Phil Tippet is the legendary special effects genius who is behind the wolves of New Moon.
“When that wolf checks out Bella, it’s not a wolf’s eyes, it’s Jacob’s. “We brought Taylor [Lautner] in and had him haul his eyelids back as far as possible and shot close-ups.” They then added those eyes to the giant animated timber wolf used in the scene.”
Q: Which movie had tighter security on the set, “Return of the Jedi” or “New Moon”?
A: For “Return of the Jedi,” I was totally oblivious to all the fandom. I didn’t notice anything, and most of the work was done on pretty secured sets. For “New Moon,” it was unbelievable.
It was like a CIA operation. Some of the locations we would go to, the production would be so concerned about fooling the paparazzi, they would take the arrows pointing to the location and turn them the other way. We were actually getting lost.
Q: Did you do much wolf-related research for the movie?
A: We nailed it down early that these were not going to be traditional beast-y horror movie things. … We watched a lot of documentaries and looked at every single picture book out there on wolves.
My co-supervisor, Matt Jacobs, took a bunch of the art department and animators to a wolf preserve outside of Los Angeles. They got into a pen about the size of this room with about 10 wolves and just spent the afternoon with them.”
Q: This sequel was made in less than a year. Was your workload insane?
A: It was actually kind of fun. ... It kind of harked back a little bit to the Roger Corman days. With the vast amount of money these things make, we don't get paid much - and the speed with which you work, you have to rely on your skill and just get it done.
That's actually a lot more of a creative kind of milieu to work in as opposed to these hundred-million-dollar movies, where there are 50 executives worried about everything.
Gracias Twilight Lexicon
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