"Hey, this is Marc Webb, the director of The Amazing Spider-Man." "I'm here to do the commentary for The Amazing Spider-Man Blu-ray DVD craziness." "I hope you enjoy it." "I'm Avi Arad, one of the producers." "And I am Matt Tolmach, and I am one of the other producers of The Amazing Spider-Man." "My involvement with The Amazing Spider-Man started off with some conversations with Matt Tolmach over at the studio and I had just finished (500) Days of Summer." "And we started talking about Peter Parker, and I had some specific opinions about how I saw the character and gradually those conversations emerged into me getting the job." "I didn't even know there was a job initially." "Everything in the film emerges from a single event in Peter Parker's life and that is when Peter Parker gets left behind by his parents." "It's a very big moment in terms of how it defines his character but also how the story unfolds." "And what we see here is Peter Parker playing hide-and-go-seek with his dad." "And that's really, right here, the heart and soul of the movie is this little boy." "You have to get lucky sometimes, right?" "This kid, he was so wonderful." "Such a magical face, and this whole idea that you start the movie with a little boy looking for something which is what the whole movie becomes about." "A couple of years ago I had had lunch with Mike Nichols, who had seen (500) Days of Summer and was very kind enough to take me to lunch in New York one day and he had said something that always stuck with me." "He was like, "The opening of a movie should be a metaphor for the movie itself."" "And I took that to heart and this scene is a demonstration of that." "This scene is Peter Parker looking for his father and in a very real way, this movie is about a kid who goes out looking for his father and finds himself." "And here he is coming into his dad's office and his life will never be the same." "Something is wrong." "This is a scene that we had conceived of very early on and this set is one of my favourite sets from the movie done by John Michael Riva who is no longer with us." "Here comes Campbell Scott, one of my favourites." "I loved him in Singles." "Now he's old enough to be somebody's dad." "I love that." "Now, there's...." "When Richard leaves...." "Here we get this drawer." "I like that." "How's that for commentary?" "I like drawer." "There's the double zeros." "The double zeros are gonna play a big, important role in the movie." "The double zeros were-- I think we pulled that from some of the Ultimate Spider-Mans." "Jamie Vanderbilt had seen that early on." "I love this moment where Campbell erases the board." "That's something that he came up with." "I really thought that was a cool bit." "What this establishes basically, is this movie starts in a high-tension situation, danger for the family..." "That's right." "...and kind of explains the need of the parents to get away and then it creates this..." "...big question mark." "There are so many parts of this story that we've seen before." "Spider-Man unlike, say Harry Potter." "Harry Potter's a closed canon." "Spider-Man is..." "You have 50 years' worth of comics." "I felt it was really important and this is probably a little controversial." "The way I saw the character, I needed the audience to experience what Peter experienced." "I wanted them to empathize with him." "We've seen the origin of Spider-Man." "We haven't seen the origin of Peter Parker." "I was curious about that." "I was curious about what happened to this kid." "And anybody that gets left behind by their parents it's gonna have a huge emotional impact." "And that was somewhere I felt it was really important to start and all of the things in his life, the spider bite Uncle Ben's death all of these things emerged from him trying to rediscover his past rediscover himself, when he finds that briefcase later on in the film." "And I felt like I had to walk through those beats because they were" "The context of those iconic beats were different than what we'd seen." "I think Andrew's performance is different." "I think the nature of Peter is different than what had been done before." "I felt it was really important to cleanse the palate, as it were." "And it was a pretty quick reboot, I'll admit that but I felt like Spider-Man is a perennial character, somebody that belongs on-screen." "There was enough worthwhile material that justified rediscovering this character in that way." "Yes, sir?" "You want to keep that skateboard?" "Yeah." "Keep it off the ground." "Sure." "Yeah." "Wheels up." "Like that?" "That's it." "Okay." "This was fun to shoot." "These two people met on set and are still dating." "And here is the magnificent and talented and amazing and wonderful..." "..." "Emma Stone." "I went back and forth about introducing her here or introducing her in the fight that's her in there because she looks so good." "We had a longer version of this scene where Peter gives a sort of speech trying to rally the kids." "And he fails." "And it just ended up being a little bit too long, I think and Andrew was great at it but there was something a little bit too self-actualized about his character at that moment to justify it." "We ended up cutting it and just making it a quick...." "A quicker scene." "I love the look he gives Flash here and he says, "I'm not taking the picture."" "It's kind of the Cool Hand Luke version of Peter Parker." "That he's not gonna bow to bullies, not gonna bow to pressure." "This is Chris Zylka, who I loved." "He, I think played Flash with such" "So many great nuances." "He's gonna be a big star if he wants it." "He's a great guy a really great actor." "Then here is the very assertive Gwen Stacy, which is a new kind of love interest for Peter Parker." "She's smart, she's sassy, as they say." "Obviously incredibly beautiful, Emma Stone." "But she's in charge." "I like that." "I like that powerful quality of her the fact that she can stand up to bullies as well." "I think she admires his heroic impulse and is interested in this outsider kid." "There's the camera an important piece of iconography for Peter Parker." "If you look at how Andrew's moving right here, his...." "See how he's always wobbling around and he's always sort of twitchy and nodding." "He was creating a dynamic for the character." "If you look at the end on the scene on the porch he's very still." "And at the beginning, he's flopping around." "He's not quite comfortable." "By the end, he's incredibly still and focused." "It's a kind of physical acting that's pretty sophisticated and requires, I think, a lot of forethought and foresight." "And Andrew's kind of a master craftsman of acting." "And people have started to realise just how good he is." "Gwen Stacy." "This is a great scene." "The real first connection of Gwen and Peter." "I'm making spaghetti and meatballs tonight." "Here's Sally Field, the lovely, inimitable Sally Field." "It was so much fun to work with her." "She was finishing her Brothers SistersTVshowatthis time  and her workweek...." "She only worked for 10 days on the movie but her workweek was insane." "Here comes Martin Sheen." "What did I do in a past life to work with these guys?" "They were great." "My bowling trophies." "His bowling trophies." "This scene was written up by Steve Kloves." "ride those things, I'll never know." "And I love Andrew." "I love everybody." "It's a simple introduction but I like...." "What's great about Spider-Man are these relatable domestic moments and Peter Parker is not an alien he's not a billionaire, he's just this kid." "And this is a dramatization of that." "And here we get an understanding of Peter's smarts." "He's talking about, you know-- You see that Ben has relied on Peter to, you know, fix things around the house." "Peter is a tinkerer." "He's an engineer." "He's got that technological spirit that he inherited from his father." "We always imagined Uncle Ben as" "He worked on bridges." "There was a scene that we had cut where we were a little bit more explicit about that." "But Uncle Ben's history with his brother is...." "We get this idea that Ben was a little bit older." "Kind of protected Richard as Richard was growing up." "Probably helped create opportunities for Richard that he wouldn't have had." "I like the idea of them being from a blue-collar background." "But Uncle Ben is, you know, maybe a little bit simpler in his approach to life." "And a bit more of working with his hands, a blue-collar worker." "Whereas Richard was a sophisticated, gifted scientist." "That's an "uh-oh" moment." "Watch Aunt May and watch Ben." "The past has come back to haunt them." "All they wanted to do is protect this kid." "It was your dad's." "Yeah." "Something's wrong." "They're concerned and...." "I like this." "They're not telling Peter the whole truth here and you can see that in their body language." "And I love how Martin is playing this." "He's trying to...." "Trying to comfort the boy, distract him and Peter's not buying it." "There's suspicion." "And there's a little fracture." "Keep this safe?" "There's nothing in here." "And May is great in this scene too." "Sally's fantastic." "Trying to care for him but there's this tension between Peter and May and in the comics, there's this sort of...." "May is this angelic figure and so sweet." "I like the idea of injecting some tension because I wanted to give them someplace to go." "It's clear" " I feel like it's clear that Ben and Peter had a...." "Had more of a relationship then May and Peter did." "May and Peter have to get over that in order to continue on as a family." "And what we know here is that that's something that Peter, in his mind was looking for since the night they left." "That's right." "And this loving couple were able to keep him out of it." "It's over now." "Yeah, again" "No stopping." "The end of innocence and the beginning of the quest." "There's the glasses." "I love this moment where he looks in the mirror." "He sort of holds out his hand." "This is a" " Look at that." "That's a great moment." "He's so good." "Such a great physical actor." "Where are you going?" "Oscorp is in this movie the place from which crazy things emerge." "I looked at it as the Tower of Babel, sort of an obsidian spire and a testament to the hubris and vanity of man's ambition." "And it's a place where, you know ethics kind of stop at the door." "And everything in the Oscorp building was designed to extend Norman Osborn's life." "Norman Osborn is a ticking clock." "He's very ill." "All the power in Oscorp has been there to extend his life or to finance crazy scientific research that might help him live longer." "If you recall when his father is taking this thing, it was hidden in a drawer." "That's why they couldn't find it." "So if you'll remember this moment when he opens it you know that this file is of utmost importance." "That's right." "Here's the decay rate algorithm which went through various stages of development during the movie." "And then here's another little dramatization of Peter's engineering abilities." "He opens up the door with his little remote-control piece." "I really liked that idea." "Come in." "Here comes Martin Sheen." "I like Sheen in this scene." "It was this real sweet moment of connection between Peter Parker and Uncle Ben." "Sits down, grabs that Rubik's Cube." "The Rubik's Cube used to be part of another story that was, you know, Peter" "We actually shot this where, you know, Peter's dad gave Peter the Rubik's Cube." "We ended up cutting that out of the beginning." "There was an indicator of...." "The Rubik's Cube was a symbol and we never really paid it off so I didn't want to distract people with it." "But it's a subtle acknowledgement of Peter's abilities and, you know, I love Rubik's Cubes." "The hardest decision you make when you're making a Spider-Man movie is who's Peter Parker." "Because it's the heart and soul of the movie." "It's the person you will either invest in and go with or not." "And so, you know, the bar was incredibly high." "Here was this young actor that we knew from some of his early work and Social Network who, when he auditioned, just literally embodied Peter, and the conscience and the hunger and the wisdom and the wit of this kid." "We also knew that he loved Spider-Man." "It's almost like a dream come true and it was very cute, he sent us a picture when he was 3 years old in a Spider-Man costume." "That's hard to make up." "He now maintains that his father sent it to us." "That's what he said." "When I think about nerds, nerds are a little bit more of a archetype." "And I think what Peter Parker was to me, he's more of an outsider you know, which is an age-old kind of character in literature." "Sometimes you look at, like, Dickens you look at Great Expectations or Oliver Twist and" "Pip, for example, in Great Expectations grew up without parents." "There's this generosity of spirit that you really like, but he's