How do you direct a film when everyone knows the story and ending? In a way, that’s an advantage. That people know and love the book means that people know and want to see the movie, which is what you hope for when you’re making a film. It’s a fine balance between being as faithful as possible to the spirit of the book, and bringing changes. I regard myself as fan as much as any other, and the way that I see the book in my head is just like any other fan’s ability, except that I happen to have tens of millions of dollars at my disposal to realize that vision. One hopes that it’s a strong enough envisioning of the book that people will be amused and entertained and excited even though they know how things are going to end.
One of my favorite New Moon conspiracy theories is that the producers are ordering Kristen Stewart and Robert Pattinson to keep their love hidden because it will affect the way people will perceive the story, even though the story is already known even until the next two books.
The fans know what the Volturi look like or what Taylor Lautner as Jacob’s amazing bod is going to look like—the producers know these things are big points of curiosity about whether we’ve been able to be faithful to people’s notions. And they want to parse these things out over time. [Laughs] It is a conspiracy, but the conspiracy is called marketing.
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