Leading up to the Friday release of New Moon, the Los Angeles Times is posting recaps each day this week from their visit to the Vancouver set of the film last spring. Today’s Q&A is with New Moon director Chris Weitz.
GM: Did “Twilight’s” visual aesthetic at all shape your approach to the look of “New Moon”?
CW: I wanted to approach it fresh. There is a point where it links up, which is in the school life of the main character, where we do maintain some of the hand-held quality of the camerawork. But I’m kind of old-fashioned in terms of my references. I go back to much more composed romances that I love. Those are my influences rather than what I think is a more pop contemporary sensibility that Catherine Hardwicke has. I don’t think I’m very contemporary or cool. What will result is probably a much more romantic, classically framed old-fashioned epic for this one. We’re going to these big sets and Italy, the world expands, the mythology of the piece expands. It fits better in a way with a sweeping approach, although one uses these metaphors really loosely. Sweeping, what does that mean? One hates to quote filmmakers who are great because it sounds like you’re comparing yourself to them and I’m not at all, but David Lean and Kurosawa who composed on this grand level, that’s the inspiration for this movie. It kind of has been for the last couple of movies for me in terms of building the visuals. “Golden Compass” was a biggie.