abandoned, he's lost." "He's a little bit on the outside looking in." "And that, to me, was the important DNA of the character." "Not so much that he's a nerd." "I mean, he's a scientific genius, obviously but I didn't think of him as a super nerd." "Anybody who's seen The Social Network knows that nerds are now running the universe." "It's a little bit of a different dynamic." "I wanted to create somebody who was just more uncomfortable in his skin." "I keep on using "outsider" because that's what" "That's just how I think of him." "And Andrew's a-- He's not dorky, he's...." "He's just as I said uncomfortable in his skin." "I like that dynamic." "It felt more realistic to me." "This was done by Blur the Oscorp logo there." "I like that." "Our scientific minds are" "Gwen Stacy in the comics, of course worked at a laboratory." "She's had the scientific capabilities like Peter." "I like that Gwen Stacy is as smart if not smarter than Peter Parker." "It gives them a good dynamic." "Part of the casting process this one ended up with decision day and everybody's in love with the same girl." "That's right." "She's-- How do you not love this girl?" "Just this girl Emma." "She wanted to play this." "She loved this character." "You know, we'd worked with her on Superbad and Zombieland is how I had met her and you immediately fell in love with her." "There was so much talk about the colour of her hair." "The problem with hair was that she's a natural blond." "Everybody thought she was a redhead." "A redhead." "In the universe of Spider-Man redhead equals M.J and people made a lot of noise." "It was our fan club that were going crazy." ""But she's a redhead!" "She's Mary Jane."" "slowly betrays her, or the man with" "And here we have the wonderful Rhys Ifans playing Dr. Curt Connors." "Rhys is, I think an actor that is underrated." "He's so fantastic and so great and can do so many things and I love seeing him playing a more sophisticated scientific role, and if you've seen him in Anonymous which not enough people have seen, he is extraordinary." "No one?" "Cross-species genetics." "In his audition, I thought he was so magnificent." "It was really incredible." "It's a scene that eventually got cut out but his audition for it was just some incredible, incredible acting." "This is also a great tete-a-tete a great beginning to the chemistry of Peter and Gwen here." "And you can see Rhys is struck by this kid who comes in and has all this knowledge and these zooms we added in in post to try to connect them in a deeper way." "You can sense a bond a connection between these two." "And I like" "Emma's kind of trying to cover for Peter." "We experimented with different placements of these scenes." "You know, originally the scene with the Irrfan, with Dr. Ratha and Rhys was switched around, so it was earlier." "But we kind of kept on playing around with it until it settled in this particular order here." "Blur did the tree of life here which I think works well in 3D." "Here Gwen is busting Peter." "Then there's Rhys Ifans who some people remember as the roommate in Notting Hill." "Mr." "Underwear." "Exactly right." "It was the first time we saw him in his underwear." "We worked with him on a movie called Anonymous where he played the-- Sort of as the movie would have it the actual author of Shakespeare's body of work and he's just a spectacular actor." "Very Shakespearean." "And a spectacular guy." "Amazing guy." "He became such a part of our family." "We had an incredible array of actors because playing a villain in these movies is too much fun." "They're not just villains." "That's what's so great." "That's why you have to have a great actor." "They're tragic characters." "You know, there's this humanity to them that is the other side of their villainy." "So we flew him in from Spain..." "Yeah." "...and he landed and walked into the audition, seriously." "Rhys walks in literally off, I don't know two or three planes getting to L.A." "Well, he lives in...." "In Majorca." "Majorca." "He has this crumbled page in his hand..." "Right, right." "...and proceeded to do the scene." "And wow." "When he was done it's quite an emotional moment." "He was shaking for a while." "He was like" "He was in a trance." "He channelled something." "Exactly." "And we just, "Okay."" "And that's how we got him." "Yeah." "And it's been a great ride with him." "So, what we have here is another feat of John Michael Riva the great John Michael Riva the spider room coming up." "This is a non-dialogue scene and one of the things I like to do, and what Andrew had requested was to play music during the scene." "And during the scene we played "Pure Imagination" from Charlie and the Chocolate Factory which was an Andrew Garfield request." "And it helps" "It helps actors get into the mood, but also sets the mood for the camerawork for everybody." "Even when I'm in editing you remember that feeling that you had when you were walking around and shooting in that set." "This was a really beautiful set." "I think it worked really particularly well in 3D." "And those gadgets on the top were in the computer and all the webs were CG." "So when we shot on the day, all the spiders there was just the latticework, and all the spiders and the webs were created in CG later." "This is a web harvester." "This is, to me in terms of the Oscorp world, this is where they harvest the webs which they make the webs that he uses for his web-shooters." "And then there's a little radioactive spark that shocks the spider." "The genesis of the spider I'm gonna leave open." "There's different interpretations of that and there's" "I invite people's scrutiny." "I'm not gonna go into where those spiders came from just yet." "How we got Marc." "Marc Webb?" "Yeah." "Our director?" "Yeah." "Marc made this movie (500) Days of Summer." "Which we loved a lot." "And I had a general meeting with him." "It was talking about movies and things" "Matt then..." "...was still president of Sony." "Correct." "And I brought up Spider-Man because that was the first, second, third, fourth and fifth thought of every day." "We wanted to figure out who was gonna make this movie." "And his eyes lit up and I said, "Hold that thought" and I literally stepped out of my office and called you and said, "Come over here." No explanation." "Like a little mystery." "He was the president." "I ran over..." "...as fast as I can." "You wouldn't do that anymore." "People used to respond to me that way." "And you came over and we started interrogating Marc and talking to him about this character." "When you see a director working through the casting process you can start to understand his process." "You saw that he was comfortable." "You saw that he loved actors." "And that was his speciality, was talking to actors and performance is what he cared about." "You chose well, kemosabe." "You and me both, baby." "Okay, so the subway sequence was something-- We spent a lot of time rehearsing this." "It's an action sequence, but it's" "It's an example of an action sequence that I wanted to do in camera." "It was important to just do a lot of rehearsals." "And Andrew was everywhere in this scene." "He did basically all the stunts with one or two exceptions." "I'm a fan of Charlie Chaplin and Buster Keaton." "That physical comedy." "I think action movies are the only place where physical comedy can play out in a way that's kind of funny." "Otherwise it's somebody falling in a manhole." "It's not as clever as it was." "And this was my homage to that old-school Chaplin kind of scene." "Don't think I'm having delusions of grandeur." "Chaplin and Keaton are the best of the best." "But this was at least my model." "I like the idea of how he's apologising in this scene." "Shocked by his powers." "Are you kidding me?" "But, you know...." "There you go." "I think Andrew's overwhelmed here." "It's a fantastic sweetness to his behaviour." "All of these guys are stunt guys." "And it was tricky to find a" "I didn't want them to be ruffians and I just imagined, "How can I disguise a bunch of stunt guys that are worthy adversaries and sort of mildly threatening without them feeling like thugs?"" "And I thought, you know a series of drunken sport enthusiasts, footballers seemed like it would fit the bill." "Next and final stop, Coney Island." "And here he goes running back from Coney Island." "It was so interesting to stand up on the train tracks at, I don't know, 1:00 in the morning, whatever it was." "And have him run down the street." "Yeah, it's very glamorous business, you know." "You work in the rain, in the cold..." "Right." "...you don't sleep." "Afterwards you talk about it..." "...romantically." "Exactly." "Onto the meat loaf scene." "This is a scene written by Alvin Sargent the love of my life." "He captured something here that was really fantastic." "Now, this was...." "That was actually not a real fly, spoiler alert." "Don't give it away." "No fly." "It was a thing." "We didn't want to harm any flies." "I'm an animal lover, as are you." "That's why we are not eating the fly." "It would have been fun to eat the fly." "That's vegetarian meat loaf." "This is your meat loaf." "This was a great scene to watch and this is, again-- This is the sort of physical dexterity of Andrew." "Watch what he does here when he piles all this stuff on from the fridge." "This was just him and Marc having fun." "I love this here." "Actually, that's one of those moments." "That just fell and he caught it." "And it just creates magic." "He took the frozen macaroni and cheese." "I noticed that." "That's one of the best moments." "Meat loaf." ""Nobody likes your meat loaf."" "How many meat loafs have I made for you?" "He's in the doghouse now." "That's right." "And here, you know, we had" "We wanted to make the discovery of having been bitten by the spider very different and more-- In a way more visceral by keeping the spider on him and this moment, it's sometimes even hard to watch, but" "Painful." "This is what a spider bite would look like if you get..." "...a good one." "Yeah." "And the realisation, first time you realise:" "And you're introduced to the almighty web." "That's nasty." "Nasty bugger." "And if you look at his face, it's just...." "He'll always be curious first." "His love for science..." "...his curiosity." "This is great." "This is just stumbling through this new surge of power that he has." "Happens to me after I work out." "You're strong." "For like an hour..." "...then it fades." "You've destroyed a lot of bathrooms." "Exactly." "We love this moment when he finally understands, so" "He's beginning to harness the powers." "Carefully." "And I love this." "This is a little bit of spider sense." "Yes." "Heightened sense." "Heightened hearing." "As far as Sally Field and Martin Sheen, it was interesting." "There was not a conversation about anybody else." "No." "It was so clear..." "They were the two." "...that if we can get her this amazing actress...." "They're two incredible icons who I always felt like this is the family I would design if my life was in a movie." "And we also knew that they're so well beloved." "So in addition to their amazing acting..." "...and the way their roles are written" "It just feels like home." "It just" " When you see the two of them, you just love them and you understand why Peter was so respectful of their love instead of questioning." "That's right." "That's why it was so shocking, the moment of discovery." "That's right." "But they just-- It was like master class when the three of them were working." "It was brilliant." "It was like theatre." "Yeah." "It was brilliant." "It was, like, mind-numbing and late hours." "What are you doing?" "Just" "I always loved this." "He's just doing his homework up on the roof." ""I'm doing...."" "Here he is again on the trail." "You saw the double" "Double zero." "That's an awesome moment." "You don't remember me." "I" "The intern from the other day." "Yeah, yeah." "That's right, yeah." "I'm sure you're very nice, but this is a home." "I ask you to make an appointment with my office." "I'm Richard Parker's son." "And there it is." "Yeah." "There are all these moments in the movie where the past knocks on the door." "And that was Connors being you know, with a certain wall up." "He's a professional and then he hears the name Richard Parker and it all corrodes." "That was a great little addition here of catching the cup." "It was great." "Try it at home." "See if you can do that." "You'll break a lot of cups." "You'll break a lot of cups." "It's something, you know." "So you really think..." "...it's possible, cross-species genetics?" "Yes, of course." "Your father and I were mocked" "This is, like, an amazing moment of trying to read each other." "I'm sure that Dr. Connors is thinking:" ""Why is he here?"" "And Peter is thinking, "What do you know?"" "And Peter is also in awe of this guy." "Exactly." "He's a connection to his father." "Instant