1. Hello, my name is Sam Raimi.Copy !req
2. I'm the director of Spider-Man,
which you paid too much money to see.Copy !req
3. With me is my good friend and
co-producer, Grant Curtis.Copy !req
4. And I'm Laura Ziskin, and I'm here at
the Sony Studios with Kirsten Dunst.Copy !req
5. We're gonna talk about Spider-Man.
We're at Sony, where we spent...Copy !req
6. most of last year
making the Spider-Man movie.Copy !req
7. Kyle Cooper, who did the titles to the
movie, created this logo for Marvel...Copy !req
8. which has gotten an ovation
in the theaters.Copy !req
9. The first time we showed the movie,
people clapped for that Marvel logo.Copy !req
10. We're recording this from ADR 2
on the Columbia Pictures lot...Copy !req
11. which is next to the scoring stage.
It's a black box.Copy !req
12. Do a lot of voice work for pictures.Copy !req
13. Grant, what are your thoughts
about this opening title sequence?Copy !req
14. Beautiful title sequence designed by
Kyle Cooper and Imaginary Forces.Copy !req
15. Very well done.Copy !req
16. He worked tirelessly with a great team
of artists creating this. It took months.Copy !req
17. Return trips to the editing room, back
into his world, and back to editing room.Copy !req
18. A lot of artists and technicians spent
a lot of time crafting this sequence.Copy !req
19. We didn't want to show
Spider-Man early in the movie...Copy !req
20. because it was his origin story.Copy !req
21. But we wanted to give
the audience a taste of him.Copy !req
22. So we tried to design with Kyle
and his team some sequence...Copy !req
23. that would give the audience...Copy !req
24. the flavor of the character
without actually...Copy !req
25. spoiling the big reveal
of Spider-Man before it was due.Copy !req
26. I think this is one of the best
title sequences...Copy !req
27. I've ever seen in my entire life,
of any film.Copy !req
28. When I first came on the movie,
Sam said the way he likes to work...Copy !req
29. is to have two editors.
They each work individually.Copy !req
30. And then he sees both of their cuts and
both of their materials, scene for scene.Copy !req
31. And then at the end
of the first cutting process...Copy !req
32. he'll screen the two movies
back to back, the two cuts.Copy !req
33. Then, in his words, he then
likes to "mush them together."Copy !req
34. I can tell.Copy !req
35. I think it's such a smart idea to have
those two different perspectives.Copy !req
36. It's a great honor to have a chance
to make Spider-Man...Copy !req
37. and work briefly with Stan Lee.
He's one of my childhood heroes.Copy !req
38. He created some of the greatest
fiction characters...Copy !req
39. in American comic book history.Copy !req
40. That was my favorite day on the set,
when he came by. That was bizarre.Copy !req
41. - What was that like?
- It was just...Copy !req
42. You guys were in watching dailies,
and I waited outside for Stan.Copy !req
43. He showed up while you guys
were in dailies.Copy !req
44. The whole crew had broken for lunch.Copy !req
45. And I just showed Stan around
the Times Square set out in Downey.Copy !req
46. And it was very bizarre introducing
the creator of Spider-Man...Copy !req
47. to the world of Spider-Man
on the film set.Copy !req
48. He just walked around
with a big smile on his face.Copy !req
49. He was thoroughly pleased.Copy !req
50. - Was it what he had hoped it would be?
- It was, and more.Copy !req
51. I mean, he could tell that...Copy !req
52. everybody was putting 100 percent
effort into making his vision...Copy !req
53. and your vision come through
on screen.Copy !req
54. He knew it was being
well taken care of.Copy !req
55. That's me.Copy !req
56. Tell him to stop! Please!Copy !req
57. Stop!Copy !req
58. Hey! Stop the bus!Copy !req
59. Stop! He's been chasing us
since Woodhaven Boulevard.Copy !req
60. This was shot in Queens, New York.Copy !req
61. On the right is my brother
and his family...Copy !req
62. - ... walking, as cameos.
- That was Ivan? Oh, my gosh.Copy !req
63. And little Max and Sophie and Kyle.Copy !req
64. One of the very first storyboards
that I saw in the movie...Copy !req
65. was the design of the scene
of Peter chasing the bus.Copy !req
66. And of the sort of, shall we say,
portly young man eating the doughnut.Copy !req
67. It was really fun to see it
come to life because it's exactly...Copy !req
68. as he storyboarded it, brought to life
by these lovely performances...Copy !req
69. and the music and everything.
It's fun.Copy !req
70. I came into the movie
in July of...Copy !req
71. What year are we in? 2000.Copy !req
72. And Sony had already made
a decision to make the film.Copy !req
73. They were in the early stages
of preproduction.Copy !req
74. Nobody had been...
The movie hadn't been cast yet...Copy !req
75. and the script was in a state of flux.
That was when I came on to it.Copy !req
76. Avi Arad, the executive producer,
has been with it for many years.Copy !req
77. And it's sort of folklore now
about how long it's taken...Copy !req
78. to bring Spider-Man to the screen.
I guess 18 years or so...Copy !req
79. from when they first made
a decision to try to make the movie.Copy !req
80. And we have all sort of only
half-jokingly said...Copy !req
81. it was a good thing
it took this long to get made...Copy !req
82. because the technology
didn't really exist...Copy !req
83. to have Spider-Man do the things
that the fans would expect him to do.Copy !req
84. It was exciting to shoot this
at Columbia University in New York.Copy !req
85. The light kept changing
when we were shooting.Copy !req
86. Caused tremendous amounts
of problems for Don Burgess...Copy !req
87. and the gaffers, grips.Copy !req
88. Willem did a wonderful job
in this picture.Copy !req
89. He is both warm and intelligent,
sweet in this scene.Copy !req
90. That was necessary
because we really needed Peter...Copy !req
91. to look up to the character
of Norman Osborn.Copy !req
92. In some ways, Norman was supposed to
be Pete's surrogate father in the piece.Copy !req
93. So Willem Dafoe had to have
those qualities.Copy !req
94. At the same time, he had to be
incredibly physically adept...Copy !req
95. to be able to ride
that goblin glider...Copy !req
96. in that incredible suit.Copy !req
97. It was like riding a mechanical bull
from those bars in the Southwest.Copy !req
98. Took an incredible amount
of muscle ability and coordination.Copy !req
99. The third thing we needed for that actor
to pull this role off...Copy !req
100. was, he had to have a great deal
of menace to threaten Spider-Man.Copy !req
101. Willem pulled all three
of those qualities together...Copy !req
102. and delivered quite well
in his performance.Copy !req
103. This scene inside was,
of course, shot...Copy !req
104. months and months
before in a location in Los Angeles.Copy !req
105. - Right near USC, right?
- Right. In the Natural History Museum.Copy !req
106. This was during night shooting. I was
so tired because we worked all night.Copy !req
107. It was split days. This was probably at 2
in the morning when we were doing this.Copy !req
108. It was because of the museum...Copy !req
109. and when we could have control of
certain parts of it. We had to be at night.Copy !req
110. And these were the days
when we had the spider guy.Copy !req
111. - Oh, right.
- Steve Kutcher, who was...Copy !req
112. - The spider wrangler.
- ... wrangling the spiders.Copy !req
113. Let's go.Copy !req
114. Hunts using reflexes with
nerve-conduction velocity so fast...Copy !req
115. I had a great team
of second unit directors...Copy !req
116. who put together a lot
of the pieces of these spiders for me.Copy !req
117. Doug Lefter did an excellent job. He was
one of my chief storyboard artists...Copy !req
118. and great second unit directors,
and so was Jeff Lynch.Copy !req
119. He shot some of those spiders.Copy !req
120. And then we also had John Dykstra...Copy !req
121. who did additional second unit
photography as a director.Copy !req
122. Dick Buckley did an excellent
job shooting on this picture.Copy !req
123. Delivered some great footage
for that montage...Copy !req
124. of people speaking
about Spider-Man...Copy !req
125. in the second act. He shot a lot
of that stuff. Most of that stuff.Copy !req
126. Sam was very fixed on what
the spider would look like...Copy !req
127. that would bite Peter.Copy !req
128. And we were shooting in the winter,
and spiders are summer critters.Copy !req
129. So the spider wrangler had to go to New
Zealand and Australia to get spiders.Copy !req
130. He came in the first day to see us
with this box full of spiders.Copy !req
131. And we all sat there slightly repulsed
and slightly mesmerized...Copy !req
132. as he played with his spiders.Copy !req
133. Neil did a beautiful job.Copy !req
134. And his team created things
like this web.Copy !req
135. Did a beautiful job out of monofilament
and, I think, a hot glue gun.Copy !req
136. He worked closely with our special
effects house and John Frazier...Copy !req
137. making all those webs.Copy !req
138. I think she's so charming,
along with Tobey, in this scene.Copy !req
139. They really give a lot of themselves.
He's so afraid to ask.Copy !req
140. He knows it's his chance,
and he can't let it pass him by.Copy !req
141. Could I take your picture?
I need one with a student in it.Copy !req
142. - Sure. Yeah.
- Great.Copy !req
143. Where do you want me? Over here?Copy !req
144. Yeah, that's great.Copy !req
145. Don't make me look ugly.Copy !req
146. That's impossible.Copy !req
147. Perfect.Copy !req
148. - Is that good?
- Great.Copy !req
149. That's great.Copy !req
150. I didn't really know a ton
about Mary Jane.Copy !req
151. I had seen more Gwen Stacy,
for some odd reason.Copy !req
152. When I first met Sam, I was just
flipping through the comics.Copy !req
153. I saw her and I was like,
"All right, I'm blond. Makes sense."Copy !req
154. I didn't know a lot about
Mary Jane and Peter's relationship.Copy !req
155. But of course I did lots of research
after I got the role.Copy !req
156. A lot of that is the real spider. A black
widow with a "dress" put over it.Copy !req
157. A little shell snapped over the abdomen
of the spider...Copy !req
158. so we could paint the shell
without harming the actual spider.Copy !req
159. But sometimes that spider is created
with the help of John Dykstra...Copy !req
160. and his incredible CGI team
of artists and technicians.Copy !req
161. And I thought they did a great job
matching the real spider.Copy !req
162. General Slocum,
good to see you again.Copy !req
163. Mr. Balkan, Mr. Fargas.Copy !req
164. - Norman.
- Mr. Osborn.Copy !req
165. Always a pleasure to have
our board of directors visit.Copy !req
166. I want to see the progress report
on human performance enhancers.Copy !req
167. Neil Spisak did a lot of research
on putting together this lab.Copy !req
168. What his research told him was
these projects come and go...Copy !req
169. so quickly that everything
was gonna be on wheels.Copy !req
170. Nothing permanent. Everything
Jerry-rigged and brought in on carts...Copy !req
171. and rolling platforms.Copy !req
172. I thought that was so unlike what I had
seen in the movies, and so dead on.Copy !req
173. Our entire staff certifies
the product...Copy !req
174. - ... ready for human testing.
- Dr. Stromm?Copy !req
175. We need to take the whole line
back to formula.Copy !req
176. - Back to formula?
- Dr. Osborn.Copy !req
177. I'll be frank with you.Copy !req
178. I never supported your program. We
have my predecessor to thank for that.Copy !req
179. The general has approved
Quest Aerospace...Copy !req
180. to build a prototype
of their exoskeleton design.Copy !req
181. - They test in two weeks.
- And if your performance enhancers...Copy !req
182. have not had a successful
human trial by that date...Copy !req
183. I'm gonna pull your funding.
I'm going to give it to them.Copy !req
184. Gentlemen. Ladies.Copy !req
185. And the Lord said, "Let there be light."
And voile! There is light.Copy !req
186. I love Cliff Robertson.
He's an old-school gentleman.Copy !req
187. Great actor, and he's got
a really good soul, that fellow.Copy !req
188. He really brought a lot of life
to a part...Copy !req
189. that was just a very simple role.Copy !req
190. He infused it with a great deal
of warmth and love...Copy !req
191. and that's what it's all about.Copy !req
192. He really made me miss him
when he was gone in the story.Copy !req
193. Well, let's look in the paper and see.Copy !req
194. There are the want ads.
What do we got here?Copy !req
195. Computer...Copy !req
196. Computer salesman, computer
engineer, computer analyst.Copy !req
197. My Lord, even the computers
need analysts these days.Copy !req
198. I'm 68. I'm too old for computers,
and besides, I...Copy !req
199. This moment when May says to him...
Comforts him.Copy !req
200. He realizes in the performance
that she's right here.Copy !req
201. Listen. Watch him listen to her.Copy !req
202. We've been down-and-out before.
But somehow, we survive.Copy !req
203. Hi, sweetie. You're just...Copy !req
204. He really is in the moment. He takes in
what the other actors say...Copy !req
205. and reacts to it in a realistic way.Copy !req
206. Rosemary gives him great stuff
to act off of. She was great.Copy !req
207. - Did you get some pictures, Peter?
