now that i have been through all three discs of my dvd, i will post them now!!! (ps the 6 part documentary is awesome!)

Extended Scenes:

via hisgoldeneyes, amazon

Entertainment Weekly interviewed Chris on his thoughts now that New Moon has been released, and now that the reviews are rolling in after the closing of opening weekend!

EW: What were the highest and lowest points of making New Moon?
CHRIS: The lows had to be shooting at 5 a.m. in a forest and struggling to get certain shots so a sequence would string together properly. It was a very cold forest in British Columbia, and we knew we’d have another night shoot just like it the next day. The highs were the moments of real identification with the actors. With Taylor, the moments early on when he realized he was going to do it. That was very gratifying to me.

ENTERTAINMENT WEEKLY: What was your biggest fear going into [opening] weekend?
CHRIS WEITZ: I didn’t have any particular fears. The tracking numbers were enough to indicate that I wouldn’t be letting the studio down. But if one could imagine their biggest fears, it would be complete rejection of the movie, by the fans. What I’ve realized over the last week is I won’t necessarily get good reviews for this movie. Having swallowed that, this was made for the fans, and if you don’t get it, then you don’t get it.

Read the whole interview here!

here is a video featurette on the volturi, its really cool.  no spoilers

here is a new tv spot.  couple seconds of new footage, not that much.  different. its called “never hurt you” enjoy

here is the offical music video for “satilite” which is on the nm soundtrack.  features new moon footage.

‘Satellite Heart’ Anya Marina

Anya Marina | MySpace Video

rpatz and director chris w. went to japan and her is the conference video!

Chris Weitz spoke with MTV about Dakota Fanning’s ‘genuinely scary’ performance, possible Stephenie Meyer cameo and Taylor as Jacob.

Nerd World, the Time Magazine blog, got an almost 13 minute interview with New Moon director Chris Weitz at Comic-Con.  Read on, people:

I guess I should ask you about the actual movie. How done is it?

It’s pretty done. It has to be done. It has to come out on November 20. Which means we sort of have to hand it over October 30. Which means the picture has to lock August 30. And so in a few weeks it’ll be locked, the visual effects are in good shape, all the R&D on the more complicated, more ephemeral effects is being completed.

 I hope there’s sparkling in this one.

There will be lots of sparkling.

I liked the vibe between Bella and Jacob. It felt real, but also different from the way she interacts with Edward.

Taylor’s very much like the character, tremendously sunny and upbeat. And Kristen is very protective of Taylor, actually. He’s 17 now, and Kristen’s been working since Panic Room if not before that. She wanted to make sure Taylor was protected from the world, and that works perfectly with the dynamic of the book.

I have to say, his torso in the clip you showed today was unlike any human torso I have ever seen.

It’s pretty astonishing. He did work very very hard.

Was that CGI?

I swear to God, it was all his hard work.

Read it ALL Here!

Chris Weitz comments on the questionable nude scene described by Jamie Campbell-Bower

Dear all,

I would like to put everyone’s mind at rest and let them know that the Volturi are not naked! Jamie (Campbell-Bower) has what you might call a dry sense of humor and almost managed to convince me — which is why he’s such a good actor. Anyway, be assured that, even though we do want the look of the Volturi to be a bit of a surprise, they are always — as in the book! — fully clothed.

best,
Chris Weitz

Well at least we could see edward and jacob’s abs

Access Hollywood got the chance to interview Chris Weitz, screenwriter Melissa Rosenberg and  Ashley Greene about onscreen chemistry, creating the wolves, and Taylor Lautner’s resemblance to a certain Greek god.

How many versions of the wolf did you have, and cg wise, how long did that take to come up with?
Weitz: Well, we knew very quickly that we wanted it to look like a wolf, just a very, very big one. Once you’ve made that crucial decision you don’t have to spend much time on look with R&D [Research and Development] and the concept and the renderings you usually have to do with monsters and those type of things. Getting very tedious details stuff like fur, the muscles, the fat over the muscles, the way the light is with the fur, that stuff takes months. We have a huge advantage in that it’s Phil Tippet’s studios. Phil Tippett is one of the greatest visual effects artists in the world…They’ve turned out much more quickly than we thought they were going to be.

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