‘Spider-Man: Into the Spider-Verse’ and How a Scene Crawled to Life | Anatomy of a Scene

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‘Spider-Man: Into the Spider-Verse’ and How a Scene Crawled to Life | Anatomy of a Scene
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‘Spider-Man: Into the Spider-Verse’ and How a Scene Crawled to Life | Anatomy of a Scene
Hi this is Bob persichetti. This is Peter Ramsey and this is Rodney Rothman and we are the directors of Spider-Man into the spider verse alright. So this is our obligatory spider biting Kid scene, but this special because we’ve got miles you know his uncle Aaron brought him down to this place. That he’s never been before a place that has some history between Aaron and Myles, father, Jefferson and he’s looking to just blow off some pressure from school. The sequence is fun, I mean we really try to stretch and use use. The textures of hip-hop use the textures of graffiti street art, even the cutting patterns that you see in like in a music video, we’re doing an effect right here where, where his paint is flattering, the camera and dots know we’re not Justa poking kind of like eighties And nineties, visual aesthetic were also setting up his idea. Kirby. Jack Kirby is a comic book. Artist and stainless 4 is very abstract, expressive dots. It would become important later in our movie, so we’re setting that up here. Also, you can also see a lot of the use of different printing techniques that are transposed to cinematography techniques. With our 1/2 ton. Switcher, drawn from Comics the use of chromatic aberration, you can see here where the figures in the foreground a kind of blurred and the colors in the edges drift over each other. That’S drawn from the imperfect comic book printing techniques that give the illusion of blur. In our movie we don’t have any computer blur effect. It’S all drawn from graphic techniques to create the illusion of space and distance is the story. Reason for doing that is worth Myles. Universe is different than any other sober trying to tweak the rules of Cinema and lighting a little bit in very specific ways to make his world distinct. This is one of the early scenes that we did between Aaron and and miles, and it really became a touchdown for the style of Animation. We were doing as well, then, here we, this is. This is sort of the first introduction of really leaning into the 2D artwork. In the end, the comic book graphic spider bite and then, of course, it’s just fun to have him be blase about the spider biting it’s a horrifying. Looking spider
If you’ve seen a “Spider-Man” origin movie (there are plenty to choose from), you’ll know the scene. Boy meets spider. Spider bites boy. Boy becomes Spider-Man. But in the animated and Oscar-nominated hyperactive fantasia that is “Spider-Man: Into the Spider-Verse,” the radioactive eight-legged creature is bouncing to a little more “Wild Style”-era hip-hop than in versions past.

The directors Bob Persichetti, Peter Ramsey and Rodney Rothman talked about injecting a familiar sequence with new energy while paying tribute visually to the artistry and textures of comic books themselves. Look closely for “Kirby dots,” the signature design style of the comic-book artist Jack Kirby. (”Thor: Ragnarok” was influenced by Kirby as well.) Also look for moments of stylized image blur, meant to invoke the imperfect way that some comic books are printed, giving them a blurry effect. And of course, watch out for that glowing spider.

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