- I gotta crash. Everything's fine.Copy !req
208. What's that all about?Copy !req
209. We like this scene.Copy !req
210. That's the computerized body
on Tobey.Copy !req
211. - Don't give away the secrets.
- Same with the buff one. Just joking.Copy !req
212. We did have the body double
for Tobey when he was skinny.Copy !req
213. - Sam will get mad at me for telling this.
- Oh, well.Copy !req
214. He didn't think the guy
was skinny enough.Copy !req
215. - He said, "I want somebody skinnier."
- Then his head would look huge.Copy !req
216. Our editor,
Bob Murawski did a great job...Copy !req
217. putting this
dream sequence together.Copy !req
218. We really didn't have the money left to
do what we wanted to do, so it was cut.Copy !req
219. But Bob scrapped together pieces...Copy !req
220. from titles, stock footage...Copy !req
221. that was used in Darkman,
an old picture I worked on with Bob...Copy !req
222. and some new graphics and even
a shot from an old Italian horror picture.Copy !req
223. - Which shot was that?
- The eyeball with the spider on it.Copy !req
224. I don't know if it's a Lucio Fulci
picture, or some other film.Copy !req
225. But that's where that's from.Copy !req
226. Let me reschedule, with a proper
medical staff and a volunteer.Copy !req
227. - Just give me two weeks.
- Two weeks?Copy !req
228. In two weeks we'll have lost
the contract to Quest...Copy !req
229. There's so much going on with
John Frazier's mechanical effects.Copy !req
230. All the precision timing he's got going
with the computers...Copy !req
231. and this table bed
and the doors shutting.Copy !req
232. It's really a beautiful work of art he put
together to make all this look so great.Copy !req
233. Oh, that's cold.Copy !req
234. We really wanted to get
this green gas, but...Copy !req
235. Every time we did a test with the green
smoke, it was terribly toxic.Copy !req
236. Every combination we used
with mechanical effects.Copy !req
237. Finally, at the last minute,
we had to just use the white...Copy !req
238. I think, liquid nitrogen...Copy !req
239. and then colorize it. Colorize it
as a postproduction effect.Copy !req
240. Norman!Copy !req
241. Norman!Copy !req
242. Oh, my God.Copy !req
243. Oh, my God.Copy !req
244. Norman?Copy !req
245. That was a hard surface to light
because it has so many angles of glass.Copy !req
246. Kept seeing a lot of reflections.Copy !req
247. - This scene makes everybody jump.
- Yes.Copy !req
248. - It's scary.
- It is scary.Copy !req
249. That looks so good.Copy !req
250. Great stunt pulled off by
Jeff Habberstad and his guys...Copy !req
251. going through that window.Copy !req
252. This was really fun.
This was something we tested...Copy !req
253. early on with this giant pair
of glasses in front of the camera. Yeah.Copy !req
254. Basically Tobey had a large pair
of glasses that he would hold up.Copy !req
255. And then the cameraman would
rack focus and go back, blurring it...Copy !req
256. as the lenses came into frame
to pull off the illusion of out of focus.Copy !req
257. His eyes being out of focus.Copy !req
258. Now something you maybe don't notice,
but look really closely at his wallpaper.Copy !req
259. Can you tell what the design is on the
wallpaper? It's little spider webs. Yeah.Copy !req
260. I'm fine.Copy !req
261. - You can't really tell. But it's there.
- You can't really tell.Copy !req
262. Neil Spisak,
who designed the production...Copy !req
263. it's his little secret.Copy !req
264. This was all done on a set. The entire
house on the Columbia Pictures lot.Copy !req
265. This bedroom.Copy !req
266. Okay.Copy !req
267. Jeff designed that for us.
Our stunt coordinator.Copy !req
268. The distance between the rail and the
wall so Tobey could learn that stunt...Copy !req
269. of running along the wall.Copy !req
270. Neil did a great job with their house.Copy !req
271. Every time I see this I think I'm
walking in my grandparents' house.Copy !req
272. Neil and his art director
really studied the homes...Copy !req
273. in Queens
where this exterior was shot.Copy !req
274. And really patterned it precisely
after the interior decors...Copy !req
275. and the ad-on front porch made
into an entry hall, all those details.Copy !req
276. The cracking plaster...Copy !req
277. The mix of wallpaper and paint...Copy !req
278. from different eras
where the front was added on.Copy !req
279. Hi, M.J.Copy !req
280. Hey, M.J.Copy !req
281. I don't know if you realize this,
but we've been neighbors...Copy !req
282. Our prop guy was driving this bus.Copy !req
283. Yeah. Martin.Copy !req
284. He's a brilliant prop guy, but...Copy !req
285. Let's just leave it at that.
I never heard such grinding of gears.Copy !req
286. This was actually originally planned
to be a more elaborate scene...Copy !req
287. where he more than just...Copy !req
288. Than sticking to the banner.Copy !req
289. He was then gonna leap
out of the way of a truck.Copy !req
290. But we ended up cutting it
both for budgetary and time purposes.Copy !req
291. - It's better subtle, though.
- It worked.Copy !req
292. It would've been too much
with him jumping the bus too.Copy !req
293. Osborn's mansion was also designed
and shot...Copy !req
294. here on the Columbia Pictures lot
in Culver City.Copy !req
295. This interior.Copy !req
296. Danny Elf man saw this place
and said, "I want to live there."Copy !req
297. I thought, "That's the villain's home.
You don't wanna live there."Copy !req
298. He loved the design
of this particular room.Copy !req
299. In this room you'll see a wide variety
of masks Karen O'Hara...Copy !req
300. our set decorator,
went to great pains to get.Copy !req
301. Some are quite valuable,
and they're all quite beautiful.Copy !req
302. They did a really great job
with the background stuff...Copy !req
303. telling the story of his love
of masks and tribal masks.Copy !req
304. That's Bill Paxton's dad there.
I love that guy.Copy !req
305. - John Paxton.
- He's great. He's in A Simple Plan too.Copy !req
306. He argues with Bill about feed,
for the day of the month.Copy !req
307. That's right. He's really funny
in that picture.Copy !req
308. Not CGI, by the way. That little
catch thing. That's all Tobey.Copy !req
309. - That's real.
- Which is pretty impressive.Copy !req
310. And they put sticky glue stuff
to stick his hand to the tray too.Copy !req
311. - Many takes of those items falling.
- Yeah, yeah, there was.Copy !req
312. This was actually a scene that...Copy !req
313. We had the scene and what
subsequently transpires...Copy !req
314. but the studio had asked us
to actually cut the tray part.Copy !req
315. Because we'd originally had two days
scheduled for the scene.Copy !req
316. And then in the, you know,
the vicissitudes of production...Copy !req
317. we had to cut some time.
They wanted us to cut a day.Copy !req
318. So we made it that we would
shoot it in one day.Copy !req
319. That part was gonna have to go,
but Sam and I really wanted it.Copy !req
320. So we said, "Well, we're gonna
do it anyway."Copy !req
321. So we did shoot this scene
in one extremely long day.Copy !req
322. Remember how long?
It was, like, a 16-hour day.Copy !req
323. - But thank God we did it.
- Because people love that.Copy !req
324. It's used as a clip whenever
we do publicity. People love that scene.Copy !req
325. It's so cute because he's learning
his powers and he saves her.Copy !req
326. Parker?Copy !req
327. This school was also built by Neil on
a stage here at Columbia. I love this set.Copy !req
328. This 1952 school hall.Copy !req
329. That sequence of the spidey-sense
was something...Copy !req
330. we began designing
actually kind of late.Copy !req
331. We were in production already. The
shot was one of the last things finished.Copy !req
332. It wasn't the absolute last.
The absolute last thing finished...Copy !req
333. was the very last shot of the movie.Copy !req
334. Which took 18 months from the time
we started talking about it...Copy !req
335. It was the last thing that came in.
But this was also... Came in quite late.Copy !req
336. John composited all these pieces.
Shot the fist. Shot the background.Copy !req
337. He really did an excellent job
putting these effects together for us.Copy !req
338. I loved your idea there of showing
Peter's POV while in mid-backstand.Copy !req
339. - Looking up at M.J. is a great shot.
- You know who... That was...Copy !req
340. Don Burgess' idea:
"Let's pick up a piece...Copy !req
341. of Peter's point of view."
I thought that was a great idea.Copy !req
342. Joe, who plays Flash,
he was an unconventional choice...Copy !req
343. because he didn't look like
the Flash in the comic book.Copy !req
344. But we just liked him.
Thought he had a great quality.Copy !req
345. Watching Tobey think on screen.Copy !req
346. He's got so much going on.Copy !req
347. I love, in that sequence, how he's
coming to realize his powers...Copy !req
348. but he doesn't quite know
what's happening.Copy !req
349. But he's kind of secretly thrilled.Copy !req
350. Once he finally delivers
that knockout punch...Copy !req
351. he's stunned, and he transitions
into, like, "Oh, yeah."Copy !req
352. And then this fear starts
to creep over him.Copy !req
353. This change is happening to him,
and that sort of overwhelms him...Copy !req
354. and the confusion of that drives him
out. He plays it all silently.Copy !req
355. Yeah, he's great.Copy !req
356. I want more wall-climbing
in the sequel.Copy !req
357. - I know. I love this.
- Climbing is the best part.Copy !req
358. I get excited every time.Copy !req
359. Like when Uncle Ben is killed, and he's
hopping and climbing. It's so exciting.Copy !req
360. It's hot.Copy !req
361. I have a funny story, actually...Copy !req
362. about the wall-climbing
that comes later. I'll tell it later.Copy !req
363. Tobey was on a treadmill
to do those few runs.Copy !req
364. This was a really complicated business,
to get this sequence.Copy !req
365. Isn't it sad? It's so much work and
nobody realizes it, for split seconds.Copy !req
366. - It's better they don't know.
- But they'll appreciate it on the DVD.Copy !req
367. Go, web!Copy !req
368. - I love this. This is hilarious.
- This is really cute.Copy !req
369. Up, up and away, web.Copy !req
370. This is Tobey improvising,
with much encouragement from Sam.Copy !req
371. Tobey can be so funny.
He's really funny.Copy !req
372. He's really a great Peter Parker.
He's really amazing.Copy !req
373. Amazing.Copy !req
374. This was hard because it was
the first place where we see the webs.Copy !req
375. And among the many challenges
of the movie...Copy !req
376. certainly making something
that looks like a web...Copy !req
377. that a human-sized Spider-Man
could swing from was a big challenge.Copy !req
378. And a combination of, obviously,
practical webs and CG.Copy !req
379. - This is really funny.
- I know.Copy !req
380. I love that the next shot's like,
running home. It's like such a little boy.Copy !req
381. Like, "I'm hurt. I'm hurting.
I'm running home."Copy !req
382. We painted an image on the wall...Copy !req
383. and we'd had various ideas
for what that should be.Copy !req
384. Then Neil came up with this notion...Copy !req
385. that it's for a talk radio...Copy !req
386. Drive-time radio show, and it's
the spider on the windshield.Copy !req
387. - As Kirsten pointed out.
- Well, no, it just came to me.Copy !req
388. I was like, "Oh, my God,
it's brilliant."Copy !req
389. - Stop yelling.
- Stop it!Copy !req
390. Little known fact:Copy !req
391. The woman who plays
Mary Jane's mother is...Copy !req
392. my co-producer
Ian Bryce's wife.Copy !req
393. She is also an actress
in her own right.Copy !req
394. She loved wearing those leopard... She
got the sleaziest outfits. I loved it.Copy !req
395. This scene was shot at 6 a.m.,
the night before I turned 19.Copy !req
396. - On Kirsten's birthday.
- It was on my birthday.Copy !req
397. We shot in the morning,
which was your birthday.Copy !req
398. - And we celebrated.
- I got a cake. But it tasted like...Copy !req
399. It was cool.
It was like a breakfast cake.Copy !req
400. Like strawberry jam and bagel.
I don't know. It was good.Copy !req
401. - We were fighting the sun.
