WEBVTT - Spider-Man: Across the Spider-Verse w/ Co-Director Kemp Powers

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<v Speaker 1>Warning. This podcast contains spoilers for Spider Man Across the

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<v Speaker 1>Spiders and some minor spoilers four Into the Spider Verse. Hello,

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<v Speaker 1>my name is Jason Concepcion and I'm Rosie Knight and

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<v Speaker 1>welcome next Revision the crook Good Media Podcast. We dive

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<v Speaker 1>deep to your favorite shows, movies, comics, and pop culture.

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<v Speaker 2>In this episode, in the Airlock, we're traveling across the

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<v Speaker 2>Spider Us.

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<v Speaker 3>We've seen it, it's incredible.

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<v Speaker 2>We will be talking about it, and in the Hive

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<v Speaker 2>Mind we will be interviewing one of the Across the

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<v Speaker 2>Spider Us co directors, Kemp Powers, in an absolutely delightful chat.

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<v Speaker 2>And our note out comes from Amy on the YA

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<v Speaker 2>series The Lunar Chronicles.

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<v Speaker 1>Coming up a non spoiler and then spoiler discussion of

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<v Speaker 1>Across the Spider Verse. We're setting out of the air

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<v Speaker 1>locked to talk about Spider Man Across the Spider Verse

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<v Speaker 1>reniv R Non spoiler reaction. Then we're going to dig

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<v Speaker 1>into the plot and what we thought of the movie.

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<v Speaker 1>Here we go. Here's the non spoiler reaction. Absolute masterpiece.

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<v Speaker 2>Five modern classic changes the game again. One of the

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<v Speaker 2>things I wrote this on my lab box review was

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<v Speaker 2>like which I usually just write jokes on there, but

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<v Speaker 2>I wrote like a three paragraph review. It's absolutely delicious

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<v Speaker 2>to me that every studio is basically spent in the

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<v Speaker 2>last five years trying to copy what they did and

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<v Speaker 2>into the Spider Verse, and then across the Spider Verse

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<v Speaker 2>came out and did something completely different, Like animation wise,

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<v Speaker 2>it is absolutely mind blowing. From the opening ten minutes,

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<v Speaker 2>you know you're in for something completely special, and then

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<v Speaker 2>you add to it that it introduces characters who I

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<v Speaker 2>would say will become even more iconic than Penny Parker,

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<v Speaker 2>Spider Noir, Spider Ham. These characters we got in the

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<v Speaker 2>first movie. You get Spider Punk, you get you know,

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<v Speaker 2>Spider By, you get Spider Man India. There's so many

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<v Speaker 2>brilliant characters, and all of that happens. It's funny, but

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<v Speaker 2>also it's still about Miles and this journey, and it's

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<v Speaker 2>so emotional and if you love the first movie, I

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<v Speaker 2>feel like you're gonna love this movie, and I just

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<v Speaker 2>it blew my mind. I was not I knew I

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<v Speaker 2>was gonna really love it, but I didn't really know

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<v Speaker 2>how much of an impact it would have on me.

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<v Speaker 1>Yeah, I think you said the exactly the right thing.

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<v Speaker 1>If you loved the first movie, that combination of high

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<v Speaker 1>flying action, really funny, legitimately funny jokes, and a incredibly

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<v Speaker 1>moving story with crazy high stakes. Considering you're looking, you're

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<v Speaker 1>watching an animated Spider Man film. It's all there again,

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<v Speaker 1>just heightened and in a different way. The emotional beats

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<v Speaker 1>are heartbreaking. This film brings Miles to a place where

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<v Speaker 1>he has to make an incredibly almost impossible decision, and

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<v Speaker 1>I didn't think that anything could top for like my

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<v Speaker 1>breath catching in my chest. The moment where into the

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<v Speaker 1>Spider Verse where Miles is, you know, he gets his

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<v Speaker 1>new costume and he's figuring out like how to be

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<v Speaker 1>Spider Man, you know, and he jumps off, of course,

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<v Speaker 1>the Chrysler building and his head pitched all the way

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<v Speaker 1>down and he's just like you know, hurtling towards the

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<v Speaker 1>ground before he swings and like starts careening across the city.

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<v Speaker 1>That moment is jaw dropping, and across the Spider Verse

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<v Speaker 1>is like filled with moments like.

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<v Speaker 3>How crazy is that?

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<v Speaker 2>Like you you bring up such a good point immediately,

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<v Speaker 2>like ten points like jumped to my mind. There are

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<v Speaker 2>visual moments, There are quiet moments that still just absolutely

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<v Speaker 2>change your perception of mad movie can be and what

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<v Speaker 2>a kid's movie can be. This is a movie that

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<v Speaker 2>respects kids so deeply, and respects this audience, and respects

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<v Speaker 2>comic books and comic creators, which is something we talk

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<v Speaker 2>about with Kemp Powers in our chat. It's moving on

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<v Speaker 2>so many levels. This is like, it happens to me

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<v Speaker 2>a lot because I just love I love cinema, you know,

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<v Speaker 2>as well as like trash movies and all the stuff

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<v Speaker 2>I always talk about, but like, sometimes movies are just

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<v Speaker 2>so beautiful they make you cry. I remember the first

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<v Speaker 2>time I saw the Lego movie. I knew nothing about it.

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<v Speaker 2>I had not been living in the world of like trailers,

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<v Speaker 2>and I didn't really comprehend that the movie looked like

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<v Speaker 2>it was made of stop motion lego. And I remember

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<v Speaker 2>when it opened up and showed the screen, I got

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<v Speaker 2>that feeling in my chest of like, oh, I'm gonna cry,

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<v Speaker 2>Like this is making this is beautiful, this is stunning.

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<v Speaker 2>I can't believe it. And this movie did that to

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<v Speaker 2>me so many times. So many different art styles, so

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<v Speaker 2>many different aesthetics, so many different narrative spaces to tell

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<v Speaker 2>these stories.

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<v Speaker 3>It's unbelievable.

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<v Speaker 2>I could never believe that they were going to top

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<v Speaker 2>the first movie, but I think they did it.

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<v Speaker 1>It is amazing. See it. We have discovered from our

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<v Speaker 1>from co director Kemp Powers, who we just interviewed and

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<v Speaker 1>you're gonna hear his voice later, that it's only available

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<v Speaker 1>in Imax the first week.

