Shock Til You Drop caught up with Eclipse director David Slade, producer Wyck Godfrey and screenwriter Melissa Rosenberg.
Q: What did you do to prepare for Eclipse and how did you bring your own style to the film?
Slade: There’s a vocabulary, a cinematic vocabulary to each of the films they’ve done. And it doesn’t come from that much premeditation. It comes from two things. One, seeing the film in my head before we go out and make it, and being very clear about that and planning it. Two, [doing] what’s right for the scene and the character. I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to human faces than maybe other directors will be.
Wyck Godfrey: When you were first talking to us about the movie, you had said that by letting the background fall out of focus and really focus on the characters in the dangerous scenes it creates a heightened sense of anxiety. You feel like you don’t really know what’s back there, and in the romantic scenes it creates an incredible sense of intimacy. You really feel like you sense these two people in that world and I really think that was effective.
Slade: I was just going to go on to elaborate for one sentence, which is to say that with close-up comes selective focus, and it is to focus the viewer, to point them in a direction. And when I talked about vocabulary, in a sense, you get a close-up which has very little amount of focus in it, but you’ll see medium shots and wider shots that will bring the audience’s attention to a specific place, which is completely intentional.
Read the full Q&A here.