connection to the father." "And don't forget, he loves science." "Science." "He loves science." "We shot this at a very beautiful architectural house in the Valley." "It was...." "I forget who owned this house but we were there for a couple of days." "It was beautiful." "Right near the 101." "It's...." "This is the first time that Peter realises that he is not the only one who is kind of bummed by, "Where is my father?"" "And maybe even a little angry." "Right." "No, he finds an ally here." "Exactly." "Connors is saying, "You know, I was--"" "Both of them are stuck trying to figure out what was it all about?" "Where did he go?" "A very strong common denominator." "Yeah." "What could the side effects be?" "And" "And Peter" "Do you remember after surgery when we had to take off his arm?" "Yeah." "He was so" " He was a good sport about it." "Again, it's a major..." "Some actors said they wouldn't actually remove their arm." "But Rhys was game." "Our music editor a nice weird guy through most of the production, most of..." "...the post" "He wore a green sleeve." "Was wearing a green sleeve." "And a white coat." "Which is actually how we shot Connors' arm." "In these scenes, when we were there his arm actually was still there." "He was wearing a green sleeve over it that became known as Kermit." "Exactly." "Because of its resemblance to Kermit the Frog." "And then we subsequently, obviously, removed it." "And that's how you get what you get here." "So this is Peter offering up that sacred information that he discovered in his father's briefcase." "Now this is the power of CGI." "Yeah." "You see, the stub looks so real." "This is another scene with Chris Zylka, a.k.a. Flash." "This is a way" "It was a way to dramatise that Peter was getting surly with his power." "He's starting to get in control and a way for him to best the bully." "There's Missy Kallenback." "Matt Tolmach and I are gonna do a spinoff with Missy." "Missy and Flash here." "Maybe it'll be a half-hour single-camera comedy." "We'll figure it out." "It's a simple scene but I loved all the little" "The nuances of it." "Give it up." "It's about Peter discovering his" "Taking control of his powers, understanding how useful they can be to humiliate others." "I like his threatening looks to Chris Zylka here." "And his footwork and his basketball work." "This is stuff that Andrew conjured up a few days before shooting." "When we rehearsed he had a really great knack for how Peter Parker would be a trickster." "One of the big things that Andrew was interested in was dramatising the trickster quality of Peter Parker." "That's something" "That was a real important access point to him." "It's also some way to" "Like, in the comics I always loved that humourous component to Peter Parker to Spider-Man." "That crafty, clever funny, adolescent quality that is so much fun to play." "It's easy to render in the comics." "I think it's trickier to pay that off in a grounded way in this universe." "But Andrew just has a great knack for it." "Come on, Parker!" "Come on!" "Here he goes." "This is also from the Ultimates." "The backboard smash." "There we go." "I love this look." "Spaced." "And the scene coming up here is an important scene." "We used it a lot in our promotional materials." "It's that great moment of awkward emerging love that these two characters Peter and Gwen, are starting to get connected in a very special way." "And again, it's an event that we've all gone through." "Asking the girl out." "There's so much nervousness and so much to play there." "And I'm really proud of this scene because it's something that in a movie this big and has this many effects there's a lot of pressure to just keep driving through and to stick to the lines and be really rigid." "But this is an example of a sort of spontaneity and a looseness in the acting that makes the scene really emotional and very grounded." "And very sweet and innocent." "That's what makes Peter Parker so great." "Like I said before:" "He's not a millionaire, he's not an alien." "He's just a kid." "This is one of those scenes you just wanted to create very realistic, grounded situations for Peter Parker." "And this is a place that we've all been in." "We're all nervous." "Here's this girl, but there's this attraction between the two of them." "It's some of the best on-screen chemistry I've seen in a long time." "And this is" "Pietro Scalia was, you know" "While we were editing he put this scene together, walked it to me on set." "And what can I say, it made my heart beat faster." "It was a pretty great...." "Pretty great moment to see this." "I felt like we had discovered something special in Peter and Gwen here." "The way he looks and the way he skips away is something" "You know, he's dramatising that emotion that we all feel, that moment." "The moment where life seems to be looking up." "Of course, for Peter Parker, as we know tragedy is always nipping at his heels." "He's never happy for too long." "And the skateboarding sequence is something that we did actually after the main body of photography." "We were trying to figure out ways for Peter Parker to have more fun." "And Andrew had done a movie with Spike Jonze and he hooked me up with Spike." "And Spike hooked me up with some people from Girl Skateboards." "And we sat around with Johannes Gamble and Rick and these guys from Girl and we...." "We dreamt up this sequence." "And it was just a way to dramatise that feeling of effortlessness, that feeling of...." "That wish fulfilment, that joy of...." "The thrill emerging from that moment with Gwen." "He's on top of the world." "I just love this sweet little diversion that this moment provides." "What would you do if you developed these powers and you liked skateboarding?" "It made this...." "Made this a fun I think, again grounded little dramatization or way to dramatise that sweetness." "Great close-ups." "Andrew gives great close-ups." "What can I say?" "It's a rare and beautiful and amazing talent." "Here's our Coldplay song." "Marc had put this in the very, very earliest assembly." "We call it..." "...temp music." "That's right." "Can you explain temp music?" "When you're assembling a movie and you're working on the edit directors oftentimes use music that won't end up in the movie." "Because the movie will be scored or songs are not affordable or maybe they're not the right choice." "But it's" "It's what the director puts in for the first viewing." "It represents the way he feels, what is the tone." "The mood." "That's right." "But it very, very often changes." "This song was in from the very beginning." "This song was in before there was a cut of the movie." "The Ganali device." "Yeah, I remember" "We shot that in San Pedro in a shipping company." "It was magnificent out there." "It was" " I think what was memorable, it was the first time that we really had to understand how to use..." "...3D." "That's right." "And actually I remember Michael designed this giant propeller to create depth." "Right, right." "That's exactly right." "And he lowered the ceiling so we have depth." "But it was a slow day." "Actually we ended up going back there." "We did go back." "Almost at the end..." "...of the movie." "Right, to shoot the skateboarding." "Initially, we shot the swinging on the chains and the climbing up that structure." "Marc wanted, and Andrew definitely wanted to make more..." "...of a meal out of it." "Finish it." "And the idea that Peter is coming out of this scene with this girl and he's feeling optimism." "He's connected with Connors." "There's a girl that he likes who likes him, he's got this power." "It's a moment to himself where he can sort of express himself before you go back to the story." "For us it was really exciting for the first time to see..." "...in real time the 3D impact." "Yeah." "But everybody had to" "The technicians, the videographers the DP everybody had to kind of get their head together to figure out..." "How it all worked together." "...how it all works together." "An education in real time for everybody." "Very ambitious on second day to go into this absolutely brand-new cameras, brand-new technology." "We were the first movie to actually use this technology." "So...." "It was exciting." "Mouse was not hurt." "Mouse was not hurt." "Just keeping my PETA membership current." "Oh, when the cat came in, it was very dangerous." "Yeah, very upsetting." "Very upsetting." "Some of these skate moves, for what it's worth that was actually Andrew." "He's a pretty good boarder himself." "You owe your aunt an apology bigtime." "That's a tough moment." "I wonder if the audience could guess where it was going." "Here?" "Sitting in a movie house." "In this moment?" "Yeah." "to apologise to me." "It's your" "The hell he doesn't." "Ben." "Look, I'm sorry, I got distracted." "I always loved the way this was constructed." "The phone call from Ben." "You know, the scene really begins back in the hallway with Gwen." "He says to Peter:" ""You have to pick up your aunt." It begins in the basketball scene because Peter acts the way he does." "And in some sense, you could say he abuses his power." "It means Uncle Ben has to come and bail him out." "Which means that Peter's gonna have to go and pick up Aunt May." "And of course he gets caught up with Dr. Connors." "Which is top of mind for him." "Right." "And from that day on" "Because that's connection to his father and his past." "So he ignores the call from Ben reminding him to pick up May." "Which brings us to this scene all of which is gonna lead to the death of Uncle Ben." "It was a very elaborately constructed series of events." "Which Peter is responsible for on every level." "Where you going?" "Peter, come back here, please." "It's also a very clear connection between Aunt May and Uncle Ben." "You see how much he loves her, he cares for her." "They both love Peter like their own son." "But their relationship is so strong which is so important to embellish..." "Peter!" "...because the loss of Uncle Ben for her is going to define her future..." "...in many ways." "That's right." "And this is the most beautiful shot coming up." "Remember when we shot this?" "Oh, yeah." "This was in Queens." "And this was the same subway platform that we shot Peter running." "This was at the foot of it." "It's $2.07." "So Uncle Ben's death was one of the scenes that we reshot." "Originally there's a bit more of a mistaken identity where Uncle Ben goes down an alleyway and gets shot." "It was confusing." "I didn't shoot it particularly well." "The performances were great but I don't think I really nailed it." "And the second time around I wanted Uncle Ben to be more heroic." "So we had him try to stop the killer." "I think that put...." "It made it more" "The dramatic irony was heightened in this new situation where Uncle Ben tries to stop the killer and by virtue of the effort that Spider-Man should have made" "Peter Parker should have made." "he has to pay a price." "And that of course is the spectre that haunts Peter Parker." "Marvel was very protective of Uncle Ben's death and how that impacts Peter." "That was one of the basic elements in terms of the Spider-Man canon that we were legally obliged to." "Rightfully so, because it's really" "It's sort of a crucial development moment for Peter Parker." "And his understanding of the responsibility." "And it's just" "In this situation I wanted to extend the moment where he was hunting for Uncle Ben's killer because I think there's a lot to explore in the darker motivations of Peter Parker." "And here we have him coming on discovering Uncle Ben's body." "And Andrew was sort of exploding on the inside here." "It was really, really a tough scene to shoot." "Uncle Ben, Uncle Ben." "Call an ambulance!" "It's hard to kill Martin Sheen." "And it's harder still to kill him twice." "He asked me if this could be a dream sequence so he can return in the second movie." "We'll see" "We'll see what Marvel thinks about that." "You know, one of the things about this movie that it's not about selling tickets is there's so many great moments about these various characters that you really have to see it twice, three times to catch all these various moments and what do they mean structurally." "Right." "And how do we remember now Uncle Ben?" "That's right." "He's a hero of his own kind." "He's a hero in the street." "Yeah." "Which will resonate with Peter, obviously." "There's one other thing." "He has a star tattooed on his left hand." "We actually had a great group of stuntmen here orchestrated and conducted by Andy Armstrong." "And you'll see a lot of them, it's the unsung heroes, because you know, you don't get too close to them." "You focus on the hero." "That's right." "But these people are fantastic." "And they became like a family for Andrew." "So they can really get his body language and they can learn the movements." "And it's been" "That's actually one of my" "Favourite shots of