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<v Speaker 2>It's yes, because then we have it's Transformers and then

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<v Speaker 2>the Flash. So if you want to see it in Imax,

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<v Speaker 2>go see a iMX this week and then come back

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<v Speaker 2>and listen to our conversation with all the spoilers.

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<v Speaker 1>Absolutely see it in Imax because it will melt your eyeballs.

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<v Speaker 3>It is.

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<v Speaker 1>You just feel like you're in the film.

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<v Speaker 2>You feel like you're in the film, you feel like

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<v Speaker 2>you're in a comic book, you feel like you're in

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<v Speaker 2>a computer. You feel like you're in Miles's universe and

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<v Speaker 2>Gwen's universe and everyone else's universe.

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<v Speaker 3>It's unbelievable.

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<v Speaker 1>Go see it.

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<v Speaker 3>Go see it.

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<v Speaker 1>Stay tuned for the spoiler film discussion of Across the Spiders. Spoilers.

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<v Speaker 1>Spoiler spoiler spoolers. Okay, wow, oh my god, wow.

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<v Speaker 3>What a film.

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<v Speaker 1>Well, let me so when I saw Into the Spider verse.

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<v Speaker 1>It blew me back in my seat, not necessarily because

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<v Speaker 1>of how incredibly visceral the action was, how high flying,

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<v Speaker 1>how wonderful the character designs of Green Goblin and the

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<v Speaker 1>Scorpion design all of them looked, but because there was

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<v Speaker 1>a richness of emotion that I was not expecting when

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<v Speaker 1>you meet alternate Peter, who is divorced and going through it,

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<v Speaker 1>and you marry that energy with Miles trying to figure

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<v Speaker 1>out his life and what it means to be him

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<v Speaker 1>and what direction he's going to take in his life

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<v Speaker 1>and whether he deserves to go to this elite school

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<v Speaker 1>or not, and trying to balance these new powers and

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<v Speaker 1>being a superhero, this intense secret he has with the

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<v Speaker 1>loves for his family, the lovey as for his uncle,

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<v Speaker 1>and this feeling that he has to bear weight of

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<v Speaker 1>this new responsibility. It's like it is incredible and it

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<v Speaker 1>just really hits you. And Across does that in a

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<v Speaker 1>different way that completely fits what this movie is. It's

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<v Speaker 1>more refocused on Gwen, it's more refocused on Miles. And

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<v Speaker 1>you said something really that I've been that really hit

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<v Speaker 1>me when we were talking in our non spoiler conversation,

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<v Speaker 1>which is like it really respects kids. There is you know,

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<v Speaker 1>I've said this before in different places, but I hate

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<v Speaker 1>when people deride like kids stories and kids materials because

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<v Speaker 1>there are fundamental, existential, huge emotional questions that come up

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<v Speaker 1>when you're a kid that matter to you forever for

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<v Speaker 1>the rest of your life. And you know, like do

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<v Speaker 1>you am I love? Does does the people? Does the

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<v Speaker 1>person I love love me? Well?

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<v Speaker 3>What happens when we don't exist anymore? What happens to

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<v Speaker 3>the people I love when they loss on?

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<v Speaker 1>How does my family feel about me? What would it

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<v Speaker 1>feel like if they reject me? Those are like fundamental

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<v Speaker 1>questions that you will think about for the rest of

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<v Speaker 1>your life, and this movie lands those questions in a

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<v Speaker 1>way that makes the Steaks so incredibly powerful. You know,

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<v Speaker 1>like the first movie spoiler movie, Yeah, the Miles's Universe,

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<v Speaker 1>Peter Parker, Spider Man dies like in the first ten minutes,

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<v Speaker 1>and that does so much to set up the stakes

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<v Speaker 1>of this movie, Like, you don't know what will happen.

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<v Speaker 1>Spider Man can die.

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<v Speaker 2>It's like Drew Barrymo being killed at the beginning of Scream.

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<v Speaker 2>You never expect it. This is your hero, It's Spider Man.

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<v Speaker 1>There isn't something necessarily like that in this movie, But

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<v Speaker 1>the steaks are so much more powerful one because you

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<v Speaker 1>care about these characters already built in from seeing the

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<v Speaker 1>first movie, and then they just do such a good

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<v Speaker 1>job of fleshing out the interior life of teenage Miles

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<v Speaker 1>Morales and teenage Gwen Stacy and it's magical. And then

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<v Speaker 1>you marry that with some of the most experimental and

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<v Speaker 1>jaw dropping animation that you can see. Yeah, it takes

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<v Speaker 1>all of so many different animation styles for specific characters

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<v Speaker 1>but also for specific universes, and it somehow makes it

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<v Speaker 1>all incredibly energetic but not chaotic now where you're like,

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<v Speaker 1>I don't know what's going on and I can't focus

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<v Speaker 1>on anything. It just sucks you in. It's amazing.

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<v Speaker 2>It feels like a film that truly understands the possibilities

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<v Speaker 2>of the multiverse. Now we already may feel like we

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<v Speaker 2>are saturated in multiverse storytelling. This is something I was

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<v Speaker 2>thinking about a lot this morning. Even as people who

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<v Speaker 2>love the multiverse, who've been invested in it since we

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<v Speaker 2>first read Crisis on Infinite Earths, right like now, a

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<v Speaker 2>lot of people are like, oh, the multiverse, you know

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<v Speaker 2>this the Flash TV series just finished that was about

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<v Speaker 2>the multiverse. Quantumania was about the multiverse. The Flash movie

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<v Speaker 2>coming out is actually the same plot line the Flash

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<v Speaker 2>TV show just did endgame.

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<v Speaker 3>Strangely, Multiverse Man is.

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<v Speaker 2>Arguably this Masma movie from the story that we have

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<v Speaker 2>heard about. The Flash also has similar storylines to what

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<v Speaker 2>the Flash would be doing.

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<v Speaker 3>But I will tell you something.

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<v Speaker 2>This makes you feel like millions of universes exist and

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<v Speaker 2>you are visiting them. It understands every single universe would

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<v Speaker 2>look different, People would look different in each universe. There

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<v Speaker 2>are infinite possibilities, which means one universe can be hand drawn,

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<v Speaker 2>one universe is watercolored. One universe looks just kind of

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<v Speaker 2>exactly the same, but it's animated a slightly different frame rate.

