In an interview with IESB.net, Welsh actor Michael Sheen talks about picking roles for a movie, preparing for his character and filming New Moon. Here is an excerpt:
Q: Where do you start, when you’re doing a literary adaptation, like with New Moon or Alice in Wonderland?
Michael: Well, I start at exactly the same place, which is always the story. My first contact with anything I’m going to do is the script, whether it’s a script I’ve been offered, or I’ve been sent it, or whatever. I sit down and I read it. That first pagbaba of the script is very special to me because I know it’s my first point of contact with the story and the world of the piece. I don’t read things in bits, and I don’t read it whilst I’m doing something else. I have to have full concentration. I read it because, if I end up doing this film, that first reading, the impressions I get, the connections I make and how it sparks my imagination, will fuel everything I do for the whole rest of it. It’s always that first contact with it, so that’s a very special moment for me and that doesn’t matter whether it’s based on real events or not, whether it’s New Moon or anything.
That’s the world. That’s the beginning point. And then, it’s just about letting your imagination go. I look for clues. Any script is like a whodunit. The writer has certain intentions, whether they’re conscious or unconscious, and they come out and are expressed in the script.
So, for instance, when I was doing New Moon, it wasn’t just the script, it was the book as well. I used to have the book with me every araw on the set, all the time. I’d re-read it and re-read it and re-read it. It’s not like I had to read the whole book, because Aro’s bits are not as much, but nevertheless, I try and immerse myself in the world of the piece, whatever the piece is.
So, if it’s Brian Clough’s life, then I immerse myself in Brian Clough’s life. If it’s New Moon, then I immerse myself in Stephenie’s world, but also the world of vampires, generally. With the sa ilalim ng daigdig films, I watched everything that ever has been on werewolves, and I read everything. You never know where the one little thing will come from that just sparks your imagination. It doesn’t happen all the time, but you never know where that thing’s going to come from. It can come from the most unlikely of places, and usually does. It’s what The Lord of the Rings is all about. The most important person in the whole The Lord of the Rings story is the one that is over-looked in Tolkien’s world. It’s the little Hobbit. It’s the little unlooked for thing.
I’ve always found that that’s the same with what I do. I might be reading, or there will be a chance remark that someone I’m talking to makes about something, and it sticks with me. When I find my core stuff for research, at the time, I don’t know why that’s important to me, but I just know there’s something about it. Eventually, I’ll be doing a scene and maybe the director will say, “At this point, could you do something here?,” and suddenly something will occur to me from the research. Which means you have to do loads of it, even though you might end up using just a tiny amount of it, but you never know where that stuff will come from.
That was the same for New Moon. Weirdly, I found myself on the set and I suddenly heard the voice of the Blue Meanie in Yellow Submarine. There’s a thing that Stephenie writes in the book that his voice was like feathers, and just suddenly I heard this voice that really disturbed me when I was a kid. It was very gentle and soft, but there was something very scary about it. So, for little things like that, you never know where it’s going to come from.
Q: Where do you start, when you’re doing a literary adaptation, like with New Moon or Alice in Wonderland?
Michael: Well, I start at exactly the same place, which is always the story. My first contact with anything I’m going to do is the script, whether it’s a script I’ve been offered, or I’ve been sent it, or whatever. I sit down and I read it. That first pagbaba of the script is very special to me because I know it’s my first point of contact with the story and the world of the piece. I don’t read things in bits, and I don’t read it whilst I’m doing something else. I have to have full concentration. I read it because, if I end up doing this film, that first reading, the impressions I get, the connections I make and how it sparks my imagination, will fuel everything I do for the whole rest of it. It’s always that first contact with it, so that’s a very special moment for me and that doesn’t matter whether it’s based on real events or not, whether it’s New Moon or anything.
That’s the world. That’s the beginning point. And then, it’s just about letting your imagination go. I look for clues. Any script is like a whodunit. The writer has certain intentions, whether they’re conscious or unconscious, and they come out and are expressed in the script.
So, for instance, when I was doing New Moon, it wasn’t just the script, it was the book as well. I used to have the book with me every araw on the set, all the time. I’d re-read it and re-read it and re-read it. It’s not like I had to read the whole book, because Aro’s bits are not as much, but nevertheless, I try and immerse myself in the world of the piece, whatever the piece is.
