New Amazing Spider-Man Trailer, Plus Interview With Marc Webb
If you havenít noticed from the massive amount of Avengers coverage weíve been doing, itís superhero week here on Cinema Blend, but the comic book action hasnít been limited to the Marvel Cinematic Universe. You may remember a time earlier this week when the newest trailer for The Dark Knight Rises arrived online, but thatís not the only major superhero adaptation arriving in theaters this summer. We are now exactly two months away from seeing webhead fly back into movie theaters, and in addition to having a brand new trailer to show you today we have a great little treat.
Before we get to desert, letís have dinner, shall we! The newest preview for the Marc Webb-directed Spider-Man movie has arrived online and you can watch below or catch it in high-res on Apple.
But thatís not all we have for you. Yesterday afternoon, a small group of Los Angeles-based journalists, including myself, were invited down to Sony Pictures Studio where we not only had the chance to see the above trailer early, but talk with Marc Webb about the film. Check out the interview below in which the filmmaker discusses his implementation of 3D, how The Amazing Spider-Man moves away from the origin story everybody knows, and the rumor-defeating final running time.
In the teaser trailer there was that point of view shot thing, which seemed to get a very negative response.
The first one?
Yeah, yeah, because it was very computer generated. We see some point of view stuff in here. How much of that is in the film? And it looks a lot better.
What we saw Ė we were still in production when we made that trailer, I believe. So that was a very early rendering of some of the CGI things. And I wantedÖthe P.O.V. stuff, part of the fun of this was to create the movie thinking about subjectivity, meaning getting to feel what Spider-Man feels. I thought that 3D was really interesting way to exploit that. We spent a lot of time refining and just making that shit better. And so there is that in the movie, but itís a much more refined version of what you had seen before.
How much of it is in the movie? How many minutes of P.O.V. is there?
Oh, how many minutes? Itís interspersed throughout the film. Itís not like the third act is all point of viewÖthough thatís an interesting idea! [laughs] Iím not that bold.
Not to get too specific about the trailer, who was the voice that said, ďDid you tell the boy about his father?Ē
OhÖ. [laughs] Youíll have to see the movie.
So itís intentional mystery.
Can you talk a little bit about bringing The Lizard to life, technically how you accomplished it. I imagine itís all motion capture orÖ
Thereís a lot that goes into it. I mean, when we shot those sequences we actually shot a human Ė a largeÖthere was a combination of things. A guy, Big John, who was this guy who was literally a big guy named John, who did a lot of the interactive stuff, because when youíre trying to interact with Andrew or with Peter, you need someone grabbing him and to do those things. And we would replace him with computer generated Lizard. But then the performance capture was done with Rhys [Ifans] and that was we would shoot Rhys in a similar environment and get his facial composure Ė weíre still working on it, I actually just came from SBI - trying to incorporate his performance into the Lizard itself. That takes an enormous amount of time.
Itís tricky, you know, in the comics there are different incarnations of The Lizard. Thereís like the MacFarlane one, which has the snout, and then I was interested more in finding something that could relate human emotions, because I wanted to keep Rhysí performance in that creature. Performance, Pixar does it extremely well, creating those emotional qualities within characters that are, essentially, computer generated. So Rhysí performance is giving that nuance, getting the eyebrow tics and the looks. Creating an armature that can actually speak and lips that make sounds, itís a very detailed and tedious, frankly tedious process. So I really wanted to cap emotion. I wanted him to have a face, have a feeling. And thatís the way I chose to do that. Then there are the physical components of it. I wanted to make him very powerful, I wanted to make him stronger than Spider-Man, that was a really important part.
We see a lot of spectacle on-screen. How do you balance your approach to providing the thrill ride that people want with the fact that Spider-Man is one of the more down-to-Earth heroes?