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<v Speaker 2>And now is I'm not even teasing the visual impact

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<v Speaker 2>that these things will have on you. This is a

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<v Speaker 2>movie that understands the possibility of the multiverse, and it

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<v Speaker 2>is just absolutely astounding it.

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<v Speaker 1>You know, it strikes me listening to you say that.

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<v Speaker 1>I think one of the things that makes the multiverse

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<v Speaker 1>so lived in in this movie is that very smartly,

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<v Speaker 1>this film makes the multiverse a thing that's keeping miles

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<v Speaker 1>away from his friend Gwen missus Miles, Miles missus Gwen,

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<v Speaker 1>and they can't be in the same place because of

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<v Speaker 1>the multiverse and all these canonical rules around how Spider

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<v Speaker 1>Men evolved in their particular universes. But basically, it's the

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<v Speaker 1>multiverse as the longest long distance relationship like you've ever had.

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<v Speaker 2>And not just with somebody who you might have a

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<v Speaker 2>crush on, like Gwen, but somebody who was your mentor,

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<v Speaker 2>like Peter Where's Peter b Parker Bin Miles has had

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<v Speaker 2>to do this himself.

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<v Speaker 3>But we meet Miles here some one of the things

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<v Speaker 3>I know people will be really excited to see.

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<v Speaker 2>He's competent, he can do it. He is Brooklyn Spider Man.

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<v Speaker 2>There is no question anymore. He's not a scrawny kid,

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<v Speaker 2>you know, he's a teenager. And I mean, the funniest

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<v Speaker 2>thing is I think if we did our classic recap

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<v Speaker 2>style thing where we really it, actually this is what happens.

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<v Speaker 2>Miles Morales is in Brooklyn in his universe. Gwen Stacy

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<v Speaker 2>comes to visit him from her universe, but she's not

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<v Speaker 2>in her universe anymore because she's joined like an elite

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<v Speaker 2>team of.

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<v Speaker 1>Spider people and she's on a mission. She's keeping that she.

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<v Speaker 2>Can't stay in her universe because her dad has rejected

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<v Speaker 2>her right. And then you go to Nueva York. You

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<v Speaker 2>meet Miguel uh you know O'Hara, Spider Man twenty ninety nine,

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<v Speaker 2>and there he leads this elite force of Spider people,

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<v Speaker 2>and they want Miles to do something unthinkable, so unthinkable.

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<v Speaker 3>I don't even think it's worth us mentioning in the

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<v Speaker 3>spoiler conversation, you know.

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<v Speaker 2>And the funniest thing is that's really the plot of

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<v Speaker 2>the movie, but actually there's just so much more to it.

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<v Speaker 2>Like this is a movie if you love Easter eggs

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<v Speaker 2>and you love crossovers, and you've been wondering when will

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<v Speaker 2>Miles Morale is Animated crossover with the MCU, when will

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<v Speaker 2>it cross over with the Sony Verus. You are going

0:12:37.120 --> 0:12:40.800
<v Speaker 2>to get those joyous moments here that make you feel

0:12:40.800 --> 0:12:43.640
<v Speaker 2>like all these universes exist. I will also say, now,

0:12:43.679 --> 0:12:46.280
<v Speaker 2>this is a spoiler, but it's just a nerdy spoiler.

0:12:45.920 --> 0:12:46.400
<v Speaker 3>That we love.

0:12:47.040 --> 0:12:49.880
<v Speaker 2>They reference the MCU directly here, and they call it

0:12:49.960 --> 0:12:53.560
<v Speaker 2>a correct name, the nineteen ninety nine to nine Universe

0:12:53.720 --> 0:12:56.400
<v Speaker 2>one nine nine ninety nine Kevin Faggey. I'm sorry, but

0:12:56.440 --> 0:12:59.560
<v Speaker 2>that's the truth. And they complain about Stephen Strange, they

0:12:59.600 --> 0:13:01.640
<v Speaker 2>can plain about him messing with the multiverse. You know,

0:13:02.240 --> 0:13:05.520
<v Speaker 2>there is a connectivity here that feels exciting, but it

0:13:05.559 --> 0:13:09.080
<v Speaker 2>never takes away or dampens from the story. It's as see,

0:13:09.080 --> 0:13:13.200
<v Speaker 2>it's an emotional story about people coming together, about friendship,

0:13:13.200 --> 0:13:17.359
<v Speaker 2>about destiny, and it also introduces us to these characters

0:13:18.520 --> 0:13:21.880
<v Speaker 2>like Spider Punk, you know, played by Daniel Kalua, just

0:13:23.000 --> 0:13:26.679
<v Speaker 2>so brilliant and infinitely iconic.

0:13:27.000 --> 0:13:30.040
<v Speaker 1>I mean, you want him to be in the whole

0:13:30.080 --> 0:13:32.840
<v Speaker 1>movie when he leaves, for it's the perfect time for

0:13:32.920 --> 0:13:34.520
<v Speaker 1>him to leave the movie and the perfect time he

0:13:34.520 --> 0:13:37.079
<v Speaker 1>waves in a moral the perfect way for him to

0:13:37.160 --> 0:13:41.720
<v Speaker 1>leave because he is a total rebel, punk against the

0:13:41.800 --> 0:13:45.840
<v Speaker 1>Green kind of character who like looks at every kind

0:13:45.840 --> 0:13:51.040
<v Speaker 1>of rule sideways. And you get that because this movie

0:13:51.200 --> 0:13:54.720
<v Speaker 1>is and its predecessor is so brilliant at show don't

0:13:54.720 --> 0:13:57.760
<v Speaker 1>tell storytelling, but you just get that in the moment

0:13:57.840 --> 0:14:01.000
<v Speaker 1>you meet him, and it's like, man, I wanted him

0:14:01.000 --> 0:14:03.480
<v Speaker 1>in the whole movie. Yeah, not to mention the fact

0:14:03.559 --> 0:14:08.480
<v Speaker 1>that he acts as one kind of spoke in the

0:14:08.520 --> 0:14:12.200
<v Speaker 1>burgeoning love triangle between Miles and Gwen. It's that is

0:14:12.320 --> 0:14:16.600
<v Speaker 1>such a really powerful emotional driver. Yeah, those little things

0:14:16.600 --> 0:14:18.640
<v Speaker 1>of like oh you left your sweater?

0:14:18.720 --> 0:14:22.800
<v Speaker 3>It is in his world, right do you sleep over there?