the movie." "Favourite shots of the movie." "This whole sequence right here with Flash." "By the way, this was the scene that we used in the auditions for Flash." "And this was how we first discovered or met Chris Zylka was in a scene." "Was in this scene in Francine Maisler's office." "Look, your uncle died." "I know it's the wrong time to go into the comedic side of life." "But when we were doing these auditions we had a bunch of actors in Francine Maisler's office." "One of the guys" "Actually, two of the guys." "We had an actor who was reading the Peter Parker part." "Who was this great guy." "Quite athletic." "Yeah." "But what comedic was about it is that they take this audition so seriously and the walls in Francine's are just made out of" "How do you call this?" "It's, like, drywall." "Drywall." "And it started by cracking the wall." "To the point that after a few days of auditions, she was like:" ""What are you guys doing to me?"" "We literally jacked the Flash character through the wall." "It was a lot of realism." "This section of the movie, the montage here is Peter Parker becoming Spider-Man." "He's motivated by vengeance in this sequence." "And his crime fighting is somewhat incidental." "And he's looking for this guy with the tattoo on his wrist." "I thought that was a good motivation for him through this part of the film." "I would say this speaks to some of the themes." "This is another great example of more grounded action." "There's bits, like throwing the guy against the wall, who was on a wire so he could flow a little further." "But this is you know, dirty and gritty, and I think a little bit more realistic in terms of fighting language." "The running and the jumping and the climbing." "It sort of emerges naturally and in a more organic way." "But in terms of Peter hunting for the killer there's competing truths." "There's three, I would say, major dramatic motivations in the film." "Or characters that motivate the action in the film." "There's obviously Curt Connors, the Lizard, who's motivated" "He wants his arm back." "He wants to be equal." "Then there's Captain Stacy whose truth is law and order." "That's his primary objective." "And Peter at the beginning and during this section here is motivated by vengeance." "He wants to fill that need." "That thirst for revenge." "Which is not a pure motivation." "It's sort of a darker motivation." "There's all these truths." "All these characters are thrown" "Are on a collision course based on their own truths." "But I think what Peter realises that Captain Stacy doesn't realise until too late, and the Lizard and Curt Connors doesn't realise until way too late is that, you know, you can all have your own truth but truth without compassion is not a virtue." "And truth with compassion that is where heroism comes into play." "And I like that idea." "I like that collision course." "Because what makes good drama is competing ideas of what's right or what's good." "And that's something that Tom Stoppard said." "I've always really enjoyed that." "Just take it, take it." "I like the music here by James Horner." "One of my favourite cues that James did." "It's one of the last cues that we saw." "Or that I heard James do." "Here's some little exposition on the webs." "That was a tedious shot to accomplish." "We had to get the camera moving just right." "We had to get the chopsticks thrown in from the side." "And then Peter's body was split in two there." "So we could get all of his arms and limbs moving at the same moment." "This, of course, the famous mechanical web-shooters." "Which I hope the fanboys appreciate." "And this is a way, again, to dramatise Peter's intelligence." "To dramatise his engineering capabilities." "These shots here were some of the last we finished." "We just got them under the gun." "We call these "the handstand."" "I think Alvin was the first guy who came up with the idea of him balancing on his fingertips." "I like that." "I love Alvin." "Have I mentioned that lately?" "How are you doing, Alvin?" "Are you out there?" "Here he goes, he's about to tip over." "Big crane shot." "Here you go." "And I love this." "Because of shooting in 3D we knew that we had such opportunities to create vertigo." "And use the 3D for that." "And then if you see it in IMAX, forget it." "It's like a...." "This is just, if you didn't get it it's a police radio attached to an iPod or something, an iPhone." "It's some rig." "Yes." "And this was a scene that we shot on a rooftop garage..." "...on the Sony lot." "Yeah." "One of our stuntmen actually jumped obviously with a cable many, many, many storeys." "It was spectacular." "And terrifying." "And then the city was dropped in afterwards." "Here's our introduction to Denis Leary." "What I like about the casting of Denis is Denis is...." "He's playing the authority figure that he's made fun of his entire life." "And he does it with such straightness." "Denis, as you know, is a hilarious comedian." "He's a very, very funny man." "What's great about Denis he can turn that off." "He views himself very much as an actor." "Not as a comedian." "And he has a lot of weight and a lot of gravitas in this part." "And I love it." "I was a little bit" "When we were talking about who to cast in this part you know, it didn't seem safe." "And I really liked that idea." "And he really hit it out of the park." "These are the nerds." "The weight on any pendulum has no effect on speed." "It doesn't affect frequency, but it's totally a factor in momentum." "This is the point-of-view shot that they use in the trailer." "A lot of CG here." "I think that actually got an applause at the premiere." "I'll take that." "Great music here, great musical symphonic cue." "Undermined by the little phone call, which is basically the" "That's Peter Parker in a nutshell." "He's a superhero, but he's gotta get eggs for Aunt May." "We love this moment." "On the one hand it's the realisation of being Spider-Man." "Then the phone rings, and it's Aunt May." "He's gotta pick up eggs." "Because he's Peter Parker, he's just a kid." "And he still has all that stuff..." "...that we all had to deal with in life." "That was one of the great things that Stan Lee put into the character from day one." "Yeah." "I wanted to put Spider-Man in a relatable, understandable context." "I wanted to put him in a time and a place that we recognised." "You know, cell phones are a part of all of our lives." "And it would be disingenuous to think that he wouldn't have one." "And there's a certain convenience about it, but there's also...." "It's sort of funny all you can accomplish with a cell-phone call." "This scene is, I think, the pinnacle of the quippy...." "Of the quippy Spider-Man." "And this was a really fun day to shoot." "And you get that attitude." "What I love about this too is you start to see there's a kid in the suit." "He's not some stuntman." "There's this kid flopping around in there." "An adolescent energy." "There's this real trickster quality that's coming to bear." "And he is just...." "He is just having the time of his life torturing this poor car thief." "Is that a real knife?" "Yes, it's a real knife." "I think he's really starting to get comfortable in the suit." "And he's starting to have a good time." "The brooding energy of the vengeance is starting to wear off and he's just kind of...." "He's been doing this for a while." "I love that sense that you get, and it's a real great dimension to the character." "All these jokes, I think it's fun to watch this scene with an audience." "They always seem to enjoy it." "I love how he's walking around." "And so loose." "It's great to see Spider-Man that way." "That's how I imagined him in the comics." "And of course there's a bit of a dark quality here." "This could've gone a lot worse." "Now hold still." "This is the beginning of his antagonism of the police force." "And, you know, of course Spider-Man thinks he's helping out." "And you realise that there's conflict to have here." "And this is where his life starts to get more complicated." "And that?" "That's how you repay me?" "This is one of the first action sequences we did." "And again, it's an example of wanting to create a world with more weight." "And more physical gravity." "And I'm trying to think of how this kid would move through the streets and run around." "And hop through traffic." "He hasn't mastered his webbing yet." "This scene was a real fun few days to shoot." "We shot this at the beginning of the schedule." "And this, from the bus on was near the very end of the shoot." "And I think it's some of the coolest swinging in the movie because it's so real and it's so grounded." "Hey, watch out." "I'm swinging here." "That's an actual man in a suit swinging through the streets of New York." "And I think that body language is something we used to inform even the later CG moments of the swing." "This was shot in Los Angeles." "Underneath the bridge was shot in New York." "I wanted to shoot it as much on location as possible." "Because I think locations, it just gives you a sense of realism and space." "What we have here is one of my favourite scenes in the movie." "It's Aunt May confronting Peter Parker." "I just think, "What would actually happen if your kid came home and his face was all messed up and he wouldn't tell you what was going on?"" "It would be terrifying for a parent or for a guardian to experience." "I love the way Sally plays this, and the way Andrew plays it." "There's such intensity and it's so grounded." "And, you know, we had these big 3D cameras on a tiny little set." "It felt like we were making an independent movie." "You've just got two great actors and some fantastic tension." "I think great things happen here." "Peter." "Where do you go?" "Who does this to you?" "Please go to sleep, Aunt May." "Please tell me." "Aunt May, please please, please go to sleep." "I can't sleep." "Don't you understand?" "I can't sleep." "Peter." "Now, before and very soon, you'll find one of our favourite favourite casting of many, many movies." "You're talking about Denis Leary." "This is the amusing and crazy and wonderful..." "...and nutty Denis Leary." "Denis Leary." "It's a miracle." "Also Freddy." "I thought you were talking about Freddy the mouse." "Who was a very important cast member." "Well, be careful with PETA." "Something happens to Freddy." "None of it real." "None of it real." "Okay, I don't know." "The e-mails I got, they didn't believe us." "I was there." "I was there." "They thought he got an extra leg somehow." "They liked the three-legged Freddy before." "Yep." "Movie magic." "And here's the great, great Indian actor, Irrfan Khan who is somebody that Marc had wanted from the very beginning to play Dr. Ratha." "He is a huge actor in India who was given orders by his kids..." "To be in the movie." "Yeah." "...to be in the movie." "So he travelled a very long distance." "He's an amazing actor." "He is a recurring character on In Treatment the HBO show." "And just brought incredible intensity." "And we loved him." "I had nothing to do with that." "He has one goal in mind." "Class act." "Just to push the science forward regardless of the cost." "You don't know, or you don't wanna know?" "I'll remind you what happened." "By the way, this was another spectacular set built by Michael Riva." "This was the Oscorp set." "The lab's incredible." "Yeah." "It's this kind of combination of futurism and old-world, you know books and specimens and great furniture." "There's a richness to it and an element of fantasy to it that's completely Michael Riva." "It's actually accessorized by Miss Pope who is incredible in bringing life to the set." "Accessorizing it and creating..." "She's the best." "...clues and ideas under the supervision of Michael." "And just as you know anecdotal..." "...her brother..." "Bill." "...is the great Bill Pope who's one of the great..." "Cinematographer." "...cinematographers in the business who did two Spider-Man movies." "Two and three." "And so it's" " As we say, it's a family business." "Where you headed?" "Monday, B track." "Oh, it's Thursday." "It's Thursday?" "What happened?" "I don't think we auditioned Denis." "No." "We just decided we wanted him." "We just decide we want Denis." "I mean, he's Denis." "You don't audition Denis." "Yeah." "There was, "Do you think he'll do it?"" ""I don't know if he'll do it." But you know what?" "Denis is playful." "And he loved the character." "He loved the character." "And he was so much fun." "It's apartment 2016." "I didn't write that part down." "I don't know why I...." "I'll remember it." "Oh, okay." "2016." "So this is Curt Connors' transformation." "A scene from the comics that we all know." "But I loved you know, what's" "One of the fun things about private moments when you're filming them with no dialogue, is again, you can" "Like in the spider room, I can use music to help direct the actors and create a mood and