New Moon News

Rob talks about stealing on the set, crashing the green Porsche while in LA and the character he would love to play in New Moon:

Thank you Cullen News!

Meanwhile Entertainment Weekly sits down with Tish Monaghan – the Costume Designer for The Twilight Saga: New Moon and Eclipse as well. If you’re interested to know more about the fashion behind New Moon, check out the interview:

Why couldn’t he (Edward) remain shirtless for the indoor fight scene? Why put on the robe?
Originally, the guards who grab him were supposed to be coming from the outside — that’s why they give him the robe. But the setting was changed, and they grab him on the inside. So why do they hand him this robe? Because, quite honestly, it looks very cool fighting with this long, flowing garment, and it does hide pads, protect him.

Last question: What can you tease about the costumes in Eclipse?
We go back to the 1700s and do a complete Quileute tribe. I had to go to museums and pour over clothing that was dug up from burial sites, and I went into diaries of sailors to read what their first encounters were with the Indians on the Pacific Northwest coast. Then we did vampires from the Civil War era, then we did the 1930s, then we did our contemporary world, then we did fantasy Volturi flying over on a jet to Forks, Washington. Then we did an army of vampire newborns. It’s pretty cool stuff.

Next, how about reading up on this interview from San Francisco Chronicle with Phil Tippet (picture below), the Special Effects Innovator for The Twilight Saga: New Moon:

Q: Which movie had tighter security on the set, “Return of the Jedi” or “New Moon”?

A: For “Return of the Jedi,” I was totally oblivious to all the fandom. I didn’t notice anything, and most of the work was done on pretty secured sets. For “New Moon,” it was unbelievable.

It was like a CIA operation. Some of the locations we would go to, the production would be so concerned about fooling the paparazzi, they would take the arrows pointing to the location and turn them the other way. We were actually getting lost.

Q: Did you do much wolf-related research for the movie?

A: We nailed it down early that these were not going to be traditional beast-y horror movie things. … We watched a lot of documentaries and looked at every single picture book out there on wolves.

My co-supervisor, Matt Jacobs, took a bunch of the art department and animators to a wolf preserve outside of Los Angeles. They got into a pen about the size of this room with about 10 wolves and just spent the afternoon with them.