0:14:23.440 --> 0:14:25.760
<v Speaker 2>And I love the way that again, like we talk

0:14:25.800 --> 0:14:29.920
<v Speaker 2>about this respecting kids, respecting your audience. A kid who

0:14:30.000 --> 0:14:32.760
<v Speaker 2>was ten when Into the Spider Verse came out is fifteen.

0:14:32.800 --> 0:14:34.880
<v Speaker 3>Now can you imagine getting to watch Into the.

0:14:34.800 --> 0:14:38.280
<v Speaker 2>Spider Verse and then grow up and see Miles maturing

0:14:38.400 --> 0:14:40.840
<v Speaker 2>Sea Miles in these situations and who doesn't love a

0:14:40.880 --> 0:14:41.520
<v Speaker 2>love triangle?

0:14:41.840 --> 0:14:43.600
<v Speaker 3>And you know, kem Powers was talking.

0:14:43.320 --> 0:14:45.840
<v Speaker 2>In our chat about this, this great idea of Spider

0:14:45.840 --> 0:14:48.000
<v Speaker 2>Punk needs to be so cool that he makes Miles

0:14:48.040 --> 0:14:51.360
<v Speaker 2>look uncol which is like an almost impossible feet after

0:14:51.400 --> 0:14:54.200
<v Speaker 2>the first movie. But the way that they represent him again,

0:14:54.280 --> 0:14:56.600
<v Speaker 2>this is something that's so exciting and comes to life

0:14:56.640 --> 0:14:59.720
<v Speaker 2>so deeply on screen. But Spider Punk is brought to

0:14:59.760 --> 0:15:03.560
<v Speaker 2>life essentially as a zine. He's constantly collarge. She changes color.

0:15:03.960 --> 0:15:06.120
<v Speaker 2>He goes from black and white to full color to

0:15:06.320 --> 0:15:09.840
<v Speaker 2>almost like a rizzo print where he's different three different colors.

0:15:09.520 --> 0:15:12.360
<v Speaker 1>The way that his guitarist sits on his back is

0:15:12.440 --> 0:15:15.760
<v Speaker 1>like someone cut a guitar out of an advertise and.

0:15:15.720 --> 0:15:17.160
<v Speaker 3>It didn't cut around the edges.

0:15:17.240 --> 0:15:19.200
<v Speaker 1>Yeah, and didn't cut around the edges and glued it

0:15:19.200 --> 0:15:19.480
<v Speaker 1>onto it.

0:15:19.920 --> 0:15:23.040
<v Speaker 2>And sometimes he's got newsprint over his face. That's just

0:15:23.160 --> 0:15:26.920
<v Speaker 2>one example of the ambition that they are telling this

0:15:27.000 --> 0:15:29.040
<v Speaker 2>story with, and it never takes away from it.

0:15:29.080 --> 0:15:30.479
<v Speaker 3>I'm sure that for some people.

0:15:30.200 --> 0:15:32.960
<v Speaker 2>It will feel overwhelming or it won't necessarily feel as

0:15:33.000 --> 0:15:37.280
<v Speaker 2>clean as the original, But to me, it was such

0:15:37.320 --> 0:15:40.160
<v Speaker 2>an unbelievable experience to see.

0:15:40.040 --> 0:15:41.400
<v Speaker 3>These characters brought to life.

0:15:41.480 --> 0:15:45.440
<v Speaker 2>And obviously the funniest thing about this movie is one

0:15:45.480 --> 0:15:47.280
<v Speaker 2>of the things people most excited about is all these

0:15:47.320 --> 0:15:49.600
<v Speaker 2>different Spider people, right, and that is great, And they

0:15:49.600 --> 0:15:54.400
<v Speaker 2>have some really truly weird Spider people in this movie.

0:15:54.440 --> 0:15:57.680
<v Speaker 2>You have like Spider, you have a werewolf Spider Man,

0:15:57.760 --> 0:16:00.800
<v Speaker 2>you have Websling, a Spider Man and his whore. You

0:16:00.880 --> 0:16:04.600
<v Speaker 2>have one of the coolest newer Spider people, a Spider

0:16:04.680 --> 0:16:07.240
<v Speaker 2>Uk who's like a young Muslim woman. There's all different

0:16:07.280 --> 0:16:09.200
<v Speaker 2>Spider people and you get to experience them.

0:16:09.360 --> 0:16:12.560
<v Speaker 1>PlayStation four, PlayStation multiple.

0:16:12.200 --> 0:16:15.640
<v Speaker 3>Honors, May I just say, and like, it is such

0:16:15.680 --> 0:16:16.600
<v Speaker 3>a cool.

0:16:16.360 --> 0:16:21.280
<v Speaker 2>Space to experience all these little easter eggs and fun stuff,

0:16:21.760 --> 0:16:23.840
<v Speaker 2>but it never it only is ever additive.

0:16:24.280 --> 0:16:27.880
<v Speaker 1>Yes, it's just the right amount. And the other thing

0:16:27.880 --> 0:16:31.680
<v Speaker 1>that's just incredible about this movie, and I'll say this again.

0:16:31.680 --> 0:16:34.400
<v Speaker 1>You'll hear me say this to camp is it's two

0:16:34.440 --> 0:16:38.040
<v Speaker 1>hours plus two ten to twenty to twenty. It feels

0:16:38.040 --> 0:16:39.200
<v Speaker 1>like a ninety minute movie.

0:16:39.280 --> 0:16:43.040
<v Speaker 3>So it goes past so quickly, it never lags. You

0:16:43.080 --> 0:16:45.280
<v Speaker 3>are thrown into this world wholesale.

0:16:45.920 --> 0:16:48.800
<v Speaker 2>And you speak about this on the when they chat,

0:16:48.800 --> 0:16:51.200
<v Speaker 2>but it's so true, like even as you know, a

0:16:51.240 --> 0:16:53.640
<v Speaker 2>thirty four year old woman watching this movie whose job

0:16:53.680 --> 0:16:56.000
<v Speaker 2>it is to know about this stuff, this is part one,

0:16:56.080 --> 0:16:59.920
<v Speaker 2>this is a this is going into this we knew,

0:17:00.320 --> 0:17:02.400
<v Speaker 2>but like you get to the end and it leaves

0:17:02.440 --> 0:17:06.160
<v Speaker 2>you on this unbelievable cliffhanger, unbelieve unbelievable, and you get

0:17:06.200 --> 0:17:09.240
<v Speaker 2>this great soaring moment of Gwen kind of putting together

0:17:09.280 --> 0:17:12.400
<v Speaker 2>this band of heroes, and I went, oh my god,

0:17:12.440 --> 0:17:14.520
<v Speaker 2>it's it's gonna finish.

