Filmmaker Chris Weitz said that he knew the “Twilight” phenomenon had gone off the rails when the female immigration officer at the Canadian border already knew who he was. And when paparazzi pictures of him and his family eating hot dogs showed up on the Internet. And when he faced the audience at July’s Comic-Con convention in San Diego.
“I don’t know if you’ve ever been confronted by 7,000 screaming girls,” he said. “But it’s a loud sound.” And Weitz is just the director — which would seem an impolite thing to say, if Friday’s release of “The Twilight Saga: New Moon” wasn’t poised to eclipse everything in its path.
The second in the series based on Stephenie Meyer’s YA vampire novels, “New Moon” will further the cause of making otherworldly superstars out of whom Weitz called his “big three”: Kristen Stewart, Robert Pattinson and Taylor Lautner, all of whom have already become objects of fans’ adoration and media scrutiny.
Their continued involvement in “Twilight” adds a dark note of celebrity overkill to a story already steeped in adolescent passion and impossible romance: The virginal Bella Swan (Stewart) is in love with the vampire Edward Cullen (Pattinson). And while he resists her willingness to go over to the dark side, he also risks losing her to Jacob Black (Lautner), a member of an American Indian tribe with a few undead skeletons of its own rattling around in the closet.
As we rejoin our program ... the Cullen clan is throwing a party for Bella’s 18th birthday, but when she accidentally cuts her hand, the ensuing flurry of blood lust among the immortal guests convinces the Cullens to leave their Pacific Northwest town for Bella’s own good. What ensues is precisely the kind of frustrated teenage love story explored by writers from Shakespeare down to those who carve their initials in trees. Meyer is always going for ultimate pathos, but her stories also prove that successful melodrama is usually not about what it pretends to be about: The “Twilight” series may be set among vampires, but its subtext is pure wish-fulfillment and fantasy.
“It puts everyday romantic dilemmas into a supernatural context,” said Weitz. “And things play out in the ways one might imagine they would play out in everyday life, but don’t.”
Weitz replaced “Twilight” Director Catherine Hardwicke. “It’s like ‘Harry Potter,’” he said, “They’ll have a new director on each film” — although that wasn’t the plan originally.
He said another aspect of the tales that drags female audiences of all ages into “New Moon’s” orbit is its almost chaste attitude toward . . . well, you know.
“The way it addresses teen sexuality is very considered and safe,” said Weitz, whose “American Pie” was anything but. “The heroine is a virgin and it’s addressed that she’s a virgin and that is something respected by her boyfriend; he’s very careful and protective of her. That’s a bit of a throwback, in a way. Actually, the fact that you mention the virginity of the character at all is a bit shocking.”
Vampire stories are always eroticized — as Weitz points out, the exchange of bodily fluids is a fairly intimate thing, even if you may not want to examine it all too clinically.
“You want to take people on an emotional ride, not necessarily an intellectual one,” said Melissa Rosenberg, who thus far has scripted three “Twilight” films (the third “Twilight Saga: Eclipse,” directed by David Slade, completed shooting two weeks ago). “If you’re just writing about passion, you’re doing, I don’t know what — soft core? There has to be a journey. So it’s really a coming-of-age story — it’s about Bella becoming a stronger person. And by the end she has a life as she’s created it for herself. The heartbreak is the whole idea of ‘what doesn’t kill you makes you stronger.’”
Rosenberg said the attraction of Meyer’s hugely best-selling books is rooted in their point of view, something which can’t be replicated on screen — nor should it be, necessarily.
“The way Stephenie writes is very intimate,” Rosenberg said. “You are inside that character’s head; there’s no editing. You’re in her emotions and they’re very raw and real and she keeps it intimate and that draws you into the storytelling in such a compelling way that I think that’s what gets people engaged.”
Beyond that, she said, there’s a really rich mythology that Meyer grounds in reality.
“The challenge of doing the screenplay,” said Rosenberg, currently splitting her time between “Twilight” and the TV serial-killer show “Dexter” (“Yeah, I like blood,” she said with a laugh), “is how you maintain that tone when you’re not literally inside Bella’s head.”
Still, she said, the film — not intending to kill the golden goose — has been extremely faithful to the book, a point echoed by Weitz.
“When I read the book — which I did in one gulp, the way a fan would — I saw how it really deals with melancholy and loss and a lot of deep-dish stuff,” he said. “I had wanted for quite a while to do a fantasy epic thoughtfully — I thought my last movie, ‘Golden Compass,’ had been taken from me and recut and I wasn’t happy with how it had ended up.”
And he said he knew that Summit Entertainment wanted to do right by the book, and the fans.
“I think they’ll be startled if they expect it to look like the first movie,” he said. “But I think that what they might be surprised at is that it’s a very beautiful film.”
AFTER ‘NEW MOON’ COMES ‘ECLIPSE’
It’s never too early to get hysterical: “The Twilight Saga: Eclipse” will be released June 30, furthering the advance of Stephenie Meyer’s vampire chronicle into pop-culture immortality. As the story picks up, a string of gruesome murders has Seattle on edge and Edward Cullen suspects a young vampire out of control. Edward and Bella apply to college; Bella wants to see Jacob; Edward proposes to Bella; Jacob licks his wounds.
Giving too much away will likely ruin “New Moon” for those who haven’t read it, although protecting the plot can’t be a big concern, given the readership. More critical to Summit Entertainment, the films’ producer, is getting the adaptations made while the young stars are still young (rather than face the situation of “Harry Potter,” which won’t end before Daniel Radcliffe is getting mail from AARP).
Piggybacking the filming of the four Meyer tales, “Eclipse” was completed — with director David Slade at the helm — before “New Moon” was even released. No doubt “Breaking Dawn,” the fourth novel and one to which Summit owns the rights, will begin shooting before “Eclipse” hits the screen, although a director has yet to be announced.