Det har kommit ut en ny intervju med David Slade (Eclipse‘s regissör), Wyck Godfrey (producent) och Melissa Rosenberg (manusförfattare). De pratar mest om The Twilight Saga: Eclipse, vilket kanske inte är så konstigt då det är mindre än en vecka kvar till premiären! 
Q: Why should somebody see “Eclipse”?
David Slade: I guess, like, if you’re not into the World Cup, and there’s nothing worth seeing on TV and you’ve not got any plans, we’ve got, like, I think six or seven decapitations. You know, if there’s nothing much going on that night, it’s a good night out. As long as there’s nothing else on at the movies you want to see. But no, being serious, I think it’s the most mature book, and I think we made, we went for the most mature film. Certainly, there’s a great deal of romance in the film, but there’s also other things. Vengeance is a very big theme in the film. Our action sequences all are built out of character, so they’re not just effects. They’re actually built out of a need to get to a place. And I think it’s a film for everyone, this one.
Q: What did you do to prepare for “Eclipse” and how did you bring your own style to the film?
David Slade: There’s a cinematic vocabulary to each of the films they’ve done. And it doesn’t come from that much premeditation. It comes from two things. One, seeing the film in my head before we go out and make it, and being very clear about what that is and planning it, and then two, what’s right for the scene and the character. I believe the most interesting thing to look at in the world is the human face, so that is why I tend to be a little closer to those human faces than maybe other directors would be.
Wyck Godfrey: When you were first talking to us about the movie, you had said that by letting the background fall out of focus and really focusing on the characters in the dangerous scenes, it creates a heightened sense of anxiety. You feel like you don’t really know what’s back there, and in the romantic scenes it creates an incredible sense of intimacy. You really feel like it’s just these two people in that world, and I think that was really effective in the movie.
David Slade: I was going to go on to elaborate, just one sentence, which is to say that with close-up comes selective focus, and it is to focus the viewer, to point them in a direction. And when I talked about vocabulary, it extends so you get a close-up which has very little amount of focus in it, but also you’ll see medium shots and wider shots that also bring the audience’s attention to a specific place, which is entirely intentional.’
