When I read the 'Twilight' book, I didn't see it as fantasy. I saw it as a love story.
As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.
Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
Starting with 'Thirteen,' my known technique is to cast the lead, then find someone with whom they have incredible chemistry.
For a film, when you condense, you don't want to keep going back to the same setting over and over.
I respect all the teenagers I work with and feel that everything they have to say is just as valuable as anything I have to say.
I had a bunch of other projects that I worked really hard on after 'Twilight,' and the magic just didn't hit.
As the director, you cannot control what people do after hours or in their trailers or on break. Why would you want to? But you can't.
Some directors I worked with didn't even know how to read a blueprint, understand a plan.
For a film, when you condense, you don't want to keep going back to the same setting over and over.
I respect all the teenagers I work with and feel that everything they have to say is just as valuable as anything I have to say.
There are 2,000 young-adult novels published a year, and hardly any of them ever break out.