0:17:14.040 --> 0:17:16.840
<v Speaker 1>When it's when it ended, When the when the credits

0:17:17.040 --> 0:17:21.360
<v Speaker 1>came on, right after that scene, people were like, come on.

0:17:22.040 --> 0:17:24.840
<v Speaker 1>There was like multiple people in the theater just went on

0:17:25.359 --> 0:17:28.119
<v Speaker 1>and it was like, that doesn't happen in assigning.

0:17:28.320 --> 0:17:29.560
<v Speaker 3>It keeps you wanting more.

0:17:29.840 --> 0:17:33.560
<v Speaker 2>And it's a classic old school serialized style Cliff I

0:17:33.640 --> 0:17:35.720
<v Speaker 2>had too, like the old Batman and Robin episodes where

0:17:35.720 --> 0:17:39.080
<v Speaker 2>they would show one after the other. This is not

0:17:39.200 --> 0:17:41.679
<v Speaker 2>a like, oh, there's a post credit scene that teases

0:17:41.680 --> 0:17:42.359
<v Speaker 2>what happened next.

0:17:42.400 --> 0:17:44.200
<v Speaker 3>This is a oh, you were going to want more?

0:17:44.240 --> 0:17:45.119
<v Speaker 3>And the first thing.

0:17:45.040 --> 0:17:47.879
<v Speaker 1>Every five minutes, me and Chris.

0:17:48.119 --> 0:17:50.960
<v Speaker 2>It was me and Chris, my friend Joel, Valerie Nick,

0:17:51.000 --> 0:17:52.520
<v Speaker 2>we were all there and the first thing everyone does

0:17:52.520 --> 0:17:53.840
<v Speaker 2>get out the phone, like when does it come out?

0:17:54.040 --> 0:17:55.719
<v Speaker 3>Like when is it? When is it? Is it April?

0:17:55.840 --> 0:17:56.240
<v Speaker 3>Is it March?

0:17:56.280 --> 0:17:58.800
<v Speaker 2>I believe it's March the next one, but like, it

0:17:58.960 --> 0:18:03.239
<v Speaker 2>is that great? And there is so much here that

0:18:03.280 --> 0:18:06.040
<v Speaker 2>will inspire people, that will get people excited, that will

0:18:06.040 --> 0:18:08.840
<v Speaker 2>make another generation of people want to become comic book fans,

0:18:08.880 --> 0:18:11.920
<v Speaker 2>want to become Spider Man fans. And it also is

0:18:11.960 --> 0:18:16.879
<v Speaker 2>this incredibly complex meta text on the nature of comic

0:18:16.880 --> 0:18:17.720
<v Speaker 2>book can.

0:18:17.640 --> 0:18:21.480
<v Speaker 1>And rules of comic conventions and the way character.

0:18:22.480 --> 0:18:22.919
<v Speaker 3>It can be.

0:18:22.960 --> 0:18:25.120
<v Speaker 2>And I actually hilariously think it's coming at a really

0:18:25.160 --> 0:18:29.520
<v Speaker 2>incredible time. If you've been an incredible timing, I should

0:18:29.520 --> 0:18:31.960
<v Speaker 2>say if you've been keeping up with comic book news recently,

0:18:32.400 --> 0:18:36.080
<v Speaker 2>there has been a huge amount of controversy about the

0:18:36.560 --> 0:18:40.600
<v Speaker 2>choice to kill Kamala Khan in the current Amazing Spider

0:18:40.600 --> 0:18:43.520
<v Speaker 2>Man comic book. Now, as we Know and as Kemp powers,

0:18:43.520 --> 0:18:47.160
<v Speaker 2>we'll talk about characters come back, and there are many reasons.

0:18:47.119 --> 0:18:51.200
<v Speaker 1>They'll be on the bench for a year, if six months, because.

0:18:50.920 --> 0:18:53.160
<v Speaker 3>She's got a movie coming out. Yeah, let's be real.

0:18:53.560 --> 0:18:56.240
<v Speaker 2>In the movies, she's a mutant. In the comic, she's

0:18:56.240 --> 0:18:59.080
<v Speaker 2>an inhuman. We could imagine something might change there. But

0:19:00.320 --> 0:19:03.399
<v Speaker 2>something very interesting about that choice is it happens in

0:19:03.440 --> 0:19:06.359
<v Speaker 2>the pages of Amazing Spider Man. And some people have

0:19:06.400 --> 0:19:10.200
<v Speaker 2>gone through and they've looked Kamala's barely on fifteen pages

0:19:10.240 --> 0:19:12.320
<v Speaker 2>through the whole series. But that is a book where

0:19:12.400 --> 0:19:16.399
<v Speaker 2>historically they kill people for emotional impact. They kill a woman,

0:19:16.440 --> 0:19:18.399
<v Speaker 2>a young woman, they kill Gwen Stacy, or they kill

0:19:18.440 --> 0:19:22.040
<v Speaker 2>a parental figure, they kill Uncle Ben. That is almost

0:19:22.040 --> 0:19:25.000
<v Speaker 2>a trap for a Spider Man book. No matter what happens,

0:19:25.040 --> 0:19:27.480
<v Speaker 2>you have to kill someone to push Peter's story forward.

0:19:27.880 --> 0:19:31.239
<v Speaker 2>It is unbelievable that we now have a movie that

0:19:31.359 --> 0:19:34.359
<v Speaker 2>looks at that history and says this is actually wrong.

0:19:34.720 --> 0:19:36.439
<v Speaker 2>You know, what if you didn't have to do that, well,

0:19:36.480 --> 0:19:38.679
<v Speaker 2>if you could say no to that rule. What if

0:19:38.680 --> 0:19:40.119
<v Speaker 2>you were the person who said, I'm not gonna do that.

0:19:40.160 --> 0:19:42.840
<v Speaker 2>I'm not gonna kill someone for this reason. I'm actually

0:19:43.240 --> 0:19:45.480
<v Speaker 2>gonna push back against that and say, what if I

0:19:45.600 --> 0:19:48.800
<v Speaker 2>changed the cannon. And obviously Miles changed the cannon and

0:19:48.920 --> 0:19:51.960
<v Speaker 2>changed comics forever when he became Spider Man. But it's

0:19:52.040 --> 0:19:55.080
<v Speaker 2>just that timing is so wild, and that moment you're

0:19:55.119 --> 0:19:58.119
<v Speaker 2>already invested in the movie, you love the movie already.