a setting and a feel." "And during this sequence, we were playing Lou Reed's "Heroin," which has a great vibe." "And it's this thrilling musical depiction of addiction." "And that is really part of the story for Curt Connors." "We always looked at his relationship with the serum as really an addiction and his slow unhinging which I thought was really an important fun part of that character." "Now, some more magical chemistry." "This was just fun." "Every time these two are together on-screen the movie, I think, comes alive in a very special way." "We got the suit gag here, but look at that look." "This is very early on in the schedule and everybody was" "It was right before Christmas and we were all having a good time." "And it was a really sweet, good-natured scene." "And it's-- Again, it's something I think is special in Spider-Man that there's" " There's a sweet, innocent heart at the centre of it." "And there's this kind of wonderful emotional simplicity to a scene like this that we can all relate to." "You know, the flowers." "This was...." "This was fun." "No, they're beautiful." "I'm sorry." "No, it's impressive." "They actually held together very well." "I'm gonna keep these." "You have your suit in there?" "My suit?" "It's for dinner." "Are you gonna--?" "Are you gonna wear that?" "That's" "Hey, hon." "Here's the great first showdown." "You must be Peter." "Dad, this is Peter." "And she's so nervous." "I love that." "Nice to meet you, sir." "Nice to meet you." "Dinner's ready." "Here is the head of police with his beautiful one daughter and this kid has bruises on his face, wearing this" "Never knocked on the door." "And he's a policeman so he knows he got in" "Something's up." "Something is up." "Yeah." "Not a good beginning." "No." "This part is interesting because we made this hand..." "...it was a physical prop..." "That's right." "...that worked incredibly well." "And it was interesting." "Matt's son is really young." "And when Jackson saw it he thought it was fascinating." "Yeah." "And he wasn't, like..." "...put off by it." "No." "On the contrary, it was like, "Wow."" "He was riveted." "Yeah." "He was riveted to it, which was great..." "...because we didn't want it to be..." "Frightening." "...frightening." "We want it to be..." "...curious and interesting." "That's right." "And believable." "And kind of beautiful." "I mean, there's a magic to this moment, you know, of creation." "I would, but I always lose him on the bridge." "I'll make sure Dr. Ratha returns your call as soon as possible." "That's what you need a great actor for, to do what he's doing." "The great Rhys Ifans." "I'm going to Holton Avenue, across the river." "I'm in a hurry." "What's the name of this comic?" "I forgot." "I forgot his name." "Oh, he's great." "You tweaking man?" "We did sort of a longer riff here that just went on too long." "But it was" " He was actually-- The driver was actually hilarious." "He's a stand-up comedian." "Yeah." "I just can't remember his name." "This is the beginning of the branzino scene." "The dinner table scene." "I can never go into a restaurant" "And order branzino again." "They walk in with the specials, and say:" ""And we got a branzino."" "That was real." "You cut it from the head." "That was real branzino." "Yeah." "It was." "Smelled good too." "It did." "Yeah." "Well, they had to eat it." "I can't imagine how many branzino Andrew actually ate that night." "I'm not sure." "It's an interesting moment here because Peter is not used to sitting at the table with more than two and have meatballs." "So this is like his first exposure to" "This elegant, family, big dinner." "Completely alien to him." "Just in case there is a question the reason to have such a beautiful place the wife is a very big lawyer." "He is a civil servant, so obviously, he couldn't afford this." "But the wife, he married well." "You know, it should happen to all of us." "And they have this wonderful apartment." "There used to be some dialogue that made it clearer but, hey, you know the movie would have been nine hours if we explained..." "...everything the way we wanted." "That's right." "Not nine." "Maybe six." "Yeah." "That's right." "There was a bit where one of the boys did the...." "That was great." "Where he did the...." "The grace." "Said grace." "He said grace." "And he talked about potholes." "Fantastic." "He blamed potholes..." "...in New York for" "Who wrote the potholes?" "Alvin?" "Alvin wrote.... ...the potholes." "Alvin Sargent originally wrote that." "And the idea was he was admitting at the dinner table that he got in trouble at school because there were potholes on the way." "That's how he was late." "His father, because he did such a good job of saying grace his father forgave him at the table." "It was kind of great." "He's not protecting innocent people, Mr. Parker." "Let's get some air, Peter." "Dad, we need to talk." "Yes, we do." "And here we go." "The moment." "Yeah." "I mean on a more serious level it's the moment in the movie where Captain Stacy-- It really lands with Peter that there's another way of looking..." "Yeah." "...at what he's doing." "And Captain Stacy is talking to him about what he does which is he takes care of the people of New York." "He looks out for the innocent." "And Peter has been so fixated on revenge that it really lands with him that maybe, maybe there's a different way to do things." "That maybe he's not using his gift or his power the way he should be." "Which leads us into...." "Initially, it leads us into this amazing love scene but then into the first real action scene in the movie." "I've been bitten...." ""I've been bitten" is also an Alvin Sargent line." "So have I." "Okay." "Okay, okay, okay." "I gotta tell you this one thing." "I gotta tell you this one thing about..." "...the vigilante and the car thief." "Oh, okay." "What?" "No, no, no." "I don't want to talk about that." "Forget that." "I won't talk about that." "I'm gonna talk about me, okay?" "What about you?" "It's impo" " I wish I could just" "I can't." "It's hard to say." "Just say it." "I don't know." "Say it." "What?" "What?" "What?" "Avi, this was one of the scenes from the audition." "Yeah." "This was a scene that we used in the very, very beginning." "That's where..." "...he had the fun of kissing..." "Of the kiss." "...some of the great girls in the business." "I remember asking him if he's tired, if he needs a stand-in." "You were volunteering?" "I volunteered." "That's very generous of you." "I volunteered." "You're selfless." "Because if you do it on-screen" "That is the job of a producer that" "Yeah." "If you do it on the screen, you cannot get in trouble at all." "Right." "No." "Absolutely." "It's acting." "It's all about the craft." "Yeah." "And here's nice and awkward moment." "Okay?" "Yeah." "She's great." "She's terrific, her mom." "Now, the "I'm in trouble" thing is actually something that happened to...." "Laura." "To Laura Ziskin in real life when she met the great Alvin Sargent." "And in her memory, it was just great to use this line because it's the realisation that..." "...you made a commitment." "You're falling in love." "And there's no stopping you." "Oh, I'm in trouble." "So this is right out of..." "Real life." "...Laura's real-life experience meeting someone that, you know this relationship was wonderful." "Action scenes, to me...." "I want action scenes to be like any other scene in the movie." "You want the characters to be different at the beginning of the scene than they are at the end of the scene." "And Peter Parker's been a little bit" "A little bit unsettled by his dinner with Captain Stacy." "And he realises he's forced into a mode of self-reflection." "And then this scene comes along." "Whereas the beginning of the scene he's motivated by vengeance." "He's emboldened by his crime fighting." "But his crime fighting is, as I said it's incidental." "He's not really trying to help people." "He's just trying to find somebody" "Trying to find the killer of his uncle." "So, what happens here is, you know, there's all this peril." "There's a lizard hurtling cars off a bridge putting people in danger." "There's flames and there's a child in peril." "But what's really important about it is that Spider-Man learns that he's gotta help other people." "He learns that his powers have other possibilities and other obligations than just trying to find his uncle's killer." "So at the end of the scene his life has been" "Has been changed." "Incoming!" "We shot this scene in about eight different pieces back in Falls Lake at the Universal backlot." "We shot part of it in New York." "All the plates." "We shot it on sound stages." "It was" " There's, of course C. Thomas Howell." "We shot it all over the place." "It was really tricky to maintain the emotional through line because that, despite all the action the importance of it is this transformation this emotional shift in motivation for Spider-Man." "One important thing about this scene metaphorically, I remember." "He's saving this kid." "And this kid is the same age as Peter was when he was left behind." "And so there's this...." "There's a subtextual power to the scene where he is...." "He's in some way saving himself but he also realises when he hands the kid off when he hands Jake off to his dad he's reminded that he's never gonna have that moment." "And I think it's...." "It's something where it's in a way, a baptism for the character, for Spider-Man." "And it's a way for him to shed that...." "That darkness." "And when he comes out of it he realises, "I may never be able to have that moment but I can provide those moments for other people."" "Like I said before." "It's a story about a kid who goes out looking for his father and finds himself." "This is a big part of that scene." "I can't." "Yes, you can." "For the longest time in the music we had a Tim Buckley cover called "Song of the Siren."" "That was done by This Mortal Coil." "Which is a song from the old 4AD label." "We couldn't get the rights to use it in the movie but it's a really beautiful song." "I was really happy, pleased with the way this scene turned out." "And the idea of the mask emboldening the kid." "I thought there was something ironic and beautiful about that." "It ended up being one of my more favourite scenes in the film." "Here it is when he hands off his kid." "When he hands off Jake to his father and he's" "I love this moment where he's watching and you can see him emoting through the mask." "He's realising that he's never gonna have that moment." "That moment was something that was taken from him." "And you feel the weight of the emotional...." "The sort of emotional weight of what it is to be without a father in this world." "Spider-Man." "Now, he's shedding that and becoming the Spider-Man that we all know and love." "And fulfilling his destiny." "Though I don't think his character arc is necessarily complete." "He's" " Spider-Man never is." "He's always becoming." "And that is one of the fun things about the character." "You know, this James Horner score." "James did such a spectacular job on this movie and this is when the score begins to really come home and you hear the first strains of the hero's score because again it's the first time that Peter's turned a real corner." "He's had a catharsis about what he's here to do." "And so when he's flying away from the bridge you really begin to feel the full impact of Horner's "Hero's Theme."" "Which I remember we went and listened." "James..." "Studio." "...writes the music and does the sort of initial phases of recording." "Just the temp recording out at a house in" " Where is that?" "Where I ride my bike." "Out at the foot of" "Calabasas." "Yeah." "Calabasas." "At the foot of Piuma." "I don't know why all these composers live in Calabasas." "There are many of them in Calabasas." "There are." "I wonder why." "Maybe they get together." "Yeah." "Exchange notes." "See that?" "You never see them at the same time." "But he" "I will never forget the first time that we heard the" ""The Hero's Theme."" ""The Hero Theme."" "And it was" "What was unique about it it was touching." "That's right." "It was just like immediately you knew that you're going to be dealing with the emotional side which is, again, what the Peter Parker/Spider-Man saga was always meant to be." "We wanted something we could hum." "We wanted something we could hum and whistle." "We couldn't stop." "We drove away." "We were all doing it." "Do you want to sing it?" "Okay." "I mean, I'm not" "Where is my French horn?" "I will...." "Okay." "So this is the bleacher scene which we love." "We shot this at the same school as the basketball scene." "No, can't do that." "Remember the football team was practising there and they had never won a game or something?" "Because they were not a real football team." "They were" "They all looked-- But actually, one of the guys" "We were kidding, we said, "Did