- Yes.Copy !req
402. And birds. Listen closely,
you can hear the birds.Copy !req
403. - Just on Tobey, though.
- The sunrise birds.Copy !req
404. I got to sync mine. You can
see my long underwear in this shot.Copy !req
405. And you were wearing
your own coat.Copy !req
406. We were gonna shoot the scene
without the coat...Copy !req
407. but it was freezing. And that was
your coat that we all loved.Copy !req
408. I think this scene was shot on
Kirsten's 18th birthday. Is that right?Copy !req
409. - I think so.
- I remember there was a big cake.Copy !req
410. At the end of the night.
Our last night in New York.Copy !req
411. Very cold.Copy !req
412. It's true. The whole crew had hoods on,
and scarves, gloves and hats, and...Copy !req
413. act...Copy !req
414. on stage.Copy !req
415. Really?Copy !req
416. She does a beautiful job here opening
up a little window of her soul to Peter.Copy !req
417. Maybe the first time M.J.'s ever
really done that to somebody.Copy !req
418. Peter, that was first grade.Copy !req
419. Well...Copy !req
420. even SO.Copy !req
421. Sometimes...Copy !req
422. you know people.Copy !req
423. I remember with a lot of the scenes...Copy !req
424. In this case...Copy !req
425. Tobey and I had to keep cutting
down the dialogue, cutting it down...Copy !req
426. to just find the minimum
that we could say.Copy !req
427. Although David Koepp did a great job
writing it.Copy !req
428. And then Alvin Sargent did
a beautiful job polishing it.Copy !req
429. When we got there, we just realized...Copy !req
430. less had to be said
to make it work.Copy !req
431. That garage back there became
your guys' office between takes.Copy !req
432. The next-door garage,
the door would come up...Copy !req
433. and you guys would work out
of the office. Or out of the garage.Copy !req
434. I hunch.Copy !req
435. We were racing against the sun
this night, I remember.Copy !req
436. Mostly because of that last-minute
edit session...Copy !req
437. - ... before the performance.
- Yeah.Copy !req
438. - Okay, Grant, what kind of car is that?
- It's a Dodge Viper.Copy !req
439. Is it really? Not a Viper. I thought
it was a lower-end version.Copy !req
440. No, it's not a Viper. It's a Dodge...
Great.Copy !req
441. Yeah, thank you.Copy !req
442. What is that thing?Copy !req
443. It's pretty. Our transportation
coordinator, Randy Peters...Copy !req
444. let me drive it home one night
when we had one in Los Angeles.Copy !req
445. I think it's a Dodge Prowler.Copy !req
446. - Is that it?
- I think you're right.Copy !req
447. It's a brilliant idea of Stan Lee's
originally to have Peter...Copy !req
448. enter a wrestling match where
those colorful costumes are a must...Copy !req
449. to develop the Spider-Man costume.Copy !req
450. That was a smart way to have him
originally come up with an outfit.Copy !req
451. This was one of the Marvel artists who
we got to do some of the sketches...Copy !req
452. so that the design of the costume
would look like...Copy !req
453. the comic book's
for the comic book aficionados.Copy !req
454. Jeff Lynch shot a lot of the drawing
of the costume for me.Copy !req
455. And that artist did a lot of the actual
illustration, like you suggested.Copy !req
456. Remember, Kirsten, we had this scene
of you dancing in the window.Copy !req
457. That was too provocative.Copy !req
458. Initially this took place
over a number of days.Copy !req
459. So at one point in the scene...Copy !req
460. Peter looks out his window
and Mary Jane's dancing.Copy !req
461. I was first dancing in my underwear.Copy !req
462. - Then in a leopard thong. Not really.
- We covered you up.Copy !req
463. Then I wore pajama pants
because it was a little too much.Copy !req
464. - Now I see the spider webs, kind of.
- See the spider webs?Copy !req
465. - I love this, when he's lying.
- This is hilarious.Copy !req
466. "Okay, thanks." Like such a little boy.
So cute.Copy !req
467. - Tobey ad-libbed.
- Cute.Copy !req
468. That came out of the scene with her.Copy !req
469. - I love that. I love the webs.
- Yeah. That looks cool.Copy !req
470. Meanwhile...Copy !req
471. Something's bothering him. Maybe
he's too embarrassed to tell me.Copy !req
472. Maybe I'm too embarrassed
to ask him.Copy !req
473. I just don't know anymore.Copy !req
474. I'm going to the library.
See you later.Copy !req
475. - Wait, Pete. I'll drive you there, buddy.
- I'll take the train.Copy !req
476. No, I need the exercise.
Go on. Go, go.Copy !req
477. He needs the exercise.
That's a funny line.Copy !req
478. There's the car, Sam.Copy !req
479. It's an 88 Oldsmobile Delta.
1973?Copy !req
480. It's a, yeah, 1973 Delta 88 Oldsmobile.Copy !req
481. Kids, it's currently for sale.Copy !req
482. If you'd like to own a piece of
the Spider-Man movie, just contact me.Copy !req
483. There's a little problem
with the radiator.Copy !req
484. But otherwise I would recommend it
to compliment...Copy !req
485. any connoisseur's
motion-picture-prop movie collection.Copy !req
486. No collection is complete without it.Copy !req
487. No, you're not supposed
to run away, but...Copy !req
488. Pete, you're changing. I went through
exactly the same thing at your age.Copy !req
489. No, not exactly.Copy !req
490. Peter, these are the years
when a man changes...Copy !req
491. into the man he's gonna become
the rest of his life.Copy !req
492. Just be careful who you change into.Copy !req
493. This guy Flash Thompson,
he probably deserved what happened.Copy !req
494. Cliff made this scene work...Copy !req
495. beautifully. It's one of my favorite
scenes in the picture.Copy !req
496. Remember, with great power
comes great responsibility.Copy !req
497. Are you afraid I'll become a criminal?
Quit worrying about me, okay?Copy !req
498. Something's different.
I'll figure it out.Copy !req
499. I kept Cliff up till like 2 in morning the
previous night, recutting this scene.Copy !req
500. Trying to make the dialogue play,
rewriting it.Copy !req
501. He was exhausted
because it was a 6 a.m. call.Copy !req
502. So he had three and a half hours
of sleep.Copy !req
503. Yeah, he did a great job that night.Copy !req
504. I love that Danny played the theme here
too. It's such an interesting impulse.Copy !req
505. He had two themes going,
Peter's theme and Spider-Man's theme.Copy !req
506. And they would each derive from
the other. But I love that he played...Copy !req
507. that right there.Copy !req
508. This was pretty funny.Copy !req
509. That's Bone Saw. That's Randy Savage,
and he's, obviously, a wrestler.Copy !req
510. And when he came to audition for us,
I just fell in love with his voice.Copy !req
511. Like, amazing, that voice.Copy !req
512. Remember when Randy Savage
met with you for the first time on this?Copy !req
513. I can't remember our first meeting.Copy !req
514. You were asking him
what type of moves...Copy !req
515. he thought
would be good on-screen.Copy !req
516. I'll never forget, he grabbed
Ian Bryce, our producer...Copy !req
517. his head, shoved them between his
legs, demonstrated a pile driver on Ian.Copy !req
518. I thought he was gonna kill Ian.Copy !req
519. Ian's face was turning red,
and Randy just kept working him over.Copy !req
520. I felt so sorry for Ian.Copy !req
521. There's my buddy, Bruce Campbell.Copy !req
522. I love the fact that he would
do this for me. Be in this picture.Copy !req
523. I only wish I could've punished him
in some way.Copy !req
524. The audience enjoys Bruce's
performances in films relative to...Copy !req
525. the amount of punishment
he endures in the picture.Copy !req
526. - Remember that young lady's name?
- Octavia Spencer.Copy !req
527. The check-in lady.
Is that who you're asking?Copy !req
528. - Yeah, she did a great job.
- She was Francine Maisler's assistant.Copy !req
529. Sometimes. She comes in and
helps. She did a really good job for us.Copy !req
530. We had footage of those women
beating up that wrestler.Copy !req
531. Kicking him in the face and stomach
once he was down.Copy !req
532. But we just didn't have time
to incorporate everything in the picture.Copy !req
533. I love Bruce's Cadillac medallion
that they put on him.Copy !req
534. James Acheson gave him. Yes.Copy !req
535. If he can withstand just three minutes
in the cage with Bone Saw McGraw...Copy !req
536. the sum of $3000 will be paid to...Copy !req
537. - What's your name, kid?
- The Human Spider.Copy !req
538. That's it? That's the best you got?Copy !req
539. Bruce is so great.Copy !req
540. You probably won't admit to it,
but if you look closely...Copy !req
541. I think I remember who pushed
Spider-Man onto the platform that day.Copy !req
542. - I think that's Sam Raimi.
- Just the hand.Copy !req
543. I love shoving Spider-Man around.Copy !req
544. - No, he got my name wrong.
- Get out there, you moron.Copy !req
545. That was our PA, Rhys, who shoved
him out, but that was your hand.Copy !req
546. I think I remember who was throwing
the popcorn at Tobey here as well.Copy !req
547. - How dare you?
- Yeah, well...Copy !req
548. You're not as nice
as everybody says.Copy !req
549. Somebody's gotta tell
the truth someday.Copy !req
550. - It was a pleasure working with you.
- Yeah. Thank you, sir.Copy !req
551. Oh, my legs.Copy !req
552. Oh, God. I can't feel my legs.Copy !req
553. That's something...
That line came from a real story.Copy !req
554. Rob Taperd once was driving from
Detroit, and he had just...Copy !req
555. My partner, good friend...Copy !req
556. and he was going past
an automobile accident...Copy !req
557. and they were pulling some guy out,
and that was what he was screaming:Copy !req
558. "My legs! Oh, God,
I can't feel my legs."Copy !req
559. - As horrible as it was...
- How twisted.Copy !req
560. That's why it's in the picture.Copy !req
561. Really wanted to give Peter Parker
a taste of what was to come.Copy !req
562. This is some kind of mistake.
I didn't sign up for a cage match!Copy !req
563. Unlock the thing! Take the chain off!Copy !req
564. Mark Andrews, our storyboard artist,
contributed an incredible amount...Copy !req
565. to this whole fight scene. A lot
of the ideas in this scene are his...Copy !req
566. and it's guided by his brilliance
and his great storyboarding.Copy !req
567. - Remember Mark?
- Oh, yeah. Great guy. He's an animal.Copy !req
568. He could just crank those out.
He had such great ideas too.Copy !req
569. A lot of these fighting moves were
developed by Jeff Habberstad...Copy !req
570. and others by Chris, our stuntman.Copy !req
571. Chris Daniels did a lot of great work.
Great spidey-pose reference.Copy !req
572. He did a lot of homework.
He really knows his Spider-Man poses.Copy !req
573. Some of the ideas came
from watching those wrestling videos.Copy !req
574. Like beating him up with the chair.Copy !req
575. Randy had a lot of input on all this.Copy !req
576. Wasn't this one of the first sequences
we filmed...Copy !req
577. with the wrestling arena?Copy !req
578. Yes, it was. I remember they had a big
press conference...Copy !req
579. - ... and it took place in this arena.
- Yeah.Copy !req
580. Right, Ian scheduled it early.Copy !req
581. We had to film it to make way for the
balcony sequence in Times Square.Copy !req
582. It was filmed on the same stage.
We had to film here and get out.Copy !req
583. All of those guys in the crowd did
an incredible job, all the extras.Copy !req
584. They put so much energy
into the screaming and the jumping.Copy !req
585. I could tell they loved Spider-Man.
That's why they were there.Copy !req
586. We got a better performances...Copy !req
587. than usual
because they're such fans of the comic.Copy !req
588. Cash Oshman was the extras casting
director and he did a good job...Copy !req
589. of giving us a lot of great people.Copy !req
590. A hundred bucks?
The ad said $3000.Copy !req
591. I like Neil's set in this room
and the hallway, and the sound job.Copy !req
592. They work to tell the story that this is
some subterranean area of the arena.Copy !req
593. Which is a hard thing to communicate.Copy !req
594. The promoter is played
by Larry Joshua...Copy !req
595. one of my favorite character actors.Copy !req
596. This is such a pivotal scene, and so
much right out of the comic book...Copy !req
597. and something we felt
we had to really do in a way...Copy !req
598. - ... that fans would recognize it.