0:19:58.160 --> 0:19:59.600
<v Speaker 2>If you're me, you're watching it, you're like, oh, this

0:19:59.600 --> 0:20:02.320
<v Speaker 2>is InCred I'm seeing comic book characters, I'm seeing Sam

0:20:02.320 --> 0:20:05.720
<v Speaker 2>fa Green's name, I'm seeing comic books drawn by Rick Leonardi.

0:20:05.800 --> 0:20:06.639
<v Speaker 3>This is incredible.

0:20:07.040 --> 0:20:09.159
<v Speaker 2>And then they put that in and you go, oh,

0:20:09.200 --> 0:20:12.639
<v Speaker 2>wait a minute, this is like, this isn't even you

0:20:12.680 --> 0:20:14.520
<v Speaker 2>haven't even gotten to the meat of what this story

0:20:14.600 --> 0:20:15.840
<v Speaker 2>is actually trying to say.

0:20:16.160 --> 0:20:17.000
<v Speaker 3>Is unbelievable.

0:20:17.280 --> 0:20:20.680
<v Speaker 1>I think it's I mean, I thought that uh Into

0:20:20.720 --> 0:20:24.160
<v Speaker 1>the Spider Verse was the best Spider period, but there's

0:20:24.240 --> 0:20:28.320
<v Speaker 1>no question I think you have to Across is better

0:20:28.480 --> 0:20:30.760
<v Speaker 1>in the way that a sequel should be better.

0:20:31.160 --> 0:20:34.200
<v Speaker 2>In the rare way I'm saying, look, I put this,

0:20:34.800 --> 0:20:36.440
<v Speaker 2>I put this out there, ready, masterpiece.

0:20:36.480 --> 0:20:37.000
<v Speaker 3>I agree.

0:20:37.160 --> 0:20:39.240
<v Speaker 2>I think this movie is so good I have to

0:20:39.240 --> 0:20:41.080
<v Speaker 2>see it a few more times. I think it's in

0:20:41.119 --> 0:20:44.360
<v Speaker 2>contention for like one of the best superhero movies ever.

0:20:44.400 --> 0:20:45.720
<v Speaker 3>It's clearly not the best.

0:20:45.960 --> 0:20:47.919
<v Speaker 1>I think it's clearly I think these two movies are

0:20:47.920 --> 0:20:51.680
<v Speaker 1>clearly among the very very very best, like in the

0:20:51.720 --> 0:20:56.119
<v Speaker 1>top echelon of comic book movies ever made easily easily

0:20:56.200 --> 0:20:57.320
<v Speaker 1>and normally.

0:20:56.920 --> 0:20:59.520
<v Speaker 2>The movies that feel most like they were adapted from

0:20:59.520 --> 0:21:01.119
<v Speaker 2>a comic Boo, this is not oh, this is a

0:21:01.200 --> 0:21:02.639
<v Speaker 2>character who was in a comic book. How do we

0:21:02.640 --> 0:21:05.360
<v Speaker 2>make it grounded? Let's militarize the suit, Let's give them

0:21:05.400 --> 0:21:06.840
<v Speaker 2>like an army background.

0:21:07.000 --> 0:21:09.080
<v Speaker 3>This is oh. You like comics? Do you want to

0:21:09.119 --> 0:21:11.200
<v Speaker 3>see a movie that feels like you're reading a comic book.

0:21:11.320 --> 0:21:14.639
<v Speaker 1>It translates what for me was the magic of comics

0:21:14.640 --> 0:21:16.119
<v Speaker 1>when I first started picking them up, which is like,

0:21:16.200 --> 0:21:18.320
<v Speaker 1>anything can happen. You can see any Yes, you can

0:21:18.359 --> 0:21:21.240
<v Speaker 1>see a guy a planet, you know, you could see

0:21:21.240 --> 0:21:26.880
<v Speaker 1>a planet that you could just see anything. And this

0:21:26.960 --> 0:21:31.600
<v Speaker 1>movie conveys that kind of energy, that magical moment of like,

0:21:32.200 --> 0:21:36.199
<v Speaker 1>I know story, I don't know what I'm gonna see next. Yes,

0:21:36.359 --> 0:21:37.000
<v Speaker 1>I have no idea.

0:21:37.080 --> 0:21:38.560
<v Speaker 2>I mean, this movie is so good that we haven't

0:21:38.560 --> 0:21:41.119
<v Speaker 2>even talked about one of the standout sequences, which is

0:21:41.160 --> 0:21:44.280
<v Speaker 2>the introduction of Pav like Spider Man India and when

0:21:44.280 --> 0:21:46.720
<v Speaker 2>they go to his universe and you get to see

0:21:46.800 --> 0:21:49.639
<v Speaker 2>him and he's this incredible charming He's the happy, go

0:21:49.720 --> 0:21:52.760
<v Speaker 2>lucky everything goes right for him, and it is so

0:21:52.880 --> 0:21:55.919
<v Speaker 2>much fun. The animation is so brilliant, Like if you

0:21:55.960 --> 0:21:58.600
<v Speaker 2>want to show someone a ten minute sequence of what

0:21:58.720 --> 0:22:00.719
<v Speaker 2>makes Spider Verse movies, it's that.

0:22:00.880 --> 0:22:04.080
<v Speaker 1>And it's the feeling of scale too, Like it's epic

0:22:04.200 --> 0:22:07.359
<v Speaker 1>in scale. You know, we saw it on Imax, so

0:22:07.400 --> 0:22:11.600
<v Speaker 1>I think that helps. But you feel like, holy shit,

0:22:11.720 --> 0:22:16.680
<v Speaker 1>these characters are swinging in front of massive skyscrapers, trying.

0:22:16.440 --> 0:22:19.240
<v Speaker 3>To in front of thousands of people in traffic.

