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"All three directors have been wildly different in terms of my relationship although similar in one very important way which is that they've all been really, really respectful of my process . . . they all understand what I do," she explained. "With David [Slade] it was, there's a lot of back and forth, because I was actually more involved in production and tailoring the script for him than I was with Chris [Weitz] and even Catherine [Hardwicke] . . . well, Catherine and I had a pretty detailed, pretty intimate collaboration, but with Chris it was sort of a hand-off you know, I was jumping onto Eclipse, so basically I just handed it off to him and he went on to production and did all of the production re-writes, so there was sort of not a lot of back and forth throughout. With David, there was more, particularly since he works very . . . he thinks visually, he speaks visually . . . he works a lot with storyboards . . . so when he would storyboard a sequence, he would bring it out to me and I could put it into the screenplay and interpret it onto the page so that everybody would understand what was going on."Melissa also comments on her state during writing Eclipse:
"Time equals quality, it just does," she said. "When you just have time to go over something again and look at it another time and say 'Can I make it that much better?' and then having time to get feedback, which is a very, very important part of the process. With Twilight, I had almost no time . . . I think I outlined for about a month [with] five weeks to write the script, and that's really fast because I was fighting the deadline for the writer's strike. New Moon I had more time . . . but I was also juggling Dexter at the time. So, by the time I got onto Eclipse, I was on hiatus on Dexter, I had a little more breathing room, I could really sit with it and think . . . it has been more and more time each one."Peace and Fangs,
Alisha
Source via Examiner
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