you--?" "How's your team doing?"" "He said, "We never won a thing." "But we are the cutest ones."" "That's right." "Then I start to look around." "And I realise they all look too good." "Right." "They were like 30." "Yeah." "And obviously, they were not a real football team." "But...." "This was a" "Just a great moment between these two." "It's a complicated scene." "It was a long scene." "These are hard scenes to shoot." "Not only because there's a lot of dialogue." "There's so much going on." "It's the burgeoning relationship." "And that awkward" "And paparazzi." "Oh, by the way" "Remember what we had to do here?" "There was paparazzi down in the end zone which we had to block." "But there's also, you know, in that scene is" "He's starting to talk about the Lizard, he's talking about them." "So much going on." "Very intense." "Talking about commitment." "A very intense day." "Hello!" ""It's not nice to snoop."" "Nice prop." "It's not nice to snoop." "I gave everyone the week off." "This first time that Peter's suspicion is being...." "Is taking him forward." "Yeah." "Starting to feel that, "Yeah, this is...."" "There's something here..." "...that he needs to follow up on." "Yeah." "Who better to talk to about a mysterious lizard than Dr. Connors?" "Suddenly Dr. Connors is acting very strangely." "And he's got weird striations on his neck." "I got school stuff." "Biology profiles to do." "So because of the cold blood would they react to changes in temperatures?" "You'd have to catch one first." "These props, by the way, are all built by Andy Siegel who is our incredibly talented prop master." "No, it's not yet classified." "But it can be aggressive if threatened." "Back to Horner." "That's right." "This process was pretty interesting of coming up with his vision of the movie." "Yeah." "He totally loved the movie and he really-- He had a love theme that came in great." "And just a classy...." "You know, Spider-Man is an instant classic." "It's something that has to withstand the test of time." "Right." "He wrote the kind of score that the great composers of the 17, 18th century probably would have produced." "There's a handful of people like him out there that can make it so" "That's gross." "This is a...." "You know, the hybrid Freddy the mouse meets lizard DNA." "Yuck." "That's a great scene." "This is a great scene." "We shot this downtown." "Bye-bye." "Mr. Parker, why are you..." "...not in school?" "Got a free track." "Okay, well, I do not." "So make your point quickly." "Peter is trying to do the right thing." "He's saying to himself, "You know what?" "Maybe Gwen is right."" "What she says at the bleachers, "That's not your job."" "Right." "He said, "Maybe it is."" "And he's also listened, you know." "Captain Stacy has said to him:" "You would have me believe that he" ""Spider-Man is not doing things the way I would." "He's not being helpful." So here Peter's trying to play by the rules." "Nobody will listen to him." "He's gonna have to take it into his own hands." "Let me ask you a question." "Do I look like the mayor of Tokyo to you?" "This is a great line and a homage to Godzilla." "He lost an arm, he tried to grow it back, but the equation was imbalanced." "He has turned into a lizard." "He's using lizard DNA." "He is dangerous, and he is planning something horrific." "I know." "I know." "Okay." "All right, I get it." "Here's what we'll do." "You'll go back to hanging out with the citizens of Tokyo." "I'm gonna go back to protecting the citizens of this fine, fair city of ours." "Sergeant Butler, please escort Mr. Parker..." "...back to school." "Captain Stacy, I'm not messing around." "Just bring him in." "Just call him in." "You have to call him in." "Are they dancing?" "No." "No." "Just, please, listen to me." "Let's go." "But, of course, Stacy has to take him seriously because he's a good cop." "And there's something about this kid that isn't dismissible." "So against his better judgement, he's gotta check it out." "What a hint." "You think that's subtle enough?" "Believe it or not, these little things are CGI." "And very expensive." "Yet they look so-- Very expensive." "They're very" " Well this was, truth be told a very hotly debated topic as to whether or not we should have them." "Marc wanted these little lizards and they were very, very expensive." "This is the set we called "the onion."" "It looked like a massive onion from the outside." "And it was the worst set to hang out in because it was incredibly loud, there was water everywhere." "You could barely move the camera." "It was a really, really tricky set to shoot in." "But I think it was a great way to dramatise." "I was trying to think" "When we were setting out, I tried to think of ways Spider-Man uses webs." "I thought:" ""Well, why wouldn't he just build a web?"" "And I liked this idea of him being at the centre of all these spokes." "And creating a spider web." "Using the spider web as a spider would use the web which is to detect prey." "And this was, again...." "I like the" " I think his movement inside the suit here is really great." "And I ended up intercutting these two scenes just to help increase the pace of the film." "So we're halfway through the film now you gotta keep the metronome jamming." "And, there, of course, is the camera, which plays a role in about another minute and a half." "This was a scene that Marc had loved from the very early days with Jamie." "When Spider-Man was laying a trap for the Lizard, which was the idea here." "That he was using his webs and setting a trap and waiting for each of the strands to vibrate." "Like a spider does when it traps its prey." "Very, very cool image." "Shot this on a stage in Culver City." "I like the scene in 3D because the webs fill up the space in a kind of cool way." "And we used...." "We had these ropes that we eventually replaced in CG, which took a massive quantity of effort and time to replace with these" "What are computer-generated webs." "Here's our lizard parade." "All these little lizards being summoned by their king." "There was a joke here that we" "A one-liner that I liked that we didn't end up using for a variety of reasons where Peter is talking back to the Lizard." ""You know, you kind of look like Goomba."" "But we cut that out." "I like this intensity though." "I like this close-quarters battling and the tension." "I always kind of referred to this" "I referred to this as the Saving Private Ryan moment where that blade is coming towards the soldier's chest." "And it's just the tension's building." "I don't think I did it as well as they did." "But that was the intention." "One of the reasons we shot this is we just hadn't seen" "I wanted to create environments that we hadn't seen him in." "And I thought the idea of Spider-Man underwater was kind of an interesting proposition, especially where the Lizard is much more comfortable." "Spider-Man is not exactly at the heights of his power when he's underwater." "Webs don't work." "He can't breathe." "Whereas, the Lizard can swim and doesn't seem to have a problem with those kinds of things." "Beautiful shot." "Great Imageworks shot of the Lizard coming out of the water." "If you're sitting in front of your TV you should rewind and look at that again." "Spectacular the way he comes out of the water." "One tricky thing" "I wanted to create a more grounded atmosphere and universe." "And that's a tricky thing when you have a lizard." "A 9-foot lizard rolling around the streets." "Being Spider-Man's main adversary or the main villain." "When I was creating the Lizard drawing up concepts it was very important to me that the Lizard could speak." "The Lizard had some intellectual capability and ability to communicate." "There was a lot of fans that wanted the snout but to me it was important that when he spoke it made sense that he could speak biologically." "Hey, Gwen, honey." "The way a mouth is shaped if it's a snout, it just wouldn't-- Couldn't form sentences." "Couldn't form words." "It just wouldn't work." "And I was really committed to trying to create something that felt realistic in a very let's say, surrealistic situation." "And the other thing was I wanted to use Rhys' performance in that character and so the face ended up being" "I pushed the face into a more humanistic dimension where you could see the eyes." "And you had the same facial cues that could indicate emotion." "Then...." "You know, so that the audience could engage with that character with understanding and sympathy." "Thanks, Daddy." "All right." "We used the Lizard" "We used a variety of techniques to integrate the Lizard into the environment." "A lot of times, we had a massive stuntman named Big John who did the work in the school hallway." "Then we had Rhys on stilts and Rhys on platforms to help generate the performance that the animators would then use to...." "To the...." "Rhys would create a performance that the animators would use as a reference to animate the Lizard's face." "It was a really long and arduous process." "We had a lot of very fantastic, talented people at work behind the scenes to create the Lizard." "I know what this is." "It's a big decision in the movie." "Peter decides to come clean with Gwen that he's Spider-Man." "And it's an enormous decision." "She's the one person in his life who he trusts." "And it's one of the things that makes this relationship so unique and so different, frankly, from the Peter-M.J. relationship." "It's also teenage-like." "And you see this moment on the bleachers when she asked him:" ""Who else knows?" And he says, "No, no." "You're the only one."" "She has this sheepish smile like there's nothing like being the only one to know such a deep secret." "It's an incredibly intimate thing." "And so suddenly, the two of them share this thing which is a great metaphor for what it feels like to fall in love when you're young and nobody else knows us and nobody else understands." "And...." "And of course, what's brilliant about the dynamic between them is that she loves Peter, you know, through it all." "It's not" "She doesn't love him because he's Spider-Man." "If anything that complicates it." "She fell in love with him before she knew who he is." "That's what so special about it." "That's probably why he does unburden himself." "This scene is the first time that she realises what she really got herself into." "It's no longer fun and games." "He is really injured." "He made up his mind." "He's going to do what her father does but in a different way." "But the intentions are the same." "And she has to make a big commitment here." ""I'm worried about my dad every day." "Now I'm in love with this guy and I know I cannot stop him from being who he is" like she wouldn't try and stop her father from being who he is." "It's a wonderful new bond at this stage of the movie." "She goes with him and makes the decision that, "I'm gonna do it." "I love you and I'm gonna embrace this life." Which will have consequences down the road, as we know." "No more outcasts." "Species-wide distribution could enhance humanity on an evolutionary scale." "One has to adapt to survive." "Actually, we have this...." "The makeup, the prosthesis on Connors' face, on Rhys' face is actually handmade." "This is not CGI." "Ve Neill." "Yep." "She's brilliant." "Brilliant." "Oscar winner-- Multiple Oscar winner Ve Neill did all the makeup." "There were like, at the end of the day, all in all 3000 people that worked on this movie." "That's right." "It's almost hard to believe how many..." "It's almost hard to believe how many specialties and subspecialties it takes to put a movie like that, not only this size but this kind of detail and artistry." "But the CGI and physical effects." "It was the great John Frazier who is the man to go to." "Right." "And John's son." "It's the last of the Mohicans of these businesses who bring this magic to life and make it look easy." "One of the fun things like I said before when you're doing action, environment is an incredibly important part of it." "This was set in high school and I wanted to create an action sequence in the high school." "There was a reference to it in the Ultimates." "The Green Goblin comes and terrorizes Midtown Science in one of the earlier Ultimate Spider-Mans." "I love the idea of that location because it's sort of...." "It's a threat to Peter, and Peter realises the Lizard has discovered his identity and that there's a threat to those who are close to him and Peter Parker is actually a walking danger." "I think it's an interesting thing for the character." "And plus, it's a way to...." "You know they're fun environments." "Bathrooms, chemistry labs." "Things to play with." "This is another example of Peter Parker's quips as he's battling the Lizard and sort of taunting the Lizard." "This is really what I wanted to say." "What we have coming up here is I think" "I can say it with confidence." "the best Stan Lee cameo in any movie yet." "I