0:22:19.800 --> 0:22:23.480
<v Speaker 1>It just is incredible the scale. The other scene that

0:22:23.600 --> 0:22:26.320
<v Speaker 1>just took my breath away was, you know, Gwena rives

0:22:27.200 --> 0:22:30.080
<v Speaker 1>in Miles's universe, unbknownst to him on a secret mission

0:22:30.560 --> 0:22:33.359
<v Speaker 1>and is like, let's see what you got. How have

0:22:33.440 --> 0:22:35.760
<v Speaker 1>you leveled up your powers? And they just go on

0:22:35.840 --> 0:22:39.840
<v Speaker 1>this run across the city, and it's like it makes

0:22:39.880 --> 0:22:41.879
<v Speaker 1>you It's that feeling again of being a kid and

0:22:41.920 --> 0:22:43.760
<v Speaker 1>picking up a comic book and being like, I wish

0:22:43.800 --> 0:22:44.800
<v Speaker 1>I could do that, Yeah.

0:22:44.640 --> 0:22:46.359
<v Speaker 3>And you feel like you're getting to do it.

0:22:46.400 --> 0:22:48.399
<v Speaker 2>And that also leads to one of the moments that

0:22:48.440 --> 0:22:53.600
<v Speaker 2>I think is so astounding visually where they end up

0:22:53.600 --> 0:22:55.360
<v Speaker 2>on the top of a toll.

0:22:55.160 --> 0:22:59.480
<v Speaker 1>Building, yeah, the Williamsburg Life Insurance Yeah.

0:22:59.119 --> 0:23:03.920
<v Speaker 2>And then essentially walks around the side of the building

0:23:04.040 --> 0:23:06.840
<v Speaker 2>to the underneath and webs herself so she can sit

0:23:06.920 --> 0:23:09.320
<v Speaker 2>on the bottom of the building upside down. But the

0:23:09.440 --> 0:23:11.800
<v Speaker 2>scope and scale it gives you like wobbly knees when

0:23:11.800 --> 0:23:13.960
<v Speaker 2>you're watching it, you feel like you're up there with her.

0:23:14.160 --> 0:23:17.040
<v Speaker 2>The way that they use camera angles in this movie

0:23:17.160 --> 0:23:20.560
<v Speaker 2>to showcase the landscapes, the work, like Kemp said, the

0:23:20.760 --> 0:23:23.840
<v Speaker 2>thousand plus people who worked on this movie for four

0:23:23.920 --> 0:23:26.320
<v Speaker 2>years to make it come to life, you feel every

0:23:26.359 --> 0:23:29.240
<v Speaker 2>single second of that work on the screen. Because there

0:23:29.240 --> 0:23:32.919
<v Speaker 2>are so many different personalities who obviously brought this to life.

0:23:33.040 --> 0:23:35.760
<v Speaker 2>There's so many different jokes. You know, whoever put Spider

0:23:35.760 --> 0:23:37.560
<v Speaker 2>Cat in there, I know that was a very specific

0:23:37.600 --> 0:23:40.040
<v Speaker 2>person who wanted that joke in. But I also know

0:23:40.119 --> 0:23:43.280
<v Speaker 2>that whoever did a certain shot of you know, the

0:23:43.320 --> 0:23:45.639
<v Speaker 2>bodego or the guy who's running the bodego who Miles

0:23:45.680 --> 0:23:49.600
<v Speaker 2>helps save from the villain of the movie, ostensibly the

0:23:49.640 --> 0:23:54.320
<v Speaker 2>villain of the movie the Spot, who is just totally wild,

0:23:54.359 --> 0:23:56.160
<v Speaker 2>and I did not see the way that they took

0:23:56.320 --> 0:23:56.840
<v Speaker 2>that character.

0:23:56.920 --> 0:24:00.920
<v Speaker 1>I love we talk about this with camp, how this

0:24:01.000 --> 0:24:05.280
<v Speaker 1>movie and its predecessor poked fun at its characters in

0:24:05.280 --> 0:24:06.960
<v Speaker 1>really great ways. It does that with the Spot, where

0:24:06.960 --> 0:24:08.800
<v Speaker 1>it's like, this guy's a villain of the week. I

0:24:08.800 --> 0:24:13.760
<v Speaker 1>mean in the comics, literally literally, this is a throwaway

0:24:13.960 --> 0:24:15.240
<v Speaker 1>first three pages.

0:24:14.920 --> 0:24:15.320
<v Speaker 4>Of it.

0:24:16.880 --> 0:24:20.520
<v Speaker 2>Weird, like you know, that is a character where you're

0:24:20.600 --> 0:24:24.159
<v Speaker 2>just like, who came up with that? Oh no, And

0:24:24.200 --> 0:24:26.000
<v Speaker 2>it's like, you know, two of the greatest, like al

0:24:26.040 --> 0:24:31.119
<v Speaker 2>Milgrim and Herb Trimpy, like, but it's this weird, negative space, fun, strange,

0:24:31.240 --> 0:24:35.240
<v Speaker 2>throwaway character and that is exactly what the movie knows.

0:24:35.600 --> 0:24:38.680
<v Speaker 2>So Miles treats him that way and that ends up.

0:24:40.080 --> 0:24:42.040
<v Speaker 3>Causing more chaos than you can imagine.

0:24:42.040 --> 0:24:45.040
<v Speaker 2>I also love that the movie is so in conversation

0:24:45.160 --> 0:24:47.439
<v Speaker 2>with the audience, not just as comic book readers but

0:24:47.480 --> 0:24:48.640
<v Speaker 2>say you've never read.

0:24:48.440 --> 0:24:49.680
<v Speaker 3>A comic, which I don't believe.

0:24:49.680 --> 0:24:51.960
<v Speaker 2>If you watched the first movie, I assume you probably

0:24:52.080 --> 0:24:53.800
<v Speaker 2>were inspired to read a comic, But say you didn't.

0:24:54.600 --> 0:24:57.479
<v Speaker 2>There will be moments you remember, Remember when Miles hit

0:24:57.520 --> 0:24:59.480
<v Speaker 2>a guy with a bagel and they put a sound effect,

0:24:59.520 --> 0:25:03.480
<v Speaker 2>but you just said iconic became like a huge meme, became

0:25:03.560 --> 0:25:07.439
<v Speaker 2>such a memorable moment that ends up becoming a cannon

0:25:07.560 --> 0:25:10.199
<v Speaker 2>altering event for Miles and for the spot and for

0:25:10.240 --> 0:25:12.960
<v Speaker 2>the people involved. There is so much fun to be

0:25:13.040 --> 0:25:16.680
<v Speaker 2>had with the film. Reacting to what the audience loved

0:25:16.680 --> 0:25:19.560
<v Speaker 2>about the first film, it's absolutely delightful.