That's the thing for me, the access point. I was always a Spider-Man fan, but I was a bigger Peter Parker fan than a Spider-Man fan. When you see the movie, I don't think anybody will be worried about the emotional part of it. There is an incredibly innocent and tender quality to Peter Parker. He's not a billionaire. He's not an alien. He's a kid and he doesn't have money. He has trouble with the people that raise him and he has trouble talking to girls. There's that intense relatability that's all throughout the movie. I wish you were in the edit room. I could show you scenes that would describe it, but I think you guys have now all seen the hallway stuff. That's a texture that, for me, is really intuitive. It's just something that I love in movies, that particularly romantic dimension. It's something that I'm very familiar with. Girls and being made nervous by women. But again, there's that relatability. How do I put it? The interpersonal relationships that Peter Parker has are so simple and so domestic that it's a very fun dichotomy to play that big, massive spectacle alongside those very small moments. There are very real moments and in a very small way there's a small, intimate little indie movie at the heart of Spider-Man. That was my access point. In the trailer, you want that spectacle and you want that energy because I think there's an expectation surrounding that, but as we get closer to the release, there will be scenes that show the more intimate parts of Spider-Man and show where the heart is.
Some of the best parts of the Sam Raimi movie were where he was discovering his powers for the first time. Do you get to have fun with that again?
There's elements of that. Listen, I wanted to do things differently. If we've seen the origin of Spider-Man, maybe we haven't seen the origin of Peter Parker. There are certain iconic elements of Spider-Man that I felt obligated to honor. There are some exploratory phases. But, again, I wanted to build something with a different tone and a different attitude and do things in a little more of a practical way, especially at the beginning of the movie. There are elements where we spent a lot of time engineering and designing sequences that existed within the camera that we just shot practically with him swinging on these chains to help create that sensation and feeling of joy and fun which is always a great part of these movies.
Can you talk about your approach to Peter here? It seems like he becomes this more animated version of himself.
That's something from the comics that I've always been really a fan of. Humor's a tricky thing because it's always very subjective. Everything in this movie, the first domino, is Peter getting left behind by his parents. I thought to myself, "What does that do to somebody? How does that change your view of the world?" To me, that creates a little bit of a level of distrust. It's a brutal thing to have happen to you. That's, to me, where he gets that outsider status. Then there's a sarcasm that comes from that and a quippiness. I think you guys have seen some of the car thief scene where that attitude comes out. That, to me, is generated from this chip on his shoulder. He's a little bit mean. He's a little bit snarky. But thatís an attitude that we can all understand and relate to. But I think it comes from a real genuine place. That was fun to explore the humor but my point is that the humor comes from a very human real emotional place. Itís not just slapped on.
Can you talk about casting Denis Leary and also Sally Field?
He plays the authority figure that he has made fun of for his entire career. When you cast someone like Sally they come with a certain level of awareness and real genuine affection. Which I think for Aunt May is an incredibly important thing to have. We all love Aunt May but I wanted to create a tension between Aunt May and Peter because once again, what is the reality of the situation. God I wish I could show you some scenes but I donít have them with me. Iím not setting anything up by saying that. I thought, what would happen if you were someone who was in charge of taking care of a kid whose had a lot of tragedy in his life and he goes out late at night and comes back and heís fucked up and you would be concerned. If heís got bruises on his face what happens in that moment? That can create some tension but you want there to be love there and that is what someone like Sally Field gives. The other thing is that Denis Leary, because we all trust Denis Leary, like heís got this attitude but we love him. In this movie he puts pressure on Peter Parker. Heís on Spider-Manís case. But you understand him. Good drama comes from competing ideas on whatís good. Right? People have different ideas on what that is but if you put that together and they collide, and there is an honest difference in opinion then there is something really interesting that happens there. I wanted to explore that as much as possible.
There is a shot of Spider-Man swinging where his foot comes off the screen and that is the best 3D Iíve seen so far, how did you do that?
Itís true; itís a matter of convergence. Again, the movie I designed is in 3D and that sequence that that comes from is later on in the film. You know James Cameron was incredibly generous with me early on. He likes to have things play with depth. He wants you to see depth. Like if this is a window and everything you see behind there Ö that is what is fun about it. The jungles of Avatar are really a great example of that. I liked pushing the 3D a little bit further so it will come out at you. I remember as a kid watching The Creature from the Black Lagoon with all those things coming out at you, or House of Wax. There was something fun about that and seeing an audience with kids reach out for something. There were moments that I wanted to exploit like that. That was one of those moments. That was a shot that has many, many visual layers to it. We generated around a figure. Then we converged, the screen level behind the character Ė behind Spider-Man there -- so his legs would come out. Then we made him a little bit more in focus so you could feel a tangible sense of him and reduce the motion blur so you it felt more tactile. Then that shot in particular, if you noticed, when a subject violets the edge of the screen, it corrupts the illusion. You notice that itís not really real. So, we designed it so it would exist within the barriers of the screen, so itís not crossing out the screen. That helps with that notion that it can come out at you Ė thatís another one of those layers. And the other thing is in the movie, you sit on it longer. Thatís the other part of letting that feel that it is coming in to your space.
