Chris Weitz was not an obvious choice to take over the 2nd installment in the Twilight saga, New Moon from Catherine Hardwicke. But there are some issues worth pointing out, which in the end, may affect the Box office results and critical acclaim of the second Twilight film adaptation…
Summit has this to say when they announced Weitz’s directorial assignment:
Weitz, an Academy Award-nominated writer, director and producer, has a proven track record working with a broad range of material dealing with youth- oriented characters, fantasy and action. As such, he has the potential to bring alive in NEW MOON the dimensions and depth that fans will demand in the next installment.
In a recent interview, it was noted that “Chris Weitz, who also writes and produces, sometimes with his brother Paul, had done a fantasy adaptation in 2007’s “The Golden Compass” and felt a connection to the material.” Also, there is one particular segment of the moviegoing public that Summit wants to impress – the male audience who have been lukewarm (another word might be hostile) in their reception of Twilight.
In this article, tMF will also attempt to find some answers to three specific questions: Can he make a difference and give the fans what they really want? Can he entice this ‘hostile’ group into watching New Moon? Can Weitz level the playing field between Taylor Lautner and the very popular Robert Pattinson?
Two Basic Twilight Issues: Why he agreed to direct New Moon and his collaboration with Meyer.
Why direct the movie: The tonality of the movie, which has a lot to do with heartbreak and longing, depression and reunion and ecstasy — these were emotions that struck a chord in me. I really loved the cast; Kristen (Stewart) and Rob (Pattinson) both are exceptionally talented. And I wanted to get my hand back in the game. There were a lot of things in this movie that I knew how to do: a combination of telling a character-based story but also handling special effects and working with young actors.
Collaboration with Stephenie Meyer: Crucially, she approved me as director, and she didn’t have to. We had some discussions that were very important — my convincing her that I didn’t want to take her baby and run away with it, or tell a story that was counter to the spirit of what she was trying to tell. I see myself, in the last few movies I’ve done, as adapting literary properties into film, so that’s how I treated this one. We got along like a house on fire.