him were supposed to be coming from the outside — that’s why they give him the robe. But the setting was changed, and they grab him on the inside. So why do they hand him this robe? Because, quite honestly, it looks very cool fighting with this long, flowing garment, and it does hide pads, protect him.