- Right.Copy !req
599. It's obviously the scene
upon which the whole story turns.Copy !req
600. He's got my money!Copy !req
601. Thanks.Copy !req
602. What the hell's the matter with you?
You let him go!Copy !req
603. Look at the rake to this ceiling.
That's what I was referring to...Copy !req
604. when I mentioned Neil designed this
to seem like...Copy !req
605. it was underneath the stadium.Copy !req
606. I love Tobey's face here.Copy !req
607. He's a sinner.
He's let pride and anger rule.Copy !req
608. You won't see that look
anywhere else in the picture.Copy !req
609. He's full of himself, feels his own
bitter justice has been served.Copy !req
610. The guy deserved it.Copy !req
611. It's a sin he'll end up paying for
the rest of his life.Copy !req
612. - What happened?
- Someone got hurt.Copy !req
613. - Excuse me. Excuse me. Excuse me.
- Stay back.Copy !req
614. - Stay back!
- That's my uncle!Copy !req
615. - What happened?
- Carjacker. He's been shot.Copy !req
616. We just called the paramedics.
They're on their way.Copy !req
617. Uncle Ben?Copy !req
618. Cliff Robertson was a real sport
in shooting this.Copy !req
619. It's probably 3:00 in the morning,
it was freezing cold...Copy !req
620. and we'd say,
"Get Cliff on the ground."Copy !req
621. He'd just throw himself right
down on the cold concrete.Copy !req
622. No screaming for a furni-pad
or any of that nonsense.Copy !req
623. He'd throw himself down and
wait for the camera crew to set up.Copy !req
624. He's a real professional.Copy !req
625. It was written originally
that Cliff was already expired...Copy !req
626. when Tobey's character
came up to him.Copy !req
627. It was his idea. He said,
"Why don't we just have me alive...Copy !req
628. to make contact with Peter
one last time?" It's a great idea.Copy !req
629. That alley he just ran in was the same
alley that he climbed up the wall in.Copy !req
630. We shot one in the day
and this at night, obviously.Copy !req
631. Downtown Los Angeles.Copy !req
632. - I love this.
- I have a funny story about this.Copy !req
633. We did a test of CG Spidey
climbing up the wall...Copy !req
634. which was a very early iteration
of this scene right here.Copy !req
635. I took the test, I called Amy Pascal
and John Calley and I said:Copy !req
636. "We put Tobey in the suit and we
tested him climbing up.Copy !req
637. We put a wall on its side
and tested him climbing up the wall."Copy !req
638. We were in pre-production. I was
trying to get more money for the movie.Copy !req
639. I called them into the screening room
and they came down and watched it.Copy !req
640. It was CG, but I said it was Tobey
in the suit. They went nuts.Copy !req
641. They said, "Oh, my God, it's amazing!
He looks so incredible"Copy !req
642. Then we laughed.Copy !req
643. This was a composite of Tobey's real
face put into the CGI Spider-Man.Copy !req
644. That was a very tricky move.Copy !req
645. I enjoy watching him struggling with
swinging. He's never done it before.Copy !req
646. I love the subtlety that you
and John Dykstra put together in here...Copy !req
647. of him twisting and turning
on one of these shots...Copy !req
648. showing him struggling
with his gift and curse.Copy !req
649. Arthur Coburn, was insistent,
one of my editors...Copy !req
650. that we had to track his progression,
as far as his development of grace.Copy !req
651. He had to be as awkward as possible
in this early sequence to sell it.Copy !req
652. - And I thought that was a great idea.
- Yeah, it was.Copy !req
653. I shot this sequence
with our second unit...Copy !req
654. director of photography,
Chris Faloona.Copy !req
655. He did a lot of great second unit work
for us. Chris is a garner.Copy !req
656. So happy to be going with him.Copy !req
657. This is a beautiful set built by Neil.Copy !req
658. It's supposed to be the interior
of the abandoned part...Copy !req
659. of the New York
Port Authority Building.Copy !req
660. Where the old ferry
used to arrive every day.Copy !req
661. Who's there?Copy !req
662. Don't hurt me. Give me a chance.
Give me a chance!Copy !req
663. What about my uncle?
Did you give him a chance? Did you?Copy !req
664. Answer me!Copy !req
665. Stop that guy!Copy !req
666. - Great moment.
- It's very powerful.Copy !req
667. Again, this moment
is so much a trigger...Copy !req
668. and so integral to what made
the whole story work in the comic book.Copy !req
669. There's this whole notion that
Spider-Man doesn't ever kill anybody.Copy !req
670. But he has to be responsible for this
guy's death, so the guy actually trips.Copy !req
671. But the whole, sort of,
ethic of Spider-Man is...Copy !req
672. - ... he defends people, but he doesn't...
- Kill them.Copy !req
673. Even, of course, with the Goblin,
who's responsible for his own death.Copy !req
674. He just has a lot of good luck
in that way.Copy !req
675. This was an image that we loved.Copy !req
676. Which was also an early image
Sam had...Copy !req
677. of Peter on one of the eagles
in the Chrysler Building.Copy !req
678. If you know New York, you'll know that
skyline is something that we made up...Copy !req
679. which was something we did often
in the movie.Copy !req
680. We took architecture that we liked and
manipulated it in the CG world.Copy !req
681. So you know it's New York,
but no street is exactly photo-real.Copy !req
682. That's why I...
New York has never been shot this way.Copy !req
683. It's so inventive and beautiful
and romantic, in a way...Copy !req
684. when he swings through the city.Copy !req
685. - Good evening.
- General. Good to see you.Copy !req
686. Our exoskeleton's got
real firepower, general.Copy !req
687. Well, if it does what you say it can,
I'll sign that contract tomorrow.Copy !req
688. - He's clear, let's go!
- You're confident about this test?Copy !req
689. Absolutely.
Captain Curtis is our top pilot.Copy !req
690. Now, what about
your commitment to OSCORP?Copy !req
691. This entire sequence...Copy !req
692. starting with that "Quest Aerospace"
stenciled on the crate...Copy !req
693. all the way through the explosions of
the bunkers was shot by John Dykstra...Copy !req
694. my second unit director.Copy !req
695. We are picking up
an unidentified object, closing fast.Copy !req
696. - Your favorite transition is coming.
- Yeah.Copy !req
697. - That's really fun.
- It's so cool. I love it.Copy !req
698. "Chess!"Copy !req
699. Sam just makes this such a great...Copy !req
700. We have some action, then you come to
the more humanistic things.Copy !req
701. It's just so great how he balances
all of that out.Copy !req
702. The audience is never scared...Copy !req
703. because right after comes
a happy thing or sweet thing.Copy !req
704. It's just a great mixture of action
to the story line.Copy !req
705. It just blends very nicely.Copy !req
706. Peter, the science award.
That's terrific.Copy !req
707. Yeah.Copy !req
708. I don't know if I should tell this.Copy !req
709. This scene was shot on the Sony lot
in front of the executive building...Copy !req
710. because we only had half a day
to shoot the scene...Copy !req
711. so we didn't have time
to go to a location.Copy !req
712. So we dressed up the front
of the building...Copy !req
713. and wouldn't let the executives
get into their office on that morning.Copy !req
714. I love it. Now when I walk
on the Sony lot, it's like:Copy !req
715. "That was our school in Spider-Man."
It'll always be there.Copy !req
716. It makes for a great tour spot
on the Sony tour.Copy !req
717. That's true.Copy !req
718. Can I fix you something?Copy !req
719. No, thanks.Copy !req
720. - I love Rosemary.
- She's amazing.Copy !req
721. Yeah, she's amazing.Copy !req
722. She's so beautiful, I think.
She's magnificent-looking.Copy !req
723. She's funny, because she really didn't
know anything about Spider-Man.Copy !req
724. She worked with Sam on The Gift.Copy !req
725. I knew her through mutual friends
but had never worked with her.Copy !req
726. She had no idea
what she was getting into.Copy !req
727. Now she goes places and
she's recognized as Aunt May.Copy !req
728. - She has a whole new following.
- That's so funny. Fan following, yeah.Copy !req
729. - This is a great scene.
- Yeah.Copy !req
730. I remember right before
the camera rolled, I told Tobey:Copy !req
731. "Your name is not gonna be
above the title."Copy !req
732. I missed him a lot today.Copy !req
733. I know.Copy !req
734. I miss him too.Copy !req
735. But he was there.Copy !req
736. I can't help thinking about
the last thing I said to him.Copy !req
737. He tried to tell me something important,
and I threw it in his face.Copy !req
738. You loved him...Copy !req
739. and he loved you.Copy !req
740. He never doubted
the man you'd grow into.Copy !req
741. How you were meant for great things.Copy !req
742. You won't disappoint him.Copy !req
743. I love Danny's score right here.Copy !req
744. It really takes you into the moment.Copy !req
745. With great power
comes great responsibility.Copy !req
746. Remember that, Pete. Remember that.Copy !req
747. That shot was shot with an Earl Wiggins
cam in Downtown L.A...Copy !req
748. with a New York background.Copy !req
749. Great shot.Copy !req
750. Doug Lefter shot this scene for me,
the whole robbery.Copy !req
751. These snippets were shot by
Dick Buckley, second unit director.Copy !req
752. I love that dog.Copy !req
753. We called her "the dog walker."Copy !req
754. These guys I actually found
on a construction site.Copy !req
755. We were shooting the scene in front
of the library with Uncle Ben...Copy !req
756. and we were trying to get
real faces, great faces.Copy !req
757. I found these guys
in this construction site.Copy !req
758. They couldn't believe it. "What do you
mean? We're gonna be in a movie?"Copy !req
759. It's always better to get real people.Copy !req
760. Guy with eight hands.Copy !req
761. Lucy Lawless, a friend of Sam's.Copy !req
762. - This guy I love.
- Yeah, he was funny.Copy !req
763. Doesn't he look like Owen Wilson?Copy !req
764. - Kind of?
- A little bit.Copy !req
765. - He doesn't have Owen's great nose.
- No.Copy !req
766. "Who is Spider-Man?"
He's a criminal, that's who he is.Copy !req
767. - I love him. He's so good.
- He's fantastic.Copy !req
768. J.K. had worked with Sam in The Gift...Copy !req
769. and he came to see us in New York
and it was like meeting you.Copy !req
770. It was like, "This guy has to play
this part." Born to play the part.Copy !req
771. Once we got the hair...
It's the thing about hair.Copy !req
772. Once we got the hair, he was Jameson.Copy !req
773. And Sam's brother's in this scene also.Copy !req
774. Like the Delta 88 and Bruce Campbell,
Ted Raimi is in all Sam Raimi movies.Copy !req
775. He's hilarious.Copy !req
776. - There's Sam's brother.
- There's Ted.Copy !req
777. - We sold out four printings.
- Sold out?Copy !req
778. Every COPY-Copy !req
779. Tomorrow, Spider-Man, page one,
with a decent picture.Copy !req
780. - Conway to page 7.
- That's a problem.Copy !req
781. Page eight, give him 10 percent off.
Five percent.Copy !req
782. - That can't be done.
- Get out!Copy !req
783. - He's so good.
- Sam loves to work with him.Copy !req
784. It's such a big brother-little brother
relationship. He likes to torture him.Copy !req
785. He makes him do 12 takes.
He's really kind of sadistic.Copy !req
786. He doesn't want to be famous?
I'll make him infamous!Copy !req
787. There's a famous New York extra,
radio man, that goes sneaking by there.Copy !req
788. - Do you remember him?
- Sure do. Radio man. He's a classic.Copy !req
789. He was in For Love of the Game
but he found the cutting room floor.Copy !req
790. But he did a great job for us
in that one too.Copy !req
791. Begging for a job. How about you?Copy !req
792. Every time I see these two together,
they make a connection for me.Copy !req
793. She gives a bit of herself in everything
she does. She's very generous.Copy !req
794. I just got off a job.Copy !req
795. She's great at playing layers
and levels of things.Copy !req
796. She's so embarrassed.
Doesn't want Peter to know.Copy !req
797. I see she's not a very good liar
in this scene.Copy !req
798. Excuse me, Miss Watson?Copy !req
799. Busted.Copy !req
800. Yes, Enrique! Okay? I get you.Copy !req
801. It better not happen no more.Copy !req
802. Pete even feels worse than she does
about the whole thing.Copy !req
803. He's very empathetic.Copy !req
804. - There's the button.
- "Try my cream pie."Copy !req
805. It's nothing to be
embarrassed about.Copy !req
806. - Makes me want to go to New York.
