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Kim Voynar

By Kim Voynar

New Moon, New Director

Word is officially out now that New Moon, the sequel to Twilight, will be directed by Chris Weitz. Interesting choice, and not necessarily a bad one. Weitz previously The Golden Compass, which had heaps of special effects and a gorgeous visual look, in spite of its flaws. If he gets the story and characters such that he can bring New Moon to life effectively, we could end up with a sequel that’s much better than the first film overall.
New Moon is a much darker tale than Twilight, with a heavy emphasis on the relationship between Bella and Jacob, the Native American teen who morphs into a wolf. There will, no doubt, be some temporary bitching and moaning over Summit opting to go with a male director over a female, but so long as Weitz does the job effectively, in the long run that’s what will matter, both to the fans of the series and the studio footing the bill. I expect Summit will try to avoid or at least downplay there being any issue of going with a male director on a femme-focused property, and keep the emphasis on the desire to make the best film possible within the time constraints and budget they’re working within. Any thoughts on whether or not Weisz is a good choice to take over the helm on the Twilight series, feel free to weigh in.

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One Response to “New Moon, New Director”

  1. Wray says:

    I agree, it’s not a bad choice and I cannot understand why it should matter what gender the director is.
    If I remember correctly, no one had a real problem with the special effects in The Golden Compass, it was the adaptation of the books that had many fans in an uproar. I haven’t read them, so I can’t really comment.
    That said, I still wonder what Catherine Hardwicke would have done with a bigger budget and more at her disposal. I just think it’s a shame that we will not find out. I think she brought something interesting to the series.
    Either way, I am curious as to how this will all play out.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon