Making Of SPIDER-MAN: ACROSS THE SPIDER-VERSE – Best Of Behind The Scenes & Creating The Animations

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“Spider-Man: Across The Spider-Verse (2023)” Making Of | Behind The Scenes | Behind The Animation Process | On Set Interview With Christopher Miller, Phil Lord, Hailee Steinfeld & Shameik Moore | Funny Cast Moments | Special Effects | Outtakes | On Set Interviews | Featurette – Hinter den Kulissen | Sony Pictures | Marvel Studios | ̲A̲̲b̲̲o̲̲n̲̲n̲̲i̲̲e̲̲r̲̲e̲̲n̲ ➢ http://bit.ly/2ncNY5W (OT: SPIDER-MAN: ACROSS THE SPIDER-VERSE) PART 2 ALREADY CONFIRMED FOR 2024!

ＫＥＹ ＦＡＣＴＳ:
🔑 Release Date 02.06.2023 (US)
🔑 Duration: 2h 20 Min.
🔑 Link: https://www.acrossthespiderverse.movie/

P L O T:
Miles Morales catapults across the Multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero.

ＣＡＳＴ:
❌ Shameik Moore (Spider-Man)
❌ Hailee Steinfeld (Spider-Woman)
❌ Brian Tyree Henry (Jeff Morales)
❌ Luna Lauren Velez (Rio Morales)
❌ Jake Johnson (Peter B. Parker)
❌ Oscar Isaac (Miguel O’Hara)
❌ Jason Schwartzman (Spot)
❌ Issa Rae (Jessica Drew)
❌ Daniel Kaluuya (Hobie Brown)
❌ Mahershala Ali (Uncle Aaron)

S C R I P T:
❌ Phil Lord (written by)
❌Christopher Miller (written by)
❌Dave Callaham (written by)
❌Stan Lee (characters)

D I R E C T O R:
❌ Joaquim Dos Santos
❌ Kemp Powers
❌ Justin K. Thompson

📺 No Disney+? Here you go: http://bit.ly/2gYqCzc

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#acrossthespiderverse #makingof #marvel

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44 thoughts on “Making Of SPIDER-MAN: ACROSS THE SPIDER-VERSE – Best Of Behind The Scenes & Creating The Animations”

  1. i figured it out.. miles isnt a conventional spiderman so the spiderman rules dont apply to him. he can break the canon all he wants. if his peter dying didnt do anything then he can save his dad. its about breaking the mold

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  5. Across the spider verse is now my favorite movie of 2023. It surpassed my expectations, and let me tell you, my expectations were HIGH! This movie is amazing

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  6. Thank you for all your hard work directors, animators and soundtrack department for this exceptional trilogy- you've all outdone yourself <3

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  7. I rather see interviews with visual artists like animators or background designers, I'm tired of hearing what voice actors "think" about the story, I want design insights!!

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  8. I'm an entertainment illustration student in LA and let me tell you – literally every artist I know of, my school's recent grads, and just everyone have worked on this film. Just watched it today and it's amazing!!! As an illustrator it was so visually inspiring and such a sugar rush to our eyes. I'm so glad it's getting the recognition it deserves, and where it's heading for entertainment vis dev artists. The different brush strokes and brush-sets, the different textures portraying each character, it's a melting pot for art, it's like Everything everywhere all at once, but for the animation nerds.

    This is what happens when you give artists enough time and a big wiggle room for creative collaboration.

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  12. The best part of all of this its that Disney movies dont have these levels of AESTHETIC anymore. Its fucking amazing to see how now every animated movie instead of making realistic textures are now using COLORS and treating a scene like ART you would like to hang on your wall.❤

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  16. Iàve wacth it yesterday late at night at the cinema because i didn't want to miss a second with people walking in front of the screen or disturbing with noise. After the first one I was expecting something good but also aware it wouldn't be able to match it. JESUS CHRIST I WAS WRONG! ABSLUTE MASTERPIECE IN EACH SINGLE FRAME! Can't wait to see it streaming to check it frame by frame!

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  17. this whole series is a perfect union of my love of all things spiderman and art as a whole, its a love letter to animation and it gives me hope for the future of *HUMAN* creativity amid the whole AI art apocalypse. i cant wait to see how this story ends.

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  23. The modern take on animation for these 2 movies is outstanding. I managed to see Across the Spider-Vwrse at the weekend in the cinema and was totally blown away. The story and script, and comedy, were all amazing.

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  24. One of the best movies I've seen this year! On another note, as these gentlemen described the process, I thought to myself, "This is what you look like when you haven't slept for three years."

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  25. For such a stunning diverse artistic movie. Surprising how little art was actually shown. 20 seconds of artist talking and 3 seconds of art 😂
    I want to see the ppl behind the art and Patrick is handsome man but good balance guys 😂

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  32. there is always a balance to be struck between sheer artistic effort put into something and the overarching narrative. You can see how something can be too artistically ambitious in the case of Loving Vincent where artists spent years handcrafting what ended up being a niche film without a broad appeal. Spiderverse on the other hand gets the entertaining narrative part correct while still maintaining an incredible level of boundary breaking art. I think people underestimate how difficult it can be for a director (or directors) to strike that balance since they have to focus their energy on both. I think other animation studios, especially Disney, have gotten complacent in keeping the process standardized and bland when it comes to animation style and it shows.