So, if it’s Brian Clough’s life, then I immerse myself in Brian Clough’s life. If it’s New Moon, then I immerse myself in Stephenie’s world, but also the world of vampires, generally. With the sa ilalim ng daigdig films, I watched everything that ever has been on werewolves, and I read everything. You never know where the one little thing will come from that just sparks your imagination. It doesn’t happen all the time, but you never know where that thing’s going to come from. It can come from the most unlikely of places, and usually does. It’s what The Lord of the Rings is all about. The most important person in the whole The Lord of the Rings story is the one that is over-looked in Tolkien’s world. It’s the little Hobbit. It’s the little unlooked for thing.
I’ve always found that that’s the same with what I do. I might be reading, or there will be a chance remark that someone I’m talking to makes about something, and it sticks with me. When I find my core stuff for research, at the time, I don’t know why that’s important to me, but I just know there’s something about it. Eventually, I’ll be doing a scene and maybe the director will say, “At this point, could you do something here?,” and suddenly something will occur to me from the research. Which means you have to do loads of it, even though you might end up using just a tiny amount of it, but you never know where that stuff will come from.
That was the same for New Moon. Weirdly, I found myself on the set and I suddenly heard the voice of the Blue Meanie in Yellow Submarine. There’s a thing that Stephenie writes in the book that his voice was like feathers, and just suddenly I heard this voice that really disturbed me when I was a kid. It was very gentle and soft, but there was something very scary about it. So, for little things like that, you never know where it’s going to come from.
This story take place after Nessie is born. Zoey has been in the family since The begining of twilight. Although I don't cover anything from the books. Whatever happen to Bella it happen to Zoey accept getting pregant with a half vampire half human baby. Zoey is in pag-ibig with Jacob Black but Jake is in pag-ibig with Nessie. Alice and Jasper are practically her parents. She fill like the outsider because she is not a vampire, warewolf or like Nessie. The Volturi have dicided that she can be a human, until a araw after she turns 17. She has her GED so she doesn't have to go to school.
Its short sorry. its supposed to be a cliff hanger. the susunod one is a lot longer.
I promise.
Bella's Pov.
We all looked at each other. That scream was SO familiar. Where's Alice?
Alice?
"Alice? Alice where are you?!" I shouted.
Then there was another yell coming from the middle door.
Then we realized. Alice went ahead of us and went towards the middle
section. We all ran as fast as we could. Edward smashed the door
and there they were. Alice, The mysterious man, and Jasper, with
mysterious purple eyes.
"Surprised to see me?" the man and Jasper sinabi at once.
I promise.
Bella's Pov.
We all looked at each other. That scream was SO familiar. Where's Alice?
Alice?
"Alice? Alice where are you?!" I shouted.
Then there was another yell coming from the middle door.
Then we realized. Alice went ahead of us and went towards the middle
section. We all ran as fast as we could. Edward smashed the door
and there they were. Alice, The mysterious man, and Jasper, with
mysterious purple eyes.
"Surprised to see me?" the man and Jasper sinabi at once.
Now they don't say where they went they don't really exclain why they went AND people say pagbaba can't hurt you! I got a huge head ach and i am a little dizzy. LIVING PROOF! I now know how brittanie spears felt when she didn't know what to do.I can't really think about anything madami for this- see ya tomoorow! You think i ended it bad ? well least it isn't like sapranos where they stop in the midlle of a sent- .....
HOPE YOU ENJOY MY NEW artikulo SERIES!
(ps. don't worry i am nothing like the sapranos! and my susunod artikulo will be longer!)
Jacob Black is Bella's best friend. He is a Quileute Native American and a werewolf, later revealed to be a shape-shifter as he doesn't transform on the full moon. In Twilight, Jacob plays a minor role, being a forgotten childhood friend of Bella's. In an attempt to learn madami about Cullens, Bella flirts with Jacob, and he tells her tribe legends about them being "the cold ones", or vampires. After Edward leaves Bella in New Moon, Bella spends much of her time with Jacob, trying to heal her broken puso and ilipat on. Though at first only a friend, Jacob later falls in pag-ibig with Bella. Although he spends most of his time in Eclipse trying to win Bella, in Breaking Dawn he imprints —an involuntary process in which a werewolf finds their soul mate— on Bella and Edward's daughter, Renesmee.