know people" "Some people like the Hugh Hefner cameo in Iron Man." "I think that's great." "I think we have a better one here." "This was fun to shoot." "We did a reference of it, and it was all created in CG." "So this was a great sequence that Jerome Chen and Randy Cook" "Randy and Dave, our lead animators, did a fantastic job in this sequence." "I love the physical possibilities of lizard vs. spider." "There's a lot of fun to play here." "This is just amazing CG." "Obviously, the whole idea of growing the arm and so on, we wanted to find a way to manifest the growth." "Here comes the tail." "The tail grows back." "Much like what he's trying to do with his arm." "That explains why his cross-species genetic is with a lizard." "That's right." "Nature actually can do it." "That's right." "And here you see wonderful use..." "...of the webbing." "Cocooning" "Like in nature." "Yeah." "I'm gonna throw you out the window." "What?" "Gwen gets tossed out the window." "This is, of course a little bit of a nod to the comic-book mythology and the possible future of Gwen Stacy's character." "I'll just leave it at that." "a bad lizard." "I wanted to create a universe that could sustain more scrutiny, that" "Where there was doorways to different stories and acknowledgements of a universe that was complicated enough to anticipate future movies." "I like the idea of back-stories that are hinted at but not fully revealed." "There is something that I think J.R.R. Tolkien called "distant mountains" when he was writing the Lord of the Rings books." "He would sort of refer to the stories of mountain ranges off in the distance." "It helps create a dimension to the universe that makes things feel a little bit more, I think, real, that these people are operating in a world with rules and with people that are off in different parts of the world." "That's important when you're trying to create a new mythology." "All those details are really really important." "I think certainly the mystery of Peter Parker's parents is the long shadow that's cast over his life." "We didn't solve that in this movie." "I wanted people to remember that it was a really big part of Peter Parker's motivation initially." "That's gonna play out over future movies if the audience so demands." "As you can see the movie has quite a great look." "And that's tribute to John" "John Schwartzman." "Our DP that was gutsy and forward-thinking and agreed to be the first man to support us and shoot the movie in 3D and...." "He's such a confident character." "He's got such incredible experience and he's really, really bold, you know?" "He's not afraid to try anything, and we needed that." "We needed somebody who wasn't afraid of this new technology." "And amazing energy." "He's like the Energizer Bunny." "He never sits." "He's willing to try anything and everything." "And he shaves his legs." "And shaves his legs." "Yeah." "By the way..." "..." "Matt shaves his legs too." "You know, I've been known to race a bicycle." "Why be human at all when we can be so...?" "But it was fun to have John around because it takes a lot of energy to adopt a new art form." "Yeah." "A new camera." "John never sits down, by the way." "Which is amazing." "Never sits down." "We'll be in awe how much energy this man will have." "Yeah." "He's the greatest." "And his vision too." "He's just a stunner." "And it's great for him to be able to work with Marc and Marc working with him." "It gave Marc a lot of comfort and confidence to be with somebody who was such a professional." "And Marc is a terrific visualist." "And John's job was to bring out" "Make it happen." "This was a scene, you know" "Kudos to Vic Armstrong." "With the" " This SWAT scene was something that Vic and Marc worked very closely on with some of the second-unit guys." "And an important moment an important moment in the story of the Lizard." "Poor Lizard." "I always feel badly when they pick on him." "It's like a Frankenstein thing." "And here is one of the big themes of the movie." ""I want everybody to be like me."" "And now Peter doesn't have a choice." "He has to stop him before he turns all of us into lizards." "Because part of his ideology was to change himself." "That's right." "And unfortunately it didn't work according to plan like science." "Why not change everybody else?" "Why not change everybody else?" "Yeah." "This was at Universal in the backlot." "Again it's Michael Riva turned the Universal lot into New York, and you couldn't..." "...tell the difference." "That's right." "I remember bringing some people one evening and they were blown away." "And the funny part is that one of the members of my family were trying to buy a hot dog." "A real hot dog." "I know, all those stores..." "...along there" " Right." "Yeah." "The guy smiled and said:" ""I can't." "These are props."" "Right." "It's plastic." "It's really funny because it's real." "You'd shot here a bunch of jokes." "There was a girl who gave Peter his phone" "Gave Spider-Man the phone." "A goth girl." "Her phone, when Peter called Gwen it lit up and it said "goth--"" "Didn't it say "goth girl" or "goth princess"?" ""Goddess of death." -"Goddess of death."" "So Gwen says:" ""Who's the goddess of death?"" "We just didn't need it in the movie." "Stand down now, or we will open fire." "You are surrounded." "There is no escape." "Okay, here." "Here is" "You know, the movie is coming to this great crescendo." "The city's in trouble." "Peter realises." "One of the motivations here is his need to get closer." "To Connors-- Is created Connors as a lizard." "The practical problem in this scene, which is, I think really fascinating is one of the things that Marc said was:" ""I want this movie to live in the real world, in a very practical world."" "So if you apply that lens then where are Peter's--?" "Where is he shooting his webs?" "What's he sticking to?" "You can't shoot webs up in the sky." "He's shooting webs..." "...onto buildings." "Yeah." "The buildings are on the side so it changes the way Peter gets" "You know, transports himself or Spider-Man transports himself." "He can't fly through the city." "So it created a real plot opportunity, and it's what this whole sequence becomes about." "Peter's not gonna get there in time, because of the limitations of physics and gravity and all these things that are real." "He's gonna need help." "He's gonna need the help of the city." "That's what's gonna happen in this crane sequence." "He's gonna get that support which will enable him to get to Oscorp and save the day." "Freeze!" "Down on the ground." "Your hands behind your head." "Now!" "Stacy realises this kid that was at his dinner table is in fact Spider-Man." "And your daughter's there right now." "He chooses to believe in him." "It all makes sense to him now." "Yeah." "The dinner the way he looked the way he was beat up, coming to the police station." "And there's that" "He realised that the kid is not just nuts." "There was knowledge..." "...and...." "And it's more complicated than he may have seen it." "And they both love Gwen." "And they know that Gwen is there and they wanna save her." "And there's that great Horner." "This is such a great James Horner sequence." "You know, he gave you a taste of the "Hero's Theme" where he reaches for the mask." "And it's gonna" "The score is gonna come fully into its own as Peter swings towards Oscorp because he's now in real..." "Time remaining: one minute." "I love this sequence because this is Gwen Stacy." "She's no shrinking violet." "She's gonna do whatever she has to." "Peter has told her to back off and to get out of there." "She won't have it." "You know, Gwen's kind of" "Gwen is his partner and his accomplice." "She's gonna do everything she can to stop Connors." "He was begging her to get out of there because the Lizard is coming, and she felt no." "First she has to empty the place, tell everybody get out." "And then if she doesn't get the antidote in time, then it's all lost." "And I'm sure in the back of her mind if she doesn't get the antidote, who knows what the Lizard will do to her boyfriend?" "It's clear that he is stronger." "So...." "Scary stuff but she's feisty." "Antidote complete." "Oh, here we go." "He's wounded and you realise how far he has to travel and he probably won't make it." "We're getting the latest details." "This is just coming in." "The New York Police Department has called for a city-wide evacuation everything south of 54th Street." "If you are south of 54th Street you have to move out of the area immediately." "Just beautiful." "Again Jerome Chen and his teams." "Teams plural." "Very plural." "Yeah, very." "Here's C. Thomas Howell the father of the boy on the bridge." "And he's gonna pay back what Spider-Man did for him." "Get him on the phone for me." "Not easy to do it especially injured." "But he has to get there." "You see how the city is evacuating." "That's a hero moment, and he is one." "Getting some overtime." "You're getting some overtime!" "All tower cranes on 6th swing your jib arms over the avenue." "He is a...." "What is Charlie?" "I don't know, I haven't figured out the word." "He is always stirring the pot." "This" " Okay." "This is one of the first sequences I conjured up." "One of the" "I was sitting on the streets of New York and was trying to think:" ""If I were Spider-Man, how would I swing through the city?"" "It's really difficult to imagine how you'd swing through the city." "There's not readily available pick points to connect your web to." "There's tops of buildings, but I was like, "How would I move?"" "That's where that pendulum swing" "That's what we call the pendulum swing." "developed." "Because you can't...." "It's much more difficult to just sort of swing the iconic Spider-Man swings without having a place to swing from." "I was like, "If there were cranes on the street then I could do that Spider-Man swing."" "So this came from the idea of figuring out" "It just came from a way for us to dramatise that big iconic wish-fulfilment swing, and...." "I wanted to give the" "I also combined it with the idea that, you know, the city is coming to Spider-Man's aid." "And this is a way to do that." "I love the music in this sequence as well." "James did fantastic work here." "I wanted the camera to go along with Spider-Man." "I wanted us to feel what it was like to swing with Spider-Man." "I like the idea" "Point of view is a really important thing when you're trying to figure out how to shoot a scene." "I wanted to get the camera as close to Spider-Man as possible." "And we added a little bit of camera shake to accentuate the turbulence, to make it feel like there was a thrust in that character." "This is a sequence that we started creating before we started shooting." "It took probably about a year and a half to complete fully because it was almost entirely very significant physical reference points that we generated on a motion-capture stage and through various methods, it was a really fantastic example of how computer-generated imagery can create realistic sequences now." "It's incredible, the way you can move the camera and the way the camera can become" "Can really help emphasise that sense of velocity and vertigo is a pretty extraordinary development." "Get in the car." "This movie actually was born for 3D." "Spider-Man, because of his flight and movement and his villains and New York City as a character enjoys a special responsibility, actually..." "...to be brought to life in 3D." "Yeah." "Detonation in T-minus two minutes." "This sequence we spent a lot of time previsualizing him." "This is one of my favourite shots that we did fairly late in the game." "This was just fun to imagine the battling titans on a precarious location, the rooftop of Oscorp." "It's something that was fun to mess around with." "And I think this was" "It was a sequence" "My previs team led by Louise and Gavin from Proof was a really great part of the process because" "When you're doing previs, what previs is is a three-dimensional storyboard." "It allows you to experiment and" "You know, there's a lot of trial and error." "You can move the camera and mess around without consequence." "It helps develop these, I think more nuanced and complicated action sequences." "I think it's important to acknowledge what Spider-Man's after." "His primary motivation is to get to that Ganali device." "And the Lizard wants to stop him." "It's that simple." "And all the action emerges from those..." "We shot some physical references." "Vic Armstrong, our second-unit and action director shot a lot of references, many of which we used." "But again, this is a sequence that was almost entirely done in CG but again, very much based in moments of physical reality that we had shot as reference." "He's not alone." "I always love this." "It's like a Western." "You hear the shotgun cock in the background." "And the cavalry has arrived." "Liquid nitrogen." "Liquid nitrogen