- Yeah. That was a beautiful day too.Copy !req
807. We're going out. Didn't he tell you?Copy !req
808. Oh, yeah. Right.Copy !req
809. I think he'd hate the idea...Copy !req
810. There's paparazzi guys too.Copy !req
811. Tobey pisses off the paparazzi guys.
They're nicer to me.Copy !req
812. - Do they go away when you tell them?
- They're just, like, nicer to me.Copy !req
813. The more you act like,
"Don't take my picture," the more...Copy !req
814. - Just wave and they go away.
- Give them a moment.Copy !req
815. But Tobey likes messing with them
a little bit more.Copy !req
816. They were in his eye line.
They stayed out of mine...Copy !req
817. but throughout his eye line they were
always taking his pictures and stuff.Copy !req
818. I'll come by and have some of your
Moondance coffee someday.Copy !req
819. - And I won't tell Harry.
- No, don't tell Harry.Copy !req
820. I won't.Copy !req
821. I won't tell Harry.Copy !req
822. I love that location,
it's right across from NYU.Copy !req
823. It was an amazing apartment,
where the exterior was shot.Copy !req
824. - This was a set that Neil designed.
- Yeah, this is an amazing apartment.Copy !req
825. Where do you get this apartment
in New York? I'd love to live here.Copy !req
826. Daddy got it for him. Daddy.Copy !req
827. They even have a nice balcony.Copy !req
828. I remember when we worked
on this set...Copy !req
829. Tobey had a lot of good notes
for myself and Neil Spisak...Copy !req
830. about the reality of the size of the
loft that these two would really have.Copy !req
831. And the style of the furnishings.Copy !req
832. He had a more realistic take and guided
us from a character point of view...Copy !req
833. which is so important
in making a picture...Copy !req
834. to listen to actors and believe they
have the best take on who they are...Copy !req
835. and what they know about
their world, to listen to that.Copy !req
836. See I love this intrigue,
this set up of the triangle.Copy !req
837. Sam had said, even early on...Copy !req
838. "mat he wanted 'Ms 90210 or Melrose
Place... I don't watch those shows.Copy !req
839. Very soap Opera-Y-Copy !req
840. He wanted these, kind of,
teenage relationships...Copy !req
841. to be moving in a parallel line
with the superhero story.Copy !req
842. - I believe it. I see that kind of behavior.
- There's tension.Copy !req
843. Yeah. Seems really real to me.Copy !req
844. Hello.Copy !req
845. Let's go! Move it!Copy !req
846. Watch the street!Copy !req
847. That was me in the suit
during this fight scene.Copy !req
848. - That was you? You're very acrobatic.
- You know...Copy !req
849. You're multi-talented.
I saw Bring It On.Copy !req
850. I know you can do those jumps.Copy !req
851. Cheese!Copy !req
852. Neil Spisak and his team came up
with these pictures.Copy !req
853. They're very difficult because
Spider-Man can't be doing any...Copy !req
854. of the things in reality
that are needed in these pictures.Copy !req
855. We can't do it with an actor.Copy !req
856. So we had to stage backgrounds
and separate foreground elements...Copy !req
857. and do a lot of composites
and then clean up in a digital state.Copy !req
858. It was a big deal to come up with
those pictures Peter supposedly took.Copy !req
859. Give you 300.
That's the standard freelance fee.Copy !req
860. There's a slight old-fashioned quality
to the whole film.Copy !req
861. It feels like a '50s comic book,
even with what we wear.Copy !req
862. I told Jim I really wanted to wear
a trench coat in the film...Copy !req
863. because it signified for me that classic
"girl-in-the-comic-book" kind of look.Copy !req
864. I'm pleased about that, that what
we captured looks like a comic book.Copy !req
865. Yeah, and it has an old-school
feel to it, the movie, a little bit.Copy !req
866. I was so happy that Elizabeth Banks
took the job of Betty Brant...Copy !req
867. in the reception area here.Copy !req
868. With a talented actress like that...Copy !req
869. I was able to have these actors
make a moment...Copy !req
870. when there was really
nothing there.Copy !req
871. Bill Nunn did a great job
as Robbie Robertson, as well.Copy !req
872. I'm Peter Parker.Copy !req
873. I'm a photographer.Copy !req
874. Yes. I can see that.Copy !req
875. He strikes out everywhere.Copy !req
876. Yeah, he strikes out, but at
the same time, I see on his face...Copy !req
877. that as lame as he is, he's actually
achieved one of his dreams.Copy !req
878. - So he feels a sense of fulfillment.
- Yeah.Copy !req
879. In short, ladies and gentlemen
of the board...Copy !req
880. costs are down, revenues are up...Copy !req
881. Neil designed this set
on the Warner Bros. Lot.Copy !req
882. It's one of his best accomplishments,
it's really beautifully detailed.Copy !req
883. He created depressions...Copy !req
884. in the walls where
he'd hide these fluorescent tubes.Copy !req
885. Quite beautiful, giving it a lot of
dimensionality.Copy !req
886. They don't want a power struggle
with entrenched management.Copy !req
887. The deal is off if you come with it.Copy !req
888. The board expects your resignation
in 30 days.Copy !req
889. You can't do this to me.Copy !req
890. I started this company.Copy !req
891. You know how much I sacrificed?Copy !req
892. - Oh, Max. Please.
- Norman, the board is unanimous.Copy !req
893. We're announcing the sale
after the World Unity Festival.Copy !req
894. I'm sorry.Copy !req
895. You're out, Norman.Copy !req
896. There's the Goblin theme.Copy !req
897. Welcome to OSCORP Industries
Unity Day Festival.Copy !req
898. What a complicated shot that is there.Copy !req
899. You've got Downey,
you've got New York background plates.Copy !req
900. You've got pieces shot
on the stages here at Sony.Copy !req
901. Very complex. It took us a long time
to design that shot.Copy !req
902. And a lot of these shots here
in the Times Square sequence.Copy !req
903. Neil did a great job with Don Burgess
and John Dykstra and his team...Copy !req
904. just seamlessly tying
a lot of locations together.Copy !req
905. Don Burgess had a difficult job in
shooting all these different elements...Copy !req
906. - ... to fit together, lighting-wise.
- Yeah.Copy !req
907. That is obviously a stage shot here...Copy !req
908. but the last shot of Parker
was shot on the streets of Downey.Copy !req
909. He had a lot of New York photography
and it all had to blend seamlessly.Copy !req
910. Remember this drama
of trying to find the dress?Copy !req
911. - I love that dress.
- Yeah, it's good.Copy !req
912. It makes sense too, because
it's not an expensive dress, you know.Copy !req
913. Great choice.Copy !req
914. M.J., would you do me a favor?
I forgot my drink inside.Copy !req
915. I also like that line where he says:Copy !req
916. "Why didn't you wear the black dress?
My father loves black."Copy !req
917. It is a funny line.Copy !req
918. - Have you seen my father around?
- Well, I'm not sure if he's coming.Copy !req
919. This was, without question, the most
complicated thing we did in the movie.Copy !req
920. Even more complicated than the end.Copy !req
921. We would have these meetings.Copy !req
922. We would have these weekly
or bi-weekly, or sometimes daily...Copy !req
923. what we called
"Times Square meetings."Copy !req
924. Starting from when we made
the decision...Copy !req
925. to set this scene in Times Square.Copy !req
926. The logistics of how to do it
and how to get the shots.Copy !req
927. The building where you guys are on
the balcony is a building Neil made up.Copy !req
928. It doesn't really exist in Times Square,
but we had to fit it in geographically.Copy !req
929. And there were plates that were shot
for this stuff up in the sky.Copy !req
930. And then there was a gigantic set
built in Downey.Copy !req
931. So even though
it's a five-minute sequence...Copy !req
932. in terms of the resources
and the shooting time...Copy !req
933. we probably shot, between the set
and the location, three weeks maybe.Copy !req
934. - Close to a month.
- It was a big deal.Copy !req
935. There was Stan Lee.
There's Stan Lee.Copy !req
936. - Laura's daughter is coming in soon.
- My daughter. The stuntman who fell...Copy !req
937. was a guy who played Spider-Man
on the TV show.Copy !req
938. Remember that?
Here we go, Kirsten.Copy !req
939. Here starts the screaming match.
Hold your ears.Copy !req
940. "Oh, God!"Copy !req
941. I kept telling Sam...
I love that shot.Copy !req
942. Girls in movies who scream
really annoy me.Copy !req
943. At the end, I got a little annoyed
by my screaming.Copy !req
944. At the end of the movie.Copy !req
945. I love that.
That's one of my favorite things.Copy !req
946. The pumpkin bomb was kind of fun
because the Goblin was full of...Copy !req
947. - There's my daughter.
- Yeah. Hi, Julie.Copy !req
948. The Goblin has this bag of tricks...Copy !req
949. and when we were sitting
and thinking about it:Copy !req
950. "What would a pumpkin bomb look like?
Who would think of such a thing?"Copy !req
951. This kid's stupid. I know he's
in shock, but move, already!Copy !req
952. Wouldn't your mother go in
and move you?Copy !req
953. - She couldn't get to him.
- Oh, yeah, whatever.Copy !req
954. - Hold it!
- I surrender.Copy !req
955. Willem demanded to do
all his own fighting.Copy !req
956. He felt that the character
had to be consistent...Copy !req
957. and that it would show if he
let stuntmen do his work.Copy !req
958. It wouldn't sell.Copy !req
959. Not that the quality would be poor,
but it wouldn't be the same character...Copy !req
960. that he'd created and seen through
from beginning to end.Copy !req
961. In this strafing run,
this is him on the glider right there.Copy !req
962. That's right, that behind shot.
Shot by Max Kleven.Copy !req
963. It's really a good... Well-designed
glider gag that Max came up with...Copy !req
964. hanging off of the camera car,
on a Ubangi on wires.Copy !req
965. It worked beautifully.Copy !req
966. The storyboard artists, mostly Doug
Lefter, did a great job designing all this.Copy !req
967. He had help from Neil Spisak
and the production department...Copy !req
968. with balloons and the set.Copy !req
969. Also,
Jeff Lynch and Dave Stephan...Copy !req
970. contributed a tremendous amount
to this.Copy !req
971. But my hat's off to Doug.
He's such a great visualist.Copy !req
972. This sequence is complicated.Copy !req
973. Andrew Jimenez really added a lot
with his skills...Copy !req
974. working this whole sequence out.Copy !req
975. Karen Goulekas contributed quite a bit
on the picture.Copy !req
976. John Dykstra and the animation team
made each and every shot come to life.Copy !req
977. But it couldn't have been put together
unless we had Bob Murawski...Copy !req
978. who worked the pieces as the editor
and made them all come together.Copy !req
979. That was a great swinging shot
by our stuntman.Copy !req
980. Jeff Habberstad put together this shot
over the blue sky over the ocean...Copy !req
981. because there're no
green screens that big.Copy !req
982. They shot that out at the ocean.
It's a beautiful swing.Copy !req
983. Neil Spisak really came up with a
beautifully romantic location here...Copy !req
984. for the moment between
Peter and Mary Jane.Copy !req
985. He did his homework. Many
New Yorkers don't know this exists...Copy !req
986. on top of the Rockefeller Center
roof garden.Copy !req
987. It is such a beautiful place up there,
with the church in the background.Copy !req
988. Starting to swing a little better.Copy !req
989. I love when he swings off and yells.
It's like the high of public service.Copy !req
990. You've done your best to help others
and that's what he's celebrating.Copy !req
991. That's really why it's so effective.Copy !req
992. And he runs along that building.
I love that moment.Copy !req
993. The fellas in the animation department
came up with that.Copy !req
994. I think it was Anthony,
our animation director.Copy !req
995. And what do you mean,
incredible?Copy !req
996. All right. I'm sorry. Sleep tight.Copy !req
997. Don't let the bedbugs...Copy !req
998. Alvin Sargent wrote that scene.
It's one of my favorites.Copy !req
999. So funny, with James Franco
on the phone with M.J.Copy !req
1000. You just imagine, obviously,
the other side of the conversation.Copy !req
1001. And then, after being dumped on...Copy !req
1002. he hangs up the phone and he says,
"She's just a little rattled."Copy !req
1003. What else would he be thinking?Copy !req
1004. I didn't.Copy !req
1005. I'm gonna get some rest.Copy !req
1006. I'm gonna stay up for a while.Copy !req
1007. What was that thing?Copy !req
1008. I don't know.Copy !req
1009. Whatever it is,
somebody has to stop it.Copy !req
1010. That moment was important to me...Copy !req
1011. because it was Peter Parker stepping
up to the responsibility of Spider-Man.Copy !req
1012. Somebody there?Copy !req
1013. Somebody.Copy !req
1014. Who said that?Copy !req
1015. This sequence with Willem takes you
to depths of the insanity...Copy !req
1016. that his character is starting
to plummet down into.Copy !req
1017. I love the device you came up with...Copy !req
1018. with the mirror showing
his two different personalities...Copy !req
1019. and interacting with his
two different personalities.Copy !req
1020. You know, that was in the script.Copy !req
1021. It was all made to work...Copy !req
1022. just only through Willem Dafoe's
performance.Copy !req
1023. Did you think it was coincidence?Copy !req
1024. So many good things,
all happening for you.Copy !req
1025. All for you. Norman.Copy !req
1026. What do you want?Copy !req
1027. To say what you won't.Copy !req
1028. To do what you can't.Copy !req
1029. To remove those in your way.Copy !req
1030. The board members.Copy !req
1031. You killed them.Copy !req
1032. We killed them.Copy !req
1033. We?Copy !req
1034. Remember?
Your little accident...Copy !req
1035. It's this lesson you learn
all the time...Copy !req
1036. about how much you need
to communicate, for the story...Copy !req
1037. what's going on, and how much
an actor brings to the storytelling.Copy !req
1038. Initially written, it was a three
and a half page scene, or something.Copy !req
1039. And the revelation as we went along
in the process was...Copy !req
1040. you could get everything you had
to get from a storytelling standpoint...Copy !req
1041. as well as the emotional stuff
that was going on with the character...Copy !req
1042. much more economically.Copy !req
1043. Spider-Man. And the Green Goblin.Copy !req
1044. The Green Goblin. You like that?
Made it up myself.Copy !req
1045. - These weirdos all got to have a name.
