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The Oscar winner of this year's animation combines artistic styles as diverse as the multiple universes of his heroes and villains.
Spider-Man: Towards the Spider-Verse is the well-deserved winner of the Academy Award for Best Animated Film of 2019, surpbading even the much-loved Incredibles 2. and Isle of Dogs . What makes it really special is that it is a movie that could only exist as an animation, because its characters bring aesthetics (and physics) to their universe. in a world that is very similar to ours.
level, this is motivated by the introduction of characters from literally different universes. During the movie, "our" world, the Spider-Man, the world's protégé, meets a flawed and gritty Peter B Parker, Gwen Stacy's Spider-Woman, black and white Spider-Man, Peni Parker and Peter Porker, the Looney Tunes-esque.
Each is represented in a visual style in harmony with its form and the aesthetics of the comics from which it is drawn (yes, even Peter Porker was once a real comic book). Each is modeled, animated, illuminated and rendered in a completely different way – and the film still manages to maintain visual coherence despite these competing aesthetics, which is to his credit.
The difference in appearance between different people-spiders also has practical utility, as one of the movie's artistic directors, Dave Bleich, pointed out at a conference at THU last year. With up to six spider characters at a time, as well as other characters, their different appearance allows you to always know where they are and what they do.
Meet the movie's production designer, Justin Thompson, last week – who had just won an Annie Award for his work on film – the multi-layered aesthetic goes beyond (and even before) the appearance of six Spideys. It also expresses Miles' progression from a boy to a hero, in connection with the themes of the transition to adulthood that permeate most of the original Spider-Man stories.
This story begins at home in Brooklyn, where Justin describes everything as so small.
"All the buildings are small and they have these warm tones: the house he lives in, the neighborhood he belongs to and the colors you see, he is very eclectic and there are many different textures everywhere. a celebration of life and the neighborhood from which it comes.This is a very believable scale. "
Once Miles was bitten by a spider with green / orange / neon blue reflections like the one designed by Cyberdog, things start to change. . He then meets – and fights – the green goblin and this is where the realistic presentation is replaced by something more representative of how the characters feel in particular situations.
"This is really his first introduction to the world of superheroes.," Says Justin. "Immediately, the scale got bigger, and I kept thinking," What would you say if you were a 13-year-old boy and you saw this larger-than-life scene unfold before you? "
" Because it's an animated film, it gave us even more license to show it from the point of view of the character, and I thought it would be cool to d & # 39; To have a 22 foot goblin and really bring home the idea that he is suddenly immersed in a larger world – and its magnitude suddenly became disheartening and overwhelming for him. The film keeps growing – but every time he goes home ( below ), we remember his small size and his real and eclectic Brooklyn home that he tries to protect. "
My full interview with Justin will be available soon, but here are some behind-the-scenes excerpts that give you an insight into the creative process behind Spider-Man: Towards the Spider-Verse – coup de send with that produced for the 2018 Adobe Max Lecture.
Spider-Man : Towards the Spider-Verse will be available in the UK in digital form on April 6 and on 4K Ultra HD, Blu-ray and DVD on April 22. digitally tomorrow (February 26) and on record March 19.
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