as a way to stop the Lizard was an idea that came from George our production coordinator." "I was trying to think of a way to sort of add" "To raise the stakes or make Peter...." "I needed some new device to add to the equation to stop the Lizard." "George our production coordinator slapped an issue of Spider-Man on the desk" "I had read this." "I hadn't thought about it." "where he used liquid nitrogen to stop the Lizard because lizards, as you know, are cold-blooded." "When they are frozen they are" "They become slower." "And that is something that we tried to dramatise here." "Now they work together." "Isn't it awesome?" "Yep." "10 seconds." "The Ganali device." "Buy one at a store near you." "Seven." "Six." "Again, takes tremendous CGI, tremendous effort to capture all this on-stage." "I love this image." "I think what was important to me in this sequence was to resolve it in a way that felt different." "I kept on trying to find the moment in this scene that was surprising, and what it was to me was the moment that" "The moment that is unexpected is when Curt Connors saves Peter Parker." "Because what Peter does is...." "You know, one of Peter's powers one of Peter's abilities is not just stopping people and his strength." "It's his heart and ability to inspire people and change their behaviour." "That happens to the kid in the car, happens with the cranes and it happens to Curt Connors." "You know, Spider-Man is an example." "That's what dramatised in this scene." "And the action, you know the spectacle of it, the collapsing tower which I think is great is all designed to serve another moment." "That's the idea that, again Peter Parker is an example, that he can inspire people to become better." "And that is one of the great hidden and often overseen powers and influences of Spider-Man." "The captain." "Here comes Denis Leary's death scene." "Denis was, I think, kind of nervous about dying." "We talked a lot about it." "I think he did a fantastic job." "Let's get you out of here." "Come on." "Okay, okay, okay." "Look at me." "Stay with me." "Help's on the way, okay?" "You need to...." "You need to be gone when they get here." "Okay?" "I'm not going anywhere." "Denis, again, really a fantastic dramatic actor." "I think there's a great connection here." "I remember Denis..." ""That kid Garfield is unbelievable." He could feel" "After Denis had died and his eyes were closed he said he could feel Andrew's tears falling on his hand." "And he said:" ""I'll never forget that moment." I mean it's a testament to Andrew's commitment to the character." "There's always some depth." "There's always some range." "And I think people really have responded to Andrew's performance in a way that should serve him well as time goes by." "They'll realise his performance in this movie is pretty iconic and kind of a game-changer." "What we have coming up here is also one of my favourite scenes." "I have a lot of favourite scenes as you can tell." "It's one of my favourite moments." "I'll put it that way." "It's when Peter Parker comes home." "He's all messed up." "Aunt May sees him and is, I think, kind of rightfully mortified." "And he comes home and he hands her the eggs." "And I think that's a moment" "It's a very important moment for Peter Parker where he's" "And it's the thing that we all love about Spider-Man, is he's just stopped the villain, he's saved the city and he's managed to do his chores as well." "Then we realise Peter Parker is a good kid after all." "I love this moment." "This building is all CG." "And I think it was a pretty spectacular effort by the team at SPI led by Jerome Chen, at creating realistic environments." "SPI does a fantastic job not just with creatures but with environments as well." "That's an important part of the process when you're trying to create a world that feels grounded and realistic." "And Jerome is really fantastic at that." "Knowing that the alleged mastermind of this terror plot, Dr. Curtis Connors, is behind bars." "We've got John Niles on the street for a report in Lower Manhattan." "John, what do you see?" "Schwartzman was really instrumental." "We talked a lot about what terms like "gritty" and "realistic" meant with Schwartzman." "He was keen to engage with a lot of hand-held cameras and use of practical lights to create a sensation that, you know" "There's this enhanced naturalism." "It's about trying to create environments that you recognise, and you're not try" "I wanted to stay away from stylizing the universe." "I didn't want it to feel like re-creating panels from the comics." "I wanted us to feel like we were observing and getting an insight and being a bit" "Kind of like voyeurs into this world." "And I wanted" "I didn't want the camerawork to interfere." "I wanted it to-- I wanted us to sort of feel invisible." "I wanted the director-- The hand of the director to be invisible." "We had a great team that supported that idea." "This was shot in Koreatown." "This is also where I shot my video for "Helena" for My Chemical Romance which also featured a lot of umbrellas." "It's a motif." "I like umbrellas." "I have an umbrella fetish." "This was, I think the second or third day of shooting and I thought Emma just looks beautiful here." "So peaceful and sad." "It's a great moment." "This scene was written by the wonderful Alvin Sargent fairly late in the writing process." "And I think it's" "This is where you can see Andrew's performance has become more focused." "His physicality has become much more focused." "He's not moving around nearly as much as he was." "I think that there's a level of control and you sense that this kid has become a man in the last couple of hours, and she's heartbroken by it." "She's heartbroken by his austerity." "This was a tough scene to shoot." "There was a lot of rain going on in the background neighbours looking on from afar, and paparazzi down the street." "And these kids had to go to a very real, very deep emotional place." "And that's hard when there's all that distraction around." "I think we haven't seen Emma Stone do a scene like this before." "And she is just fantastic." "Everybody's known how funny she is and how good an actress she is, but there's an emotional dimension to this character that we haven't seen her do before." "And I think she's just fantastic." "I was really, really lucky to get to work with Andrew and Emma in this film because I think they're actors that are really wonderful, very generous and are gonna be great contributors to cinema in the coming years." "I love that they're young." "I love that we get to watch their whole careers develop." "It's a pretty fun thing to imagine." "I love this look and that tearstain on his cheek." "If you look down that shot right there, at all the different row houses, that was a real pain in the ass." "There was somebody who lived in one of those houses who insisted on coming out and being in the shot every time we were rolling." "And there was someone down there who was determined to blow the shot." "I think, actually, in one of the shots, you can see a person." "I spent a lot of my life thinking about women when I was young and how frustrating and mysterious and thrilling and exhilarating they are." "And it's just something I've always been drawn to on-screen." "And I think...." "I think that I always am taken by the hope that romance on-screen, that" "I kind of wish that romance in life was like romance on-screen." "And so it's something that I always find myself exploring or interested in and attracted to." "I don't know if I wanna figure out why that is." "I kind of like that mystery." "But for whatever reason, I'm drawn to it." "And I think it's something that we can all identify with." "Particularly, you know, young love and that moment where you lose your innocence." "It's a big moment in everybody's life." "And it's" "When you're a teenager, it's" "Every emotion is just downright apocalyptic." "And the Spider-Man universe is just a great way to explore those apocalyptic emotions in an interesting and fun way." "How do you--?" "Do you really just put what happened behind you?" "Do you really recommit to each other after such trauma to both of them?" "There's a few lines-- I was thinking about this." "There was a line that Alvin Sargent wrote in a scene that got cut." "He wrote this line:" ""Get to work, Peter." "Be creative." "We must be greater than what we suffer."" "And I kind of wish I would've added it into this Uncle Ben speech at the end because it's a simple piece of wisdom." "It's an aphorism that I think about often that, every once in a while when you're having a tough day, helps you along." "Maybe somewhere else I'll be able to use that line." ""Get to work." "Be creative." "We must be greater than what we suffer."" "It would've made sense some of which Andrew came up with on his own." "He had written this thing to listen to-- While he was listening to that message from Ben he had some words he asked the sound man to pump through his phone." "And Andrew had come up with something really quite beautiful." "Andrew's a very talented writer and conceiver of ideas." "He was a great collaborator on the movie." "Here it is." "This is a speech" "This "Who am I?" speech is" "I have to acknowledge my English teacher Mr. Keyes, who gave me this very same lecture when I was a 12th grader at Madison West High School." "This is something he believed in." "There's 10 stories in all of fiction." "You hear that a lot when you're in college." "He said that's not true, there's only one: "Who am I?" I love that idea." "And it's at the heart of why I felt emboldened and why I felt able to reboot the movie." "Because we do tell the same stories over and over again." "And it's the inflections and the changes in themes that give it its specificity and power." "But really, at the end of the day, we're always exploring the same thing:" ""Who am I?"" "How's that for pretentious?" "You like that?" "Here we go." "This was the very last shot we finished." "We had a lot of champagne the minute we finalled this shot." "This is the way to get that 3D sensation." "Hurtling through the air." "Great score by James Horner." "And there's the moon." "You gotta love the moon." "There's China balls." "There's an alley." "There's some smoke, and there's Spider-Man coming at you." "Some pigeons." "That great iconic frame from the comics." "It was fun seeing this movie again believe it or not." "I like that." "I really like it." "Good seeing you again, Av." "And I have to say that one of the great thing happened to me on this movie is my good partner for 12 years as head of the studio became my partner in making this movie." "Yeah, well...." "And it's been a privilege and fun." "The man who studied at your feet got to sit next to you." "And that was an honour." "Can we just--?" "I have to say, between Marc and Matt and the actors the set was a place you wanted to spend time on." "Yeah." "And it was a great privilege to be able to make this movie in Los Angeles providing all this employment to so many people in L.A." "And I hope some officials from the state of California will be watching it too." "Guys, you have to match New York, Vancouver thousands of people." "We're loading up the trucks, guys." "And through them, thousands of people more." "It's so important for us for the city, for the state." "Help us keep this kind of movies here." "It brings families, gives them stability." "That's it." "That's my soapbox." "I like it." "I like it." "So this is just an extra scene." "I'm not gonna give you answers, so you're gonna be frustrated if you're looking for answers in this commentary." "Curt Connors is in a very desperate place here." "But notice the lights flashing." "Actually, I invite your scrutiny." "Go online, discuss." "What are your ideas?" "Who do you think this is?" "Is it Norman Osborn?" "Is it Electro?" "Is it some secondary Oscorp lackey?" "I don't know." "Maybe it's a figment of Connors' imagination." "You should leave him alone!" "No." "Not likely." "It's really interesting how he grew up to care for this boy." "Yeah." "Thank you all." "Thank you for listening, and we'll see you in May of '14." "It's very important to acknowledge two of my really wonderful allies and collaborators on the film." "That's Laura Ziskin, my great friend and producer who passed away right after we completed shooting." "And then John Michael Riva our production designer, who passed away just before the movie premiered." "These people were great, great examples of the wonderful power of the human spirit." "I really" " I miss them every day." "They were huge contributors to the film." "You can see them everywhere and feel them everywhere." "I really wanna reach out to them in the universe and give them a hug and thank them." "All right, that's my gig." "I hope you enjoyed this crazy commentary courtesy of all your crazy friends here Avi, Matt and Marc." "Take care, homeys."