You arrived on set three days ago. What is it like to come in so late in shooting?
MS: It’s been great shooting at the deep end of it. The first day filming, we did the 18th century stuff and then some of the modern stuff. It was a lot to deal with — you know with the wig and contact lenses all day and the makeup — but it was fantastic. And these sets are amazing and the look of everyone is so strong. So it was great. Just kind of to get right into it.
MS: It’s been great shooting at the deep end of it. The first day filming, we did the 18th century stuff and then some of the modern stuff. It was a lot to deal with — you know with the wig and contact lenses all day and the makeup — but it was fantastic. And these sets are amazing and the look of everyone is so strong. So it was great. Just kind of to get right into it.
Is there an irony for you, playing a vampire after playing a Lycan in Underworld? MS: I feel a bit like a traitor now that I’ve swapped sides. The vampires get to wear much cooler clothes in Underworld and in this. So now I get a nice bit of tailoring instead of raggedy leather.
The nice thing about playing a werewolf is that you don’t have to worry about getting dirty on set. At lunch time, I can have a lie down, and it doesn’t matter because I’m supposed to look rough, versus this where I have to look perfectly tailored and groomed and clean all the time. So I can’t sit down or do anything because I’ve got all this white makeup on, and I'm wearing black clothes. I’ve got to be really careful that I don’t get covered in stuff.
How did you approach playing Aro?
MS: I loved the thing in the books where Stephenie wrote about how the Cullen family is all really beautiful, and that’s what kind of lures people into their web. And Aro is not like that. She describes Aro as being not the same sort of thing.
MS: I loved the thing in the books where Stephenie wrote about how the Cullen family is all really beautiful, and that’s what kind of lures people into their web. And Aro is not like that. She describes Aro as being not the same sort of thing.
I like the idea that it’s his voice that lures people in — and his sort of demeanor rather than the way he looks — because he looks very weird and kind of scary. So I’ve tried to sort of go down that route to make him very mesmerizing. That his voice is quite gentle and soft, and yet there’s something kind of unhinged about him. They’re great scenes.
Stephenie was saying that she loved writing this scene that we’re doing now. I read it over and over and over again, that particular bit in the book. There’s a part where she describes his voice as being quite feathery. That’s what gave me sort of the idea of making him very soft and light. I think she describes it as being like a sigh, his voice. And that he’s a bit like a concerned grandfather at times with Edward. Even though he’s this deadly, really dangerous character, there’s something quite sentimental about him, something soft.
Sheen is whisked back off to set before he can answer the next question. An ancient vampire lord’s work is never done.
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