0:25:20.480 --> 0:25:22.600
<v Speaker 1>One more emotional beat that really stuck with me because

0:25:22.640 --> 0:25:25.479
<v Speaker 1>it just rang so true, and it's part of why

0:25:25.960 --> 0:25:28.199
<v Speaker 1>this movie's just great and it feels so lived in

0:25:28.280 --> 0:25:34.440
<v Speaker 1>and real is. It gave you a depiction of that

0:25:34.640 --> 0:25:39.520
<v Speaker 1>really like landmark life event that I think everybody has,

0:25:39.640 --> 0:25:42.440
<v Speaker 1>which is the moment that a parent lets you break

0:25:42.480 --> 0:25:45.959
<v Speaker 1>the rules. That is the moment when a parent is like, Okay,

0:25:46.480 --> 0:25:49.959
<v Speaker 1>I see that you really want this thing, and I

0:25:50.080 --> 0:25:52.760
<v Speaker 1>understand who you are I think as a person.

0:25:52.560 --> 0:25:54.720
<v Speaker 3>And I feel like we've had a connection.

0:25:54.760 --> 0:25:55.920
<v Speaker 1>And you know what, go ahead.

0:25:56.000 --> 0:25:57.000
<v Speaker 3>I'm going to show you the trust.

0:25:57.280 --> 0:25:59.800
<v Speaker 1>Yeah, go ahead. Like, I know I grounded you, but

0:26:00.119 --> 0:26:02.960
<v Speaker 1>you're ungrounded, right. I know, I know your dad or

0:26:03.000 --> 0:26:05.320
<v Speaker 1>your mom said this, but I'm saying this, go do it.

0:26:05.560 --> 0:26:07.640
<v Speaker 1>And that is like such a huge moment in every

0:26:07.720 --> 0:26:09.960
<v Speaker 1>kid's life. And it gives you that moment in this

0:26:10.040 --> 0:26:11.440
<v Speaker 1>movie and it just gives you chills.

0:26:11.520 --> 0:26:16.199
<v Speaker 2>It's so good that ability to balance the family aspects

0:26:16.280 --> 0:26:19.280
<v Speaker 2>that made this movie so beloved in the first film,

0:26:19.400 --> 0:26:24.360
<v Speaker 2>and to extrapolate and expand the universe in this completely

0:26:24.400 --> 0:26:27.800
<v Speaker 2>wild way. I mean, we get an entire lego sequence

0:26:27.840 --> 0:26:30.080
<v Speaker 2>that you will learn a very cool fact about from

0:26:30.200 --> 0:26:31.200
<v Speaker 2>Kemp when you listen.

0:26:31.280 --> 0:26:33.560
<v Speaker 3>So stay tuned. But like, that is one of the

0:26:33.600 --> 0:26:34.680
<v Speaker 3>funniest moments in the movie.

0:26:34.720 --> 0:26:37.640
<v Speaker 2>It wasn't even in it until after the trailer was out.

0:26:37.880 --> 0:26:39.040
<v Speaker 3>I'm going to posit this.

0:26:39.200 --> 0:26:40.600
<v Speaker 2>I know we have a lot of people who listen

0:26:40.640 --> 0:26:42.520
<v Speaker 2>to this podcast who even if they haven't seen it,

0:26:42.560 --> 0:26:44.200
<v Speaker 2>they still listen to the spoilers. I'm going to say,

0:26:44.280 --> 0:26:45.760
<v Speaker 2>don't listen to this next book.

0:26:45.960 --> 0:26:47.280
<v Speaker 3>I need to get it out there. I need to

0:26:47.280 --> 0:26:49.800
<v Speaker 3>get out there extra spoilers. Do not listen. This is

0:26:49.800 --> 0:26:51.160
<v Speaker 3>about the last five minutes of the movie.

0:26:51.200 --> 0:26:52.760
<v Speaker 2>People who haven't seen the movie in the room, put

0:26:52.760 --> 0:26:54.199
<v Speaker 2>your fingers, earmuffs your ears.

0:26:54.680 --> 0:26:58.159
<v Speaker 3>But like I have to say it, so the movie.

0:26:58.840 --> 0:27:03.000
<v Speaker 2>The movie ends by Miles attempting to get back to

0:27:03.040 --> 0:27:05.359
<v Speaker 2>his own universe, and I think it's going to be

0:27:05.400 --> 0:27:08.040
<v Speaker 2>an empire level ending for a lot of kids because

0:27:08.040 --> 0:27:10.280
<v Speaker 2>he ends up in the wrong universe because of a

0:27:10.320 --> 0:27:13.920
<v Speaker 2>spider that bit him. He meets an oult universe version

0:27:13.920 --> 0:27:18.239
<v Speaker 2>of himself who is in that universe the Prower. It

0:27:18.359 --> 0:27:24.320
<v Speaker 2>is one of the most heart wrenching, incredible, brilliant choices

0:27:24.400 --> 0:27:27.120
<v Speaker 2>that absolutely gut punched me. They did a great job,

0:27:27.160 --> 0:27:28.960
<v Speaker 2>but the trailers and did't see it coming. I have

0:27:29.000 --> 0:27:29.680
<v Speaker 2>to posit a theory.

0:27:29.680 --> 0:27:30.119
<v Speaker 3>This is what I mean.

0:27:30.160 --> 0:27:33.040
<v Speaker 2>I'm here to reassure your kids. I'm here to reassure you,

0:27:33.520 --> 0:27:36.320
<v Speaker 2>and I'm here to tell you that that is not

0:27:36.440 --> 0:27:38.240
<v Speaker 2>what you think it's going to be. I think in

0:27:38.320 --> 0:27:41.560
<v Speaker 2>that universe, Spider Man was never supposed to exist because

0:27:41.600 --> 0:27:44.080
<v Speaker 2>Miles would always have been the Prower, and the Prowler

0:27:44.200 --> 0:27:46.240
<v Speaker 2>is not a villain. The Parallel is a vigilante that

0:27:46.280 --> 0:27:49.200
<v Speaker 2>they need, and I think that that is not going

0:27:49.240 --> 0:27:53.000
<v Speaker 2>to be the villainous expectation. In the comics, the Prowler

0:27:53.119 --> 0:27:55.639
<v Speaker 2>is more of an anti hero vigilante who has a

0:27:55.680 --> 