The Big Picture Leading up to the Oscars, Collider was thrilled to be able to screen this year's Best Animated Feature nominee, Spider-Man: Across the Spider-Verse, for our FYC series with Landmark Theatres. It's little wonder this sequel spun its way into the Academy Awards after its predecessor, Into the Spider-Verse, took home the very same achievement in 2019. To celebrate their nomination, directing trio Justin K.
COLLIDER: What has this journey been like for the three of you? When did you realize that you made something that really resonated with people, and that you didn't strike out after the first one being a homerun? Miles Wasn't Originally the Prowler at the End of 'Spider-Man: Across the Spider-Verse' So this audience is made up of a lot of fans of this movie and people that just saw it. You mentioned something right now with Donald Glover and how you filmed it a few weeks before it came out. What other things do you think would surprise fans of this movie to learn about the making of the film?POWERS: It's a lot, because that's the thing, making this movie, it's a living thing.
DOS SANTOS: Well, it's little things, too, right? So, it's like the difference of Miles being in this really bad position, and it looks grim for him, versus a little character modulation, like him starting to touch the chain and the sparks coming through his hands, and that glint in his eye. It's really, really subtle, but you can see the Prowler's Gauntlet there, and it starts dimming a little bit because he's drawing power from the gauntlet.
It was so important to get the messaging of that right, and set up that, “Just remember, we built all this for you. We've done all this for you. You kind of owe us.” And he’s saying, “Yeah, but I can't do that if I'm here with you. If I stay here, I can't be who I am meant to be.
THOMPSON: And I'm sitting there with a fine-tooth comb going over every picture, like, “Okay, the color here, that needs to be darker, and maybe the lights need to move around,” and I'm watching that scene… We probably see every scene, every shot, every frame 3,000 times before you've seen it, and I never even noticed it. It's sort of like a gorilla walks through the room but you're paying attention to everything else and you don't see the gorilla in the crowd.
THOMPSON: I think Phil must have been picked on by bodybuilders at some point because, like, we had to convince him it's okay for him to have muscles.
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