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Given the drum drum of iconoclastic directors Phil Lord and Chris Miller, it is easy to confuse a masterpiece such as Spider-Man: in the Spider-Verse as a kind of singular accomplishment for guys whose career has been defined by defying expectations and turning questionable ideas into critical and commercial gold.
But nothing proves better the fundamentally collaborative nature of the film than the collective magnanimity and creative intrepidity of directors Bob Persichetti, Peter Ramsey and Rodney Rothman. The trio worked alongside Lord and Miller – along with hundreds of other talented artists and technicians – to turn the delicate details of comic book pages into a dynamic and award-winning film that almost alone changed the how the audience Watch both superheroes and animated stories.
A few days before accepting the Oscar for Best Animated Film at the 91st Academy Awards, the trio sat down with SYFY WIRE during one day Into the Spider-Verse of the digital film (February 26) and the personal video (March 19) to discuss the film's first goals and its remarkable success.
In addition to talking about the influence and inspiration of Lord, who wrote the film's original screenplay before his departure with Miller Solo: A Star Wars Story Rothman Ramsey and Persichetti reflected on the collaboration and discovery that allowed them to make an animated film that neither they nor their prospective audience had ever seen. Given its enormous success, they also considered the possibility of consequences that could take even more risks by relying on the same foundation Spider-Verse unique.
When you embarked on this process, what had you ever seen before in a film of Spider-Man that you wanted to display in l & # 39; screen?
Rothman : This is a good question that no one had asked before.
Persichetti : The animation, first of all, means something that is not part of the VFX animation, but a whole world created specifically to tell the story. # 39; story of a character who would become Spider Man. This was a great creative advantage for all of us because we initially felt that because everything is animated, we can do something that seems almost strangely more real than the live version of the franchise. It was one of our first aspirations, to make sure that this is done so that Miles and his story feel as real as possible, because it was the most important thing. We then created neighborhoods and an entire city that really reflected Miles.
Ramsey : The approach to Spidey action is probably the first thing that comes to mind. But the other thing we had with our film was to sound that cartoon tone, this mixture of melodramatic and –
Rothman : Shakespearean.
Ramsey : When you read a good comic and there is a space in which you enter, I really hoped to get there. And I think we did it.
Rothman : One of the most interesting aspects of how these stories were told in comics or graphic form is that there are many homes, many fingerprints. There are many rules that are broken. Every artist who works on these things interprets the story for themselves. And I was really excited to be working on a Spider-Man story that could have its own visual imprint and its own tonal style. Push the comedy in a different direction, push the drama in a different direction, all that. The superhero movies have been very successful and are really good, but there is sometimes a tonal consistency between them, and I was so excited to be working on something that existed outside of that.
You joked in your thank you speeches that you were happy for Spider-Verse that Chris Miller and Phil Lord fired from Solo: A Star Wars Story . Since they started this at the very beginning and they came back later, when did you feel that you owned it? And how did Lord and Miller come back more faithfully to this question?
Persichetti : This story was based on a 160-page script written by Phil. and for about a year and a few changes, we had worked to make it a run length that we could actually achieve. And in doing that, we learned a lot.
And these guys were busy. And so, when they came back into the fold, there were rehearsals, as if we had to prove what we learned while [they] was gone. So, under strange circumstances, we had to review all that and really prove the choices we made – the things we removed from the original version were valid choices and the reason they were valid. And if one of your producers writes your first draft, he will say, "Why is not it here? Why is not it here?"
So we had to retread a lot of stuff. But by doing that, it has become a very good creative exercise. It may have been difficult on some days, but in the end, it was indicative of the choices we made and also allowed us to show what we could slip into the film in a different way, taking up some of the ideas and elements thematic of the first film. draft that was somehow put aside to try to tell a story about Miles without stain Once we had this clear story about Miles, we can find out how to arrange these things. So we were very happy for that, but it was not easy. This movie was just a difficult film to do. We tried to do a lot of crazy things in a short time.
Rothman : And when I said that, I spoke to them directly, and I said, not that they I do not know because we talk about it when we do not We're not in front of microphones too, but I said you came back to improve the film and we're on stage winning a really cool price for what we all did. together. And also as a friend, I've known them for a long time, I said it as well, everyone lives things in their careers and we had the chance to get them back. They are our partners. They added a lot to the finished product and we have this interview four days before we go to the Oscars to see what happens. But there were a lot of people on the film who worked together and realized something that I think went beyond what everyone could have done on their own.
Ramsey : Just to jump on what are these two guys saying, I think before their return, we were working to preserve what we liked from Phil's original version and to make it work. And I think that after their return and exercise where everyone was on the same wave length, we were really collaborating. That's what I felt. After that, we had the impression of being a real team of people who were all heading towards the same goal, instead of letting some of us hope to keep the good things. He felt more coherent afterwards. And we were fighting for our survival.
Persichetti : We were on many different pages in the same book, then we all sort of had the same page, or at least the same chapter. 19659002] The main theme of many interviews of your collaborators is that not everyone has really discovered what you had when the film was shot. What is your foundation for the years to come Spider-Verse and how much will you start from scratch since so many elements of this film were created so transgressively?
Persichetti : I think this film has created an openness to any strong storytelling idea for this franchise, but make sure that they are as authentic and real as possible. Because at the end of the day, all the images and visuals discovered by our team would have been deaf to the ear and to blind eyes if Miles' story had not been narrated . The story of Miles has existed since day one and, if there is a fascinating story, she can go anywhere. And it's just that – what are the bones? And you can add all kinds of things.
Rothman : Everyone feels excited and the hope is to continue to push and surprise others. And you also have the gift of a very good young character where there is more to tell, there is a family around this character, there is a lot to do there. And in a great graphic novel or a large series of comics, you have a lot of different artists and characters who express themselves to tell a fluid narrative, and I think that's a good model for what it is and where it could go and how
Persichetti : In trying to think of the future, to another film, it does not matter, the relationship we have all built during this film looked like a very special special moment, in the sense that we all got together to pick up the whole movie and there was such a real collaboration. We had the equipment, then the team to do it, and then the team that was so pbadionate and willing to give everything to try to give something different and feel better. All of these things came together in a wonderful moment for us. So the idea of trying to recreate it is such a daunting task that right now, it's like riding on it for at least another four days (laughs).
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