Os pongo algunas (con las que coincido), el resto en el link. Donde pone RPattz, leed mentalmente Edward, anda que...
If you're a diehard Twilighter, you might wonder just how different New Moon the film is from the book. Below, we name 20 ways the movie deviates from Meyer's tome – and works all the better for it.
Twilight scribe Melissa Rosenberg faced an enormous challenge adapting Stephenie Meyer's 500+ page novel for the screen, but it's clear that the filmmakers chose to remain steadfastly faithful to Meyer's book. (Perhaps to a fault, considering the reviews.) Still, for fans, New Moon should feel just authentic enough to drive it toward an enormous opening weekend. So how do Rosenberg's additions, changes, and omissions from the text affect New Moon on film, and which ones work the best?
Instead of talking to herself, Bella sends emails to Alice.
New Moon, like all of the Twilight books, makes frequent use of Bella's internal voice-overs to tell us what's going on in that angsty head of hers. In New Moon, Bella writes emails to her lost BFF, Alice, to work through her issues. We still get the voice-overs, but they're cleverly disguised as Bella's messages to Alice, and therefore much less "Vampire Diaries." (Also, creating a movie email address for Alice was a clever way to sneak in product placement for Apple's MobileMe email application.)
Edward doesn't hide Bella's photos.
In the book, when Edward decides to break up with Bella and leave town, he also sneaks into her room and hides her photos of him so that she'll have no reminders at all that he existed – a complete and total abandonment. (Can you imagine a world without pictures of RPattz? It would be horrible, indeed.) In the film, we see him in her room, but there's no messing with photographs, which would have been an unnecessary minor plot point anyway. Plus, those folks who think Edward's a little stalker-like might have been even more creeped out by him rifling through her stuff. Instead, we get the full impact of Edward's absence in Bella's misery.
Jacob gives Bella a dream catcher.
One new scene in the film has Jacob giving Bella a dream catcher for her birthday, killing two birds with one stone in the process: giving her a present when Edward feels he cannot and putting the mack on her with a big bear hug right in front of Edward. Bella hangs the dream catcher above her pillow, but unfortunately for her, it doesn't help keep the nightmares away.
Bella goes for a bike ride at One Eyed Pete's.
Bella's attempt to put herself out there by going to Port Angeles with Jessica takes a dangerous (and hilarious) turn when she accepts a ride with a burly, beefy biker in order to hang on to her visions of Edward. In the book, she stops short of hopping on the chopper, but in the film she takes a full-on joyride with a stranger. How boring would it have been if she'd just turned around and walked back to safety?
Visions of RPattz dance in Bella's head.
While Bella's hallucinations of Edward in the books are purely auditory, there's no way that would fly in the film. So Weitz injects plenty of pretty Rob Pattinson shots throughout the entire duration of Edward's absence, scrumptious visions that come and go like wisps of smoke. And really, there's tons of RPattz bookmarking New Moon, so we don't miss him all that much. (What am I saying? There's always room for more RPattz!)
Bella hits Paul in the face!
In a film packed with phasing wolves and marble-cracking vampire fights, it's nice to see Bella get a little action. Angry that they've brainwashed her beloved Jacob, Bella confronts the Wolf Pack, shoves Sam Uley, and smacks Paul right in the kisser! Sure, it seems a little out of character, but at least in this moment, Bella is an agent of action and not merely reacting to the people around her. Plus, it leads into Paul's transformation and Jacob's mid-air phase, and the huge revelation of the Quileute secret.
Carlisle's Volturi painting comes to life.
Instead of waiting ‘til the end to meet the Volturi, we get an early peek at them when Carlisle's painting comes to life as Edward explains their history to Bella. Thank goodness! It would be such a waste to have even less of Aro & Co. in New Moon than the brief sequence we already get.
Victoria attacks Harry Clearwater.
While tracking the Wolf Pack – and slyly covering their footprints – Harry Clearwater suffers a fatal heart attack in the woods. But in the film, we see that Harry's heart attack comes from the shock of being attacked by Victoria, who is seen stalking Charlie's hunting party from up in the trees. The change here allows plot points to converge, as the ensuing wolf pursuit of Victoria runs parallel to Bella's fateful cliff-jump into the ocean. And again, it gives Rachelle Lefevre something to do.
Jacob and Bella almost kiss. Twice!
New Moon is Jacob's movie, so Rosenberg rewards him with not one, but two almost-kisses. If you look closely, their lips ACTUALLY TOUCH the second time!
(De verdad no creo que haya tanta diferencia con lo que pasa en el libro sólo que es una manera de hacerlo más visual, cómo dar a entender si no que Bella en un momento dado está dispuesta a dejar que suceda? * Sé que sería difícil/raro, pero eché el momento en que la alucinación de Edward le dice: "Be happy." no sé por qué pero me conmueve tanto que siempre que lo leo lloro como una magdalena)
Alice's vision. OMG, spoilers! (Seriously, MAJOR spoiler here concerning future installments of the Twilight Saga.)
When Aro "sees" Alice's vision of the future, he lets her, Edward, and Bella go with the knowledge that sometime soon, Bella will become a vampire. As a special treat, the film shows us Alice's vision of Edward and Bella running through the woods (alas, in giggle-worthy outfits and slow motion). But after the snickers die down, think about exactly what you are seeing and you'll realize that it's essentially a preview of sorts… of something with the initials B and D!
Tampoco veo tanta diferencia, eso pasa tal cueal en el libro, sólo que no podemos ver lo que ve Alice
That said, there are a couple of changes that don't work so well. Jacob's mood swing in the theater and subsequent threat of physical violence to poor Mike Newton seems incredibly out of character. Later in the film when the phone rings in Bella's kitchen, Jacob definitely knows it's Edward on the phone (as opposed to thinking it's Carlisle as in the book), which makes him more of a jerk.
Y para variar no estoy de acuerdo del todo. No creo que el cambio de humor de Jacob en el cine sea impropio de él ni le convierte en un malvado. Con lo de la llamada, en cambio, sí que no entendí por qué no se mantenía lo de Edward haciéndose pasar por Carlisle ¿?
Y para mí, una diferencia importante, es que desde el primer momento del reencuentro, Edward ya le explica a Bella por qué lo ha hecho, cuando esa conversación la tienen a la vuelta, en la habitación de ella. Supongo que será por condensar...no sé pero para mí el que Bella siga pensando durante ese tiempo que Edward no la quiere y lo ha hecho por culpabilidad es importante en el libro.
Gracias TOMs por el soplo ;)
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