‘Character Drama’: How ‘Spider-Man: Through the Spider-Verse’ Aims to Be Unique

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In an interview with g1, creators of the animated trilogy, actors and a new trio of directors explain how the new film differentiates itself in the multiverse genre: ‘A show just for the show’s sake is boring’. Phil Lord and Chris Miller talk about ‘Through the Spider-Verse’ and multiverse fatigue Before the premiere of “Spider-Man: Through the Spider-Verse” in Brazilian theaters this Thursday (1st), the creators of the animated trilogy, Phil Lord and Chris Miller, need the public to know two things: This is the first part of the story split into two, with the conclusion in “Beyond the Spider-Verse”, in 2024; This is not a movie about the multiverse. I mean, there’s a multiverse, of course. But, at its heart, it is a “character drama”, more interested in who is underneath the masks – and there are hundreds of them – than in the countless parallel dimensions. “The secret to a great comic book or a great adaptation is that they are really about the people inside the costumes. This can be easily overlooked, but in the script we never use their superhero names. We always use their first names, because we always we want to remember that we are writing people”, says Phil Lord in an interview with g1. Watch the video above. Alongside his creative partner on projects such as “Angels of the Law” (2012) and “A Lego Adventure” (2014), Chris Miller, he is responsible for the production and script for the sequel. “And we’re writing a character drama, basically. And that’s what keeps it feeling fresh and keeps it from being just content.” Miles Morales in a scene from ‘Spider-Man: Through the Spider-Verse’ Disclosure Before the previous film, “Spider-Man: Into the Spider-Verse” (2018), the duo had heard from studio executives that the public was not ready for the multiverse concept . An Oscar for best animation – and several other films with parallel dimensions, including the top award winner in American cinema, “Everything, everywhere at once” (2022) – later, filmmakers smile when they remember it. “They were ready,” says Lord. But isn’t there a fear that perhaps by now viewers are tired of the genre? “I think audiences are tired of things they’ve seen before. If this was a movie that looks like every multiverse movie, that could happen. But, it gives audiences an experience they can’t get in any other movie,” says Miller. . “One thing that’s really special about it is that every world we enter is animated in a different style. You can feel the hand of a different artist.” Gwen Stacy and Miles Morales encounter a Spider-Society in ‘Spider-Man: Through the Spider-Verse’ Spider-Man’s identity. In the continuation, he is already more comfortable with his powers and with the mask, but he misses his old friends from parallel universes. Especially Spider-Woman/Gwen Stacy. The longing lasts a short time. When a portal opens in his room, the girl’s familiar smile introduces him to an elite organization formed by hundreds of different “spider people”, united against threats to the existence of the multiverse. Therefore, this time Morales travels to other worlds and discovers new realities, each portrayed with different features and styles. That is, something that stood out in the predecessor’s characters is now expanded to full dimensions. “Each world feels like you’re stepping into a different painting or drawing or comic book. And it’s an experience that you’ve never had before cinematically. That’s what makes it fresh and interesting and different and new,” says Miller. “We know we called the first movie ‘Into the Spider-Verse,’ but we didn’t get a chance to really get into the Spider-Verse properly. So we thought this one could be called ‘Actual Spider-Man Into the Spider-Verse.’ Jessica Drew and Miguel O’Hara in a scene from ‘Spider-Man: Through the Spider-Verse’ Disclosure ‘Who is really knows’ In the so-called “spider-society”, Miles receives guidance from some characters he is already familiar with, others taken directly from the comics and even different versions of established heroes. This is the case with Spider-Woman/Jessica Drew. Created in 1977 as a white woman with powers very different from those of Spider-Man, in the film she appears as a black, pregnant and biker character, who throws webs through her fingers – voiced in the original by Issa Rae (“Insecure”). “I believe in multiverses. I believe we are in one now.” “I don’t want to get into my own psychologies here, but if you feel like there’s only one universe and one existence, then sure enough, you’d get tired of them. But if you feel like there’s multiple realities, you won’t. You understand. Who it’s real y’know,” says the 38-year-old actress. Punk-Aranha was created only in 2005 in the comic book saga that inspired the trilogy. As a more radical and anarchic version of the hero, he quickly gained a following among readers. In “Through the Spider-Verse”, he is voiced in English by Daniel Kaluuya (“No! Don’t look!”). “I think the best versions of these (multiverse) movies, even if it’s Marvel, is when they talk about something real but use comic book language and action to make it fun, but then you come and go. thinking about something,” says the 34-year-old Briton. “I love it. I mean, the big thing I took away (from the movie) was this thing about fatherhood. And I don’t have kids. So it’s like a really profound commentary on when your kid grows up and you might lose him. And How do you deal with it.” Miles Morales in a scene from ‘Spider-Man: Through the Spider-Verse’ Disclosure Spider-Verse 2 – Part 1 As part of the middle of a trilogy, “Through the Spider-Verse” has already been compared by Miller to “Star Wars: Episode V – The Empire Against the Spider-Verse”. Attack” (1980). But, with a more open ending clearly left for the next film, it finds more recent echoes in productions like “Dune” (2021) and even “Fast & Furious 10” (2023). So much so that in 2021 the continuations of “No Aranhaverso” received the original subtitles of “Part 1” and “Part 2”. But that wasn’t always the plan. At the end of the first, a post-credits scene already featured Miguel O’Hara, Spider-Man 2099 (a semicult classic of comics). He was supposed to be Miles’ gateway to the multiverse. After that, Miller and Lord didn’t know much else. As they were writing, they realized that the story was too big for a single film, even with different dimensions. So they decided to share it. For the studio, it wasn’t a difficult choice. Sony licenses the character for the Marvel Cinematic Universe in theaters, in a bizarre situation in which the publisher needs to borrow the hero itself, but is solely responsible for the animations. Excited, she even approved a derivative film, starring the Spider-Women. “It felt like the right decision. It allowed us the space to delve into the characters and the relationships and make everything matter. Everything be special. Not just go by so fast that you can’t even commit to it or cry, as well as laugh.” , says Miller. Gwen Stacy, Peter B. Parker and baby May in a scene from ‘Spider-Man: Through the Spider-Verse’ Spider Disclosure, from 3 To make “Through” and “Beyond” at the same time, the creators went after another trio for the direction. In place of Bob Persichetti, Peter Ramsey and Rodney Rothman, responsible for the first to assume executive production credit on the sequels, are Joaquim dos Santos (“Justice League Unlimited”) Kemp Powers (“Soul”) and Justin K. Thompson (production designer on “Into the Spider-Verse”). Even with animations in their respective curricula, the three boast very different experiences in the area. “The main thing is to bring our unique perspectives and our individual strengths into this collaborative process, because it really is. It’s a collaboration not just of the three of us, Phil Lord and Chris Miller, but a huge team of 1,000 people,” says Powers. Despite being the only one with experience directing a feature film, he is the leg of the tripod with the least baggage in cartoons. Thompson makes his directorial debut (of any type of project), promoted to the position after working as a production designer with Miller and Lord on “It’s raining hamburger” (2009), “It’s raining hamburger” (2013) and “Into the Spider-Verse”. “. According to him, each one took on different areas to be able to cope with the frantic pace. “Kemp had to go on shoots and work with the actors or on the editorial side, the script. And every now and then Joaquim would work with the storyboards and the camera because it’s all so fast. These things are happening at the same time, and so I’m working on lighting and effects and working with the modeling department, to build all these sets and everything,” he says. Powers concludes more categorically. “Honestly, if it was one director, I think this movie probably wouldn’t be in theaters for another three or four years. Because it’s a lot. It’s a very big undertaking. I can’t stress that enough.”

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