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  34. 8:41 what he says is so true and it's exactly why the end literally took my breath away, I went through so much in those 2h20 that I felt like Ii couldn't handle more emotions for some time and that felt fucking amazing.
    first thing I said when the movie ended is that I've prolly never felt this much emotions in a theatre before

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  37. I just read an article by Vulture about how one of the artists/animators said how working on the sequel to Into The Spider-Verse was "death by a thousand cuts". I have typed up multiple comments on Facebook and I want to bring about my posts on this manner because I recognize the patterns and the nature of how they actually make these two films to begin with. Its like this…

    This is the nature of capitalism and the advancement of technology that has developed to the point where people's lives have become much more easier than ever before but people are still working harder and longer than the savage. This is the same issue with Red Dead Redemption II when it came out in November 2018. Basically, the workers are working all the time and as a result, there are posts that came out that detail the conditions that the workers go through.

    I have read Capital by Karl Marx and he explains the nature of the first event and the first people, the second event and the second people, the third event and the third people. Basically, when the first event happens, it will result in the first people getting either great fortune or great misfortune. When the second event happens, it will result in the second people getting good fortune or good misfortune. When the third event happens, it will result in the third people getting some fortune or some misfortune.

    Also, I have recognized the nature of revising and the whole back & forth. In a nutshell, there's no such thing as 100% nowadays. Everyone is copying and coming off each other in order to do it right and strike it rich but check this out…if Joe is starting to get the vibe that their efforts is going to revised & revamped in a better way by a stranger named Jack, then Joe shouldn't have bothered to begin with. But check this out, if it wasn't for Joe originally doing the shot, then Jack wouldn't have been able to revise & revamp the shot in a better way.

    Joe would do a good job on a scene for Across The Spider-Verse but Phil Lord will come on and say this scene could have been better and so what happens next? Here comes Jack and Jack does the scene in a great way.

    Jack does another scene and he does a great job but Phil Lord says how that scene could have been better and so here comes John and John does a spectacular job on that scene. This method of animating Across The Spider-Verse is constant throughout the production.

    In a nutshell, nobody is doing things right nowadays. People are doing stuff but it is done in a shoddy and inferior manner. But what's happening next is that the producer & writer which is Phil Lord himself, he sees what exactly is transpiring on the sequel and lo & behold, he barks out orders that we need to stop and backtrack and do the scenes in a different way that will most definitely turn out to be better. But what's happening next is that this turns into a big fat case of the back & forth style where nothing is 100% certain and so as a result, we are out here going back & forth in order to get it right.

    These animators are skilled, trained, and most definitely got the abilities for these flicks but the actual mechanics has not been put into motion because the director himself has to layout the groundwork of what its going to be done and how its going to be done but judging from this report, that's not happening. Phil Lord, he's making the animators do it on their own and then using the back & forth method of fine-tuning, tweaking, revamping, revising, editing, and reviewing in a way that's completely different from what the first guy did.

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  44. These films were made by exploiting and underpaying their own animators and artists.
    Read the article "Spider-verse artist say working on sequel was 'death by a thousand paper cuts'" on Vulture.

    Here's an extract:

    Animation is finishing Friday. Completely. No animator is going to put a key down anymore. And Phil is still rewriting stuff. Sony has been fighting with him on this for the whole movie. I don’t know if he’s delusional. It’s really nuts. I’ve worked on projects where things are rewritten — even late in production. But this is another level of craziness.

    His movies work. Cloudy With a Chance of Meatballs worked pretty well. The Mitchells vs the Machines was a success. Spider-Verse was a success. So he thinks that’s the way of doing it. I don’t know if it’s a sense of laziness. Like, okay, yeah, it’s easy to make a movie if you just say, “Don’t plan anything.” You tell the artists, “Come up with stuff. Create the footage and then I’ll decide which direction to go.” It’s easier to do it that way. But it’s very destructive and time consuming.

    Because it’s such a cool project, people want to get their shots in. They want to finish them and make sure it’s in the movie and they can keep it for their reel. So people have been working like crazy. The hardest thing on the animators has not been working 11 hours a day, 70 hours a week. It’s been the wasted work and the frustration of putting in that many hours just to see it changed or thrown away. You work like nuts on a shot and then in a review, suddenly they’re like, “Oh, you didn’t get the latest edit? That’s not how it is anymore.” In every movie I’ve worked on, there have been revisions. You’re always working on a movie that is evolving. But definitely not on this level.

    For sure, there is pressure to making a sequel to the movie that won an Oscar. And there are the difficulties of doing several universes and a lot of characters. There are a lot of styles, which are all technical, and there is all this extra ambition for renders. But that’s not what’s been delaying the movie and making the artists go crazy. The biggest issue we’ve had is the writing. Phil had no idea what he wanted. Maybe he has difficulties making up his mind. I don’t know! Of course, it’s part of every movie where the director says, “What if we could do this or that?” And normally, it’s the producer’s role to push back. The problem is, Phil is the producer. He can’t push back against himself.

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