Uncle Benís death is really the catalyst for Peter becoming Spider-Man. From the trailer it seems the search for the truth about his parents is the catalystÖ
Thatís the first domino in the story are the parents. He goes out looking for his father and finds himself. Thatís my tagline. But, Uncle Ben, of course his deathÖ you have to see the movie! But, thereís three elements that Marvel was very protective of and I think are very important parts of the Spider-Man origins story. Uncle Benís death transforms him and has a huge impact on him. Thatís an incredibly important part of the mythology. I would never subvert that. Thatís Iíll say about that.
Working with Martin SheenÖ how was that?
That was so cool. That was awesome. It was a dream. In between takes he told stories about Terrence Malick, about Apocalypse Now, Fellini, it was spectacular. That was one of the really joyful parts of making this movie was getting to work with Sally Field and Martin SheenÖ and Denis Leary. It was so cool! Theyíre such pros and again, like Martin Sheen, you think about President Bartlett and he has that sense of benevolent authority and thereís something else thatís important in terms of the dynamic that I wanted to explore Peterís relationship with his absent parents. Ben and May are street wise, blue collar people. But theyíre not scientists. Peter has this incredible scientific ability, which creates a little bit of a gap between him and Ben and May. I thought that was a really interesting thing to explore. What Martin was able to do, was to embody this blue collar guy. There was some fissure, some break between the two that was developing. Even though there was a great love for him, he knew he wasnít the father thatÖ he wasnít Richard Parker. That crack in Peterís world, that missing piece in his life was a fun thing to start off.
You mentioned the romance part of it earlier. Did you feel any pressure to deliver one of those iconic Spider-Man kisses?
It's hard to compete with that first Spider-Man. So, that wasn't my primary objective. I wanted to make a movieÖlike, to me it's about the chemistry and that's the thing you rely on. Those things can happen, but I didn't want to use that language. I wanted to create a language of my own.
There's a rumored running time. Has a final cut been timed?
Yeah, it's right around two hours. There's something on some website that said an hour and thirty minutes or something like that. No. Every once in a while it's really interesting because you hear people talk about information that gets out, and sometimes things come up and you're like, 'What are you talking about?' That's one of those things because I just don't know where that came from.
Outside of the main story, how much of a global view do we get of Spider-Man's universe?
We spent a lot of time with the writers, coming up with a backstory and a world that could hold different stories if the series is ongoing. We plucked things from differentÖwe took some stuff from 'The Ultimates.' We took some stuff from the 'Amazing Spider-Mans,' and the we invented certain other things to make it interesting. Like, Gwen Stacy, for example, I looked more towards 'The Amazing Spider-Man' because I just like the texture of her character in those than in 'The Ultimates.' I thought it was more appropriate for Peter. Whereas the body language in a lot of the Bagley art I thought made really great reference points in terms of creating the physical identity of Spider-Man was 'The Ultimates.'
Is there any scripting going on for the second film?
I've been so deeply immersed in this one that I haven't really even touched anything. There's talk, or whatever, but it's all just talk. A lot of that just has to do with schedules. I literally have been spending eighteen hours a day editing the movie. So, I can't give you any interesting scoop there. I wish I could.
Do you have any thoughts on this cinema talk about 48 frames per second, the cinema of the future?
I didn't see that. I haven't seen that. I have absolute trust in Peter Jackson. I think he's an incredible filmmaker, and I feel like it's really important to support experiments. It's really important to try new and different things and I really want to honor the theatrical experience and make that better. We have to be patient and see what happens. It's a very, very hard thing, to make movies, and especially in an environment now where everyone wants to have an opinion on something that it's hard on any level, the will or support or curiosity about things. So, I'd just be curious to see it. I haven't seen it and so I can't really comment on it. Anything to help make big movies interesting and fun to watch I'm all for trying new things.
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