- Mr. Jameson, Spider...Copy !req
1046. - Hoffman!
- Yeah?Copy !req
1047. Copyright the name "Green Goblin."
I want a quarter every time it's said.Copy !req
1048. How about "Green Meanie"?Copy !req
1049. Spider-Man wasn't attacking the city.
That's slander.Copy !req
1050. It is not. I resent that.Copy !req
1051. Slander is spoken.
In print, it's libel.Copy !req
1052. You don't trust anybody.Copy !req
1053. I trust my barber.Copy !req
1054. What are you, his lawyer? Get out.Copy !req
1055. Let him sue. Get rich like a normal
person. That's what made this country...Copy !req
1056. I remember shooting that scene with
the cigar flying back into the window.Copy !req
1057. Usually it missed the table, sometimes
it landed in J.K.'s lap, burning him.Copy !req
1058. It's a dangerous scene, to have
that hot thing flying in from behind.Copy !req
1059. One of my favorites to shoot.Copy !req
1060. You are useless.Copy !req
1061. Jane Alexander did such a great job
with his hair.Copy !req
1062. It's so J. Jonah Jameson. He's great.Copy !req
1063. let Mom and Dad
talk for a minute.Copy !req
1064. Sleep...Copy !req
1065. Wake up, little spider. Wake up.Copy !req
1066. No, you're not dead yet.Copy !req
1067. Just paralyzed...Copy !req
1068. temporarily.Copy !req
1069. You're an amazing creature,
Spider-Man.Copy !req
1070. You and I are not so different.Copy !req
1071. I'm not like you. You're a murderer.Copy !req
1072. Well, to each his own.Copy !req
1073. I chose my path,
you chose the way of the hero.Copy !req
1074. And they found you amusing
for a while, the people of this city.Copy !req
1075. But the one thing they love
more than a hero...Copy !req
1076. is to see a hero fail,
fall, die trying.Copy !req
1077. In spite of everything you've done for
them, eventually, they will hate you.Copy !req
1078. Why bother?Copy !req
1079. - Because it's right.
- Here's the real truth.Copy !req
1080. There are eight million people
in this city.Copy !req
1081. This whole notion of trying to see,
at least see the eyes...Copy !req
1082. even though we couldn't see
any of Tobey's features...Copy !req
1083. The genius of what Sam did
in the end of the movie was find a way...Copy !req
1084. to reveal Tobey's face
in the final scenes.Copy !req
1085. Because as you can see,
looking at this...Copy !req
1086. you're limited in how you can act
behind those masks.Copy !req
1087. Or we could destroy.Copy !req
1088. Cause the deaths of countless
innocents in selfish battle...Copy !req
1089. again and again and again until
we're both dead. Is that what you want?Copy !req
1090. Great animation from the fellas at SPI.
I love him leaping on that glider.Copy !req
1091. He seems like he's gotta balance
himself for a brief moment.Copy !req
1092. He gotta grab a hold of the front of
the glider to stabilize himself.Copy !req
1093. - Seems very real to me.
- Yeah.Copy !req
1094. In spite of everything you've done for
them, eventually, they will hate you.Copy !req
1095. This was also shot
on the Warner Bros. Back lot.Copy !req
1096. How was your audition?Copy !req
1097. The sound man gave me
an ugly choice. He said:Copy !req
1098. "You can have oars in the background,
or you can have your sound."Copy !req
1099. Horrible thing to say.Copy !req
1100. They made so much noise going over
those wet city streets, those cabs.Copy !req
1101. Motion picture cabs are always
in terrible shape.Copy !req
1102. Loud engines, terribly in need
of a tune up.Copy !req
1103. This is my favorite scene between
the two of them. I really, really enjoy it.Copy !req
1104. I'd like a cheeseburger.Copy !req
1105. Alvin Sargent wrote this.
Did a beautiful job with it too.Copy !req
1106. He did a great job.Copy !req
1107. Come with us.Copy !req
1108. No, thanks. How's it going with...?Copy !req
1109. Never mind.
That's none of my business.Copy !req
1110. It's not?Copy !req
1111. Why so interested?Copy !req
1112. Avi Arad had a great idea during
this scene.Copy !req
1113. He said, "Maybe this is the point
where she can finally say 'Tiger."'Copy !req
1114. Which is what all the fans know is one
of Mary Jane's favorite taglines.Copy !req
1115. I don't know.Copy !req
1116. So Kirsten then said, "Why don't I say it
just as I leave, at the very end?"Copy !req
1117. So together, they satisfied that one
of one thousand fan requirements.Copy !req
1118. It's a great little punctuation mark.Copy !req
1119. Hey, check it out, man.Copy !req
1120. Come on, man.Copy !req
1121. This scene was further torturing
of Kirsten...Copy !req
1122. in very, very cold weather
and freezing cold water.Copy !req
1123. This wasn't a fun scene.Copy !req
1124. Although I did like
to do my little butt-kicking.Copy !req
1125. You did.Copy !req
1126. See, the sidewalks are higher
on the back lot...Copy !req
1127. so the water floods in the street.Copy !req
1128. You're up to water on your ankle.Copy !req
1129. This was tough because we were
all bundled up in front of heaters...Copy !req
1130. - ... and you were out there for hours.
- Freezing my booty off.Copy !req
1131. And trying to be romantic
at the same time.Copy !req
1132. When we were doing the close-up
dialogue without the looping...Copy !req
1133. I was screaming at him.
I was like, "You're amazing!"Copy !req
1134. Because we couldn't hear each other
because the rain was so loud.Copy !req
1135. There was a secret door built
into the side of that wall...Copy !req
1136. so that Tobey could escape into it and
the stuntman could then come down.Copy !req
1137. Although, this is Tobey here.Copy !req
1138. But the first time you saw Spider-Man
descend was the stuntman.Copy !req
1139. Does she know or doesn't she?Copy !req
1140. You have that moment
where maybe you know it's him?Copy !req
1141. Here? No. That's at the end.Copy !req
1142. But when he says,
"I was in the neighborhood."Copy !req
1143. No? That's what I always think
because he said to you earlier on:Copy !req
1144. "I was in the neighborhood."Copy !req
1145. No, I don't think M.J.'s that bright.
Or Kirsten.Copy !req
1146. No, no, I just...
I wouldn't give anything away there.Copy !req
1147. There was this wonderful image
in the comic book of him...Copy !req
1148. with his, you know,
mask half off like that.Copy !req
1149. It was something that Sam had
in his head very early on...Copy !req
1150. to have this upside-down kiss
which is so...Copy !req
1151. I know it was painful, but it really
is his signature moment of the movie.Copy !req
1152. Our mixers, Greg Russell and Kevin
O'Connell did a great job mixing this.Copy !req
1153. This scene, they handled
just beautifully, like the old movies.Copy !req
1154. They let the rain all drop away,
brought up Danny Elf man's score.Copy !req
1155. They let the audience soar
with the emotion of the thing...Copy !req
1156. pushing away the reality
of the moment.Copy !req
1157. Let me in! My baby's in there!Copy !req
1158. This was a great piece
of location work in New York.Copy !req
1159. I was very impressed
that they let us...Copy !req
1160. blaze that building
as large as we needed to.Copy !req
1161. We owe a great debt
to the city of New York for that.Copy !req
1162. John Fedynich, he was our New York
location manager.Copy !req
1163. He did a lot of great work securing
the permits and permission to do that.Copy !req
1164. When he swings into that window,
the one piece of animation I love...Copy !req
1165. is when the animator lets his web
get caught in the updraft of the heat.Copy !req
1166. And it just floats upward in a moment,
right before the cut.Copy !req
1167. It really captured
the lightness of the web.Copy !req
1168. - It's okay. Your baby's fine.
- Oh, my baby!Copy !req
1169. God bless you, Spider-Man.Copy !req
1170. The blanket has no dirt
on it or anything.Copy !req
1171. Now, come on, you guys.Copy !req
1172. Oh, my God, there's somebody
still up there!Copy !req
1173. I'm going.Copy !req
1174. - I'll be here when you get back.
- Not coming back, chief.Copy !req
1175. Go! GO!Copy !req
1176. This scene that John Frazier and his
team of fire experts put together...Copy !req
1177. I was really impressed by.
The amount of fire.Copy !req
1178. The fact that they pulled it off
so safely was incredible.Copy !req
1179. I'm gonna get you out of here!Copy !req
1180. Initially, we thought the suits
were flammable.Copy !req
1181. We did all of this experimenting
with fire retardant. Scary.Copy !req
1182. That's so scary, that...Copy !req
1183. The action in this sequence
is amazing, I think.Copy !req
1184. Like a moth to the flame.Copy !req
1185. What about my generous proposal?Copy !req
1186. Are you in or are you out?Copy !req
1187. It's you who's out, Gobby.
Out of your mind.Copy !req
1188. That's such a cheese line,
but really cute.Copy !req
1189. "It's you who's out, Gobby.
Out of your mind."Copy !req
1190. That's one of my favorite piece of
animation. The fluidity of movement.Copy !req
1191. They really captured the awkwardness
of the human form...Copy !req
1192. and its grace at the same time.Copy !req
1193. I was always impressed by it.Copy !req
1194. I love the weapons, though.
This was another challenge.Copy !req
1195. We'd had this notion about
what Sam called "razorbats."Copy !req
1196. You know, the pumpkin bomb turns into
these flying boomerang-knife things.Copy !req
1197. Scary.Copy !req
1198. Great sound design in here as well.Copy !req
1199. Steve Flick did a great job in putting
these sounds together...Copy !req
1200. with his team of effects cutters.Copy !req
1201. - M.J., will you stop goofing around?
- Harry, relax.Copy !req
1202. He's here.Copy !req
1203. - Are you ready?
- Yeah.Copy !req
1204. Aunt May. I'm sorry I'm late.Copy !req
1205. Work was murder.
I picked up a fruitcake.Copy !req
1206. Thank you, Mr. Osborn.
We're so glad you could come.Copy !req
1207. Who is this lovely young lady?Copy !req
1208. I'd like you to meet my father.
Dad, this is Mary Jane Watson.Copy !req
1209. I've been looking forward
to meeting you.Copy !req
1210. - Happy Thanksgiving, sir.
- Now, where is Peter?Copy !req
1211. He'd better have remembered
that cranberry sauce.Copy !req
1212. Oh, that's weird.
I didn't know he was here.Copy !req
1213. Peter?Copy !req
1214. Peter?Copy !req
1215. The Spider-Man mask wasn't made
to come off so easily.Copy !req
1216. James Acheson had to design one
just for that shot...Copy !req
1217. that could be pulled off in an instant.Copy !req
1218. He knew it would never hold up
to scrutiny...Copy !req
1219. so he made certain exactly what the
shot would be and designed it for that.Copy !req
1220. - Bit of a slob, isn't he?
- All brilliant men are.Copy !req
1221. - We actually put Tobey up there.
- You did?Copy !req
1222. You bet.Copy !req
1223. One of my favorite shots coming up
here. He looks up. He's not there.Copy !req
1224. We come back down, he's already
a step ahead of us, furious about it.Copy !req
1225. - Hey, everyone.
- Oh, Peter!Copy !req
1226. Sorry I'm late,
it's a jungle out there.Copy !req
1227. Had to beat an old lady with a stick
to get these cranberries.Copy !req
1228. Thank you.
Now then, everybody sit down...Copy !req
1229. and we can say grace.Copy !req
1230. Parker.Copy !req
1231. I remember the turkey in this scene
had been sitting around for two days.Copy !req
1232. Put off this terrible,
rotting, horrible odor.Copy !req
1233. People had to pretend that it
was a delicious-looking thing.Copy !req
1234. In fact, it was nauseating.Copy !req
1235. Created an awful stench
that turned your stomach.Copy !req
1236. Why, Peter, you're bleeding.Copy !req
1237. I stepped off a curb and got clipped
by one of those bike messengers.Copy !req
1238. Well, let me see.Copy !req
1239. Oh, my goodness.Copy !req
1240. - That looks awful.
- No, it's nothing.Copy !req
1241. I'll get the first-aid kit.
Then we'll say grace.Copy !req
1242. This is the boys' first Thanksgiving
here, and we'll do things properly.Copy !req
1243. How did you say that happened?Copy !req
1244. Bike messenger.Copy !req
1245. Knocked me down.Copy !req
1246. - If you'll excuse me, I've got to go.
- Why?Copy !req
1247. Something has come to my attention.Copy !req
1248. - Are you all right?
- I'm fine, just fine.Copy !req
1249. This sequence is
such good moviemaking.Copy !req
1250. It's so entertaining,
such good, concise storytelling.Copy !req
1251. It's such a pivotal moment
in the movie...Copy !req
1252. where everything comes together
and all the conflicts are...Copy !req
1253. All the rest of the movie
is set in motion.Copy !req
1254. Your mother was beautiful too.
They're all beautiful.Copy !req
1255. Until they're snarling after your trust
fund like a pack of ravening wolves.Copy !req
1256. You're wrong about her, Dad.Copy !req
1257. A word to the not-so-wise
about your little girlfriend:Copy !req
1258. Do what you need to with her,
then broom her fast.Copy !req
1259. In that moment with Mary Jane Watson,
I love where Kirsten is hurt...Copy !req
1260. then she pulls it together
and you see some anger come out.Copy !req
1261. And then she decides she's not
gonna take it and she stands up.Copy !req
1262. Shut up about stuff
you don't understand!Copy !req
1263. I love watching her go through
those moments. That thought process.Copy !req
1264. Spider-Man is all but invincible.Copy !req
1265. But Parker, we can destroy him.Copy !req
1266. I can't.Copy !req
1267. Betrayal must not be countenanced.Copy !req
1268. Parker must be educated.Copy !req
1269. What do I do?Copy !req
1270. Instruct him in the matters
of loss and pain.Copy !req
1271. Make him suffer.
Make him wish he were dead.Copy !req
1272. Yes?Copy !req
1273. And then grant his wish.Copy !req
1274. But how?Copy !req
1275. The cunning warrior attacks
neither body nor mind.Copy !req
1276. Tell me how!Copy !req
1277. The heart, Osborn.Copy !req
1278. First, we attack his heart.Copy !req
1279. Give us this day our daily bread,
and forgive us our trespasses...Copy !req
1280. as we forgive those
who trespass against us.Copy !req
1281. Lead us not into temptation,
but deliver us...Copy !req
1282. Rosemary was a real sport
to go through this...Copy !req
1283. tremendous physical challenge,
being thrown about that room.Copy !req
1284. With the fans hitting her hard and all
the debris flying about around her.Copy !req
1285. I thought the CGI artist
did a great job...Copy !req
1286. taking John Frazier's
explosion on set...Copy !req
1287. composting it with her, then creating
CG debris elements that flew past her...Copy !req
1288. that really put her
in an explosion sandwich...Copy !req
1289. and sold the fact
that she was there.Copy !req
1290. You have to leave.Copy !req
1291. - What happened?
- Those eyes!Copy !req
1292. Those horrible yellow eyes!Copy !req
1293. The thing about the eyes, that scene
was the first day we had the suit...Copy !req
1294. and we didn't have eyes
for the mask.Copy !req
1295. We'd never seen them.Copy !req
1296. We were shooting the scene, and we
were literally running back and forth...Copy !req
1297. to the truck figuring out
how opaque should they be, how yellow.Copy !req
1298. And those eyes,
when we first did them...Copy !req
1299. to get them to look right on camera,
you couldn't see through them.Copy !req
1300. This was originally three shots.Copy !req
1301. Don Burgess,
when we were shooting it...Copy !req
1302. had the idea to put it all together
as one, which was a good idea.Copy !req
1303. It was Parker, the hands, the picture,
another angle of Parker, and his aunt.Copy !req
1304. Maybe it was five or six shots.
He put it all together with one move.Copy !req
1305. It turned out to be
the best thing for it...Copy !req
1306. because it had a grace in it
that cutting would have broken up.Copy !req
1307. - Will she be okay?
- She'll be fine.Copy !req
1308. She's been sleeping all day.Copy !req
1309. - Thanks for coming.
- Of course.Copy !req
1310. How are you?
You okay about the other night?Copy !req
1311. Yeah, I'm fine. I just felt bad
about leaving Aunt May.Copy !req
1312. - Have you talked to Harry?
- He called me.Copy !req
1313. I haven't called him back.Copy !req
1314. The fact is...Copy !req
1315. - ... I'm in love with somebody else.
- You are?Copy !req
1316. Alvin Sargent did such a beautiful job
writing this speech by Peter.Copy !req
1317. It's so heartfelt
and it really gives you a glimpse...Copy !req
1318. into the depths of his soul
and his feelings for her.Copy !req
1319. Trust me.Copy !req
1320. It's funny.Copy !req
1321. He's saved my life twice,
and I've never even seen his face.Copy !req
1322. - Oh. Him.
- You're laughing at me.Copy !req
1323. No, I understand.
He is extremely cool.Copy !req
1324. But do you think it's true, all the
terrible things they say about him?Copy !req
1325. No, no. Not Spider-Man,
not a chance in the world.Copy !req
1326. I know him a little bit.Copy !req
1327. I'm sort of his unofficial
photographer.Copy !req
1328. - Has he mentioned me?
- Yeah.Copy !req
1329. What'd he say?Copy !req
1330. I said...Copy !req
1331. He asked me what I thought about you.Copy !req
1332. One of my girlfriends
who saw this scene said:Copy !req
1333. "This is the speech every girl wants
a boy to make to her."Copy !req
1334. This is one of the many moments when
what we saw in that room in Berlin...Copy !req
1335. is what happened in this scene
that made it worked so great.Copy !req
1336. - Yeah, Tobey was easy to work off of.
- Yeah.Copy !req
1337. Everything feels not quite normal.Copy !req
1338. Both Arthur Coburn and Bob Murawski
did a great job with this picture.Copy !req
1339. One of Bob's talents,
which you see in this scene...Copy !req
1340. is his sense of performance
and take selections.Copy !req
1341. He really has a great talent
to be able...Copy !req
1342. to be able to go in and watch all
the performances again and again...Copy !req
1343. and choose what I think
is the best of the best.Copy !req
1344. That really plays in the moment...Copy !req
1345. and cut them against each other.Copy !req
1346. It's as if you've...Copy !req
1347. reached the unreachable.Copy !req
1348. His style of dress
is another thing entirely.Copy !req
1349. You said that?Copy !req
1350. Well, something like that.Copy !req
1351. That was Harry's first day on the set.Copy !req
1352. For some reason
he came in with black hair.Copy !req
1353. It was the weirdest thing.Copy !req
1354. We'd already figured out he was gonna
match his hair color to Willem Dafoe's.Copy !req
1355. He steps in to shoot,
and he's got black hair.Copy !req
1356. It gets a laugh in the theater,
this scene.Copy !req
1357. He's like, "Dad? Is that you?"
It's the most ridiculous...Copy !req
1358. But the laugh altogether
is such a signature of the character.Copy !req
1359. That's one of my funniest moments
in the picture.Copy !req
1360. He comes in and hears the rantings
and ravings of his father.Copy !req
1361. It's based on, for me...Copy !req
1362. I would come home and hear my mother
upstairs saying things...Copy !req
1363. that she should have said to others,
but didn't have the guts. "Mom?"Copy !req
1364. He's loved her since the 4th grade.Copy !req
1365. He pretends like he doesn't, but
there's no one Peter cares for more.Copy !req
1366. I'm so sorry.Copy !req
1367. I haven't always been there for you,
Havel?Copy !req
1368. You're busy.Copy !req
1369. This was filmed in a great location
in L.A.Copy !req
1370. It was a huge mansion up
in the Hollywood Hills.Copy !req
1371. That's right. And Neil Spisak demanded
that we not shoot here.Copy !req
1372. He'd learned that they had shot
a scene from Batman here.Copy !req
1373. He demanded that I not photograph it
any way similar to Batman.Copy !req
1374. He made sure to decorate it
a very different way.Copy !req
1375. But I don't think anyone knows that.Copy !req
1376. At least they didn't until this moment,
when you happened to tell the viewers.Copy !req
1377. Bob came up with the idea
of putting that scare in at that moment.Copy !req
1378. - Actually, it may have been Paul's idea.
- Paul Hart, assistant editor.Copy !req
1379. Paul's idea to put a good scare,
jolt moment in there.Copy !req
1380. He did it as a joke.
Like many things...Copy !req
1381. I realize some of the assistant's jokes
were better than my editor's great ideas.Copy !req
1382. So we took that...Copy !req
1383. and Bob transformed it
into a full-fledged scare.Copy !req
1384. You were supposed to be asleep.Copy !req
1385. You know, you were about 6 years old
when M.J.'s family moved in next door.Copy !req
1386. And when she got out of the car,
and you saw her for the first time...Copy !req
1387. This was a great scene
that David Koepp wrote.Copy !req
1388. Reminds us of Peter's warmth
for Mary Jane ever since he was a child.Copy !req
1389. Helps set up the ending of the piece.Copy !req
1390. When he finally walks away from her.Copy !req
1391. You're reminded
just how much she means to him.Copy !req
1392. - She's still his girl.
- Well, isn't that up to her?Copy !req
1393. - She doesn't really know who I am.
- Because you won't let her.Copy !req
1394. You're so mysterious all the time.Copy !req
1395. Tell me, would it be so dangerous...Copy !req
1396. to let Mary Jane know
how much you care?Copy !req
1397. Everybody else knows.Copy !req
1398. I'll be right back.Copy !req
1399. But...Copy !req
1400. Come on, pick up.Copy !req
1401. - Hey, M.J.
- Hi. Sing your song at the beep.Copy !req
1402. M.J., it's Peter. You there?Copy !req
1403. Hello? You there?Copy !req
1404. I'm just calling to check up on you.
Will you call me when you get in?Copy !req
1405. All right, well...Copy !req
1406. Don't...Copy !req
1407. Don't go up any dark alleys.Copy !req
1408. Hello?Copy !req
1409. That laugh.Copy !req
1410. Such a great cackle.Copy !req
1411. Where is she?Copy !req
1412. We actually played around with a lot
of different locations for this ending.Copy !req
1413. We knew we wanted to be up high.Copy !req
1414. That seemed like a requirement of the
storytelling. The Goblin who flies...Copy !req
1415. and Spider-Man who swings,
and all that.Copy !req
1416. Then it hit us that
the 59th Street Bridge was the place.Copy !req
1417. Little did we know how difficult
it would be to execute.Copy !req
1418. Like the Times Square sequence...Copy !req
1419. we couldn't actually go up there
and shoot on top of that bridge.Copy !req
1420. When we screened the movie
for the studio for the first time...Copy !req
1421. they watched a sequence of M.J. on
the bridge, but there was no bridge.Copy !req
1422. And Spider-Man rescued her...Copy !req
1423. but for half of the sequence,
there was no Spider-Man.Copy !req
1424. And we were trying to say:
"No, no, trust us. It's gonna be okay."Copy !req
1425. Goblin, what have you done?Copy !req
1426. I read about 400 kids
for those 10 kids in the tram.Copy !req
1427. I know you did. You were
in the casting room with them forever.Copy !req
1428. I spent about four days...Copy !req
1429. with 9-year-olds screaming
at me and crying for me.Copy !req
1430. It was painful.
But they all did a great job...Copy !req
1431. and it's really tough. They go
through a lot of emotions there.Copy !req
1432. Spider-Man!Copy !req
1433. For all the amount of hanging and
dropping I did, it doesn't look painful.Copy !req
1434. - It doesn't? It looks like that to me.
- Really? I did a lot?Copy !req
1435. But I was up there
for two weeks straight doing stuff.Copy !req
1436. Yeah, you were hanging and falling,
hanging and falling.Copy !req
1437. When you auditioned, Sam said:Copy !req
1438. "Are you in good shape?"
You made a muscle.Copy !req
1439. - You don't have a lot of muscle.
- I don't have any. I'm like, "Yeah, Sam.Copy !req
1440. Sure, whatever you want."Copy !req
1441. This bridge sequence is one of
the hardest scenes that I've ever done.Copy !req
1442. To think about how
the real bridge worked...Copy !req
1443. and blocking the characters
on the real structure...Copy !req
1444. verses the set pieces Neil
and his team built on stages...Copy !req
1445. verses the CGI bridge
that had to be made...Copy !req
1446. and the cheats that had to be made...Copy !req
1447. relative to the real bridge
and the set pieces.Copy !req
1448. The under-bridge sets that went with
it. There was so much to keep in mind.Copy !req
1449. - It got very difficult, I remember.
- More so than Times Square sequence?Copy !req
1450. For me, it was, because I couldn't
walk the bridge.Copy !req
1451. These places didn't exist so that you
could scout and know personally.Copy !req
1452. A lot of it had to be kept in the mind
or just done through photographs.Copy !req
1453. So much dimensionality to it.
People moving from point A to point B.Copy !req
1454. I don't just mean left and right
or backwards and forward...Copy !req
1455. but up and down.Copy !req
1456. Under, over, around the bridge.Copy !req
1457. You have to have a sense of it
in your mind to make the scene work.Copy !req
1458. So it was a real brain twister.Copy !req
1459. And always trying to keep in mind
where you are geographically...Copy !req
1460. compared to Manhattan
and Roosevelt Island...Copy !req
1461. to keep the continuity correct.Copy !req
1462. That's right.Copy !req
1463. Dan Sweetman,
a great storyboard artist...Copy !req
1464. came in the second half of editing
and helped me re-work this sequence...Copy !req
1465. based on original work that
Jeff Lynch, storyboard artist, had done.Copy !req
1466. Actually, before that,
based on work that I'd done...Copy !req
1467. with another storyboard artist,
Mark Andrews.Copy !req
1468. Everybody really contributed
to this sequence.Copy !req
1469. Along with all the people
at Sony Pictures Imageworks.Copy !req
1470. Contributed incredible amount
under John Dykstra's supervision.Copy !req
1471. That's some more great animation
right there.Copy !req
1472. What's the groaning cow there?Copy !req
1473. That's the sound of strain on the...Copy !req
1474. Slowed down to 72 frames a second...Copy !req
1475. the sound of thousands of pounds
of torque on this steel cable.Copy !req
1476. Tobey's brothers are in the tram too,
one of them was.Copy !req
1477. And John Dykstra,
visual effects supervisor...Copy !req
1478. his daughter was one
of the tram kids.Copy !req
1479. John (Sally's stepson is one of the
tram kids. Everybody got in the act.Copy !req
1480. I got something for your ass!Copy !req
1481. You mess with Spidey,
you mess with New York!Copy !req
1482. You mess with one of us,
you mess with all of us.Copy !req
1483. Took a long time to reset
and do those shots.Copy !req
1484. All the prop guys and crew members
running around picking up rubber pipes.Copy !req
1485. A rubber chicken
was slipped in there.Copy !req
1486. But it took a long time
to reload all the New Yorkers...Copy !req
1487. - ... with objects to pelt Willem with.
- Yeah.Copy !req
1488. It's tough. You've got 150 extras that
you've treated badly for two days...Copy !req
1489. then you give them objects to throw
at you. It's a dangerous job.Copy !req
1490. This was a set constructed
by Neil and his team...Copy !req
1491. that we referred to
as the "hulking ruin."Copy !req
1492. A lot of beautiful
design work done in here.Copy !req
1493. Misery, misery, misery.
That's what you've chosen.Copy !req
1494. And this, to a large degree,
actually exists.Copy !req
1495. It's an old abandoned
smallpox hospital on Roosevelt Island.Copy !req
1496. But Neil did take his cue...Copy !req
1497. from the actual hospital
that's there. It's interesting.Copy !req
1498. I thought the mixers did
a beautiful job in here.Copy !req
1499. Tobey did a great job looping too.Copy !req
1500. He had to come up
with 16 different ways to grunt.Copy !req
1501. Yeah, he did.Copy !req
1502. Peter Menzies came up with the web...Copy !req
1503. Peter uses to stop the Goblin
the last second.Copy !req
1504. He was my second unit director
of photography just for this sequence.Copy !req
1505. You've spun your last web, Spider-Man.Copy !req
1506. Had you not been so selfish,
your girlfriend's death...Copy !req
1507. would have been quick
and painless.Copy !req
1508. But now that you've really
pissed me off...Copy !req
1509. I'm gonna finish her
nice and slow.Copy !req
1510. Sam came in one day and said,
"I want him to have a trident."Copy !req
1511. I don't know where that came from.Copy !req
1512. - With electric prods on the end.
- Right.Copy !req
1513. Get him, Spidey.
Your will is stronger than his.Copy !req
1514. Kick his buttocks.Copy !req
1515. Kim Kahana did great stunt here.
We let this wall fall down on him.Copy !req
1516. Willem did do almost all of his own
stunts, but that one was done by Kim.Copy !req
1517. Sam, I'm curious, is that arm coming out
of the rubble a wink to Evil Dead?Copy !req
1518. No, it's just a tribute to those old
Universal horror pictures.Copy !req
1519. The monster awakens.Copy !req
1520. The guys at A.D.I.,
Amalgamated Dynamics...Copy !req
1521. did a great job with Willem's mask
right there, letting us beat it up.Copy !req
1522. - They really did.
- Yeah.Copy !req
1523. Mr. Osborn.Copy !req
1524. Thank God for you.Copy !req
1525. Great work on Spider-Man's costume
in various stages.Copy !req
1526. We had meetings about getting him
to the stage where you see him here.Copy !req
1527. And a lot of great work done
by Jim Acheson and Lisa Tomczeszyn...Copy !req
1528. and his team of artists over there
in costume shop.Copy !req
1529. Jim had a mockup of the Spider-Man
outfit on a dummy he kept in a truck.Copy !req
1530. He'd follow me around,
location to location...Copy !req
1531. lifting the truck's tailgate, saying:
"How about this, Sam?"Copy !req
1532. He'd take a razorblade to it and slice
away more pieces and more pieces.Copy !req
1533. He really worked long
and hard on that.Copy !req
1534. - The battle-ravaged Spider-Man look.
- Yeah.Copy !req
1535. It was difficult because
the whole costume works on tension...Copy !req
1536. as Jim painstakingly told me
again and again.Copy !req
1537. You could only remove certain pieces
and still have it hold together properly.Copy !req
1538. Yeah, for the rain sequence,
you had to ruin one of our costumes...Copy !req
1539. to make the head removable
and peeled up like that, and build...Copy !req
1540. a special helmet.Copy !req
1541. This shot of Willem coming up
was actually shot later. This one.Copy !req
1542. He was already on another show.
He had to wear a wig.Copy !req
1543. He's more like the David Bowie
of Green Goblins.Copy !req
1544. Don't tell Harry.Copy !req
1545. The reason we re-did that shot
because we wanted him to say:Copy !req
1546. - "Don't tell Harry."
- Yeah.Copy !req
1547. Rather than it being an act of kindness
that Peter performs not tell Harry...Copy !req
1548. we wanted him to fulfill
the last wish of Norman Osborn...Copy !req
1549. this man who had been
the surrogate father to him.Copy !req
1550. So that he'd have an obligation,
a friendship...Copy !req
1551. to perform these last acts,
to keep this dark secret.Copy !req
1552. Remember?
This was our first day in New York.Copy !req
1553. It was so cold and so windy.Copy !req
1554. Again, we had one day to shoot
this critical end scene in the movie.Copy !req
1555. But it was literally...
It must have been like 20 degrees.Copy !req
1556. I know what it's like
to lose a father.Copy !req
1557. The fellow playing the priest
kept asking me for a line.Copy !req
1558. I said, "I can't give it to you.
You're just a background player."Copy !req
1559. He had 10 different ideas of how
he could have a speaking part in this.Copy !req
1560. I swear on my father's grave,
Spider-Man will pay.Copy !req
1561. I really like James Franco's
performance in this scene.Copy !req
1562. I feel he's becoming his father.Copy !req
1563. Finally walking to that car that he was
so embarrassed of in the first scene.Copy !req
1564. He's very understated.
He's just brilliant in this last part.Copy !req
1565. You can feel the evil brewing
inside him, and the hatred.Copy !req
1566. That's a great shot.
He's almost walking to his destiny.Copy !req
1567. No matter what I do...Copy !req
1568. no matter how hard I try...Copy !req
1569. the ones I love will always
be the ones who pay.Copy !req
1570. You must miss him so much.Copy !req
1571. It's been so hard without him.Copy !req
1572. There's something
I've been wanting to tell you.Copy !req
1573. When I was up there...Copy !req
1574. and I thought I was gonna die...Copy !req
1575. there was only one person
who I was thinking of.Copy !req
1576. And it wasn't who I thought it'd be.Copy !req
1577. There's many questions
when you go to shoot a scene.Copy !req
1578. I remember Tobey and Kirsten,
they brought so much to this scene.Copy !req
1579. But one question was, they weren't
sure we should do the kiss at the end.Copy !req
1580. I really appreciate them going for it,
giving it a shot.Copy !req
1581. Because it turned out...
And you never know it at the time...Copy !req
1582. but it wouldn't have even worked
without it.Copy !req
1583. We developed a great deal of trust
throughout the making of the movie.Copy !req
1584. They were willing to try things.
They learn to trust you...Copy !req
1585. that if it doesn't work,
you won't keep it in the picture.Copy !req
1586. Laura was a big advocate of it too.
I thank her for that. Our producer.Copy !req
1587. I love you.Copy !req
1588. You had a great collaboration
with these two. They're gifted...Copy !req
1589. well beyond their years.Copy !req
1590. Tobey did this scene.
Tobey screen-tested for the job.Copy !req
1591. He did a version of this scene
which was the thing...Copy !req
1592. The studio executives were in tears
when they saw it.Copy !req
1593. That's when they said they knew he
was the perfect choice for the movie.Copy !req
1594. You can't what?Copy !req
1595. Tell you...Copy !req
1596. everything.
I mean, there's so much to tell.Copy !req
1597. Yeah. There's so much to tell.Copy !req
1598. Sam, if you were 19,
would you walk away?Copy !req
1599. I can't remember
what it was like being 19.Copy !req
1600. I will always be there
to take care of you.Copy !req
1601. I promise you that.Copy !req
1602. I will always be your friend.Copy !req
1603. Only a friend...Copy !req
1604. Peter Parker?Copy !req
1605. That's all I have to give.Copy !req
1606. This scene was a great combination...Copy !req
1607. of David Koepp, Alvin Sargent,
great input from the producers...Copy !req
1608. and, of course, the actors.Copy !req
1609. Laura did a lot of great work
on that scene.Copy !req
1610. I will never forget these words...Copy !req
1611. As I watch him at the end here,
I really feel he has matured...Copy !req
1612. grown into the person
that his uncle thought he could be.Copy !req
1613. Who am I?Copy !req
1614. I'm Spider-Man.Copy !req
1615. This is the shot...
This shot was actually...Copy !req
1616. literally conceived 18 months
before we delivered the movie.Copy !req
1617. They started working on the shot
and it was the last thing...Copy !req
1618. that came into the last shot.Copy !req
1619. It went into the film
just as we were finishing the dub.Copy !req
1620. - It's an absolutely amazing shot.
- Yeah, it is.Copy !req
1621. This is Sam Raimi, on behalf
of the cast and crew and everybody...Copy !req
1622. thank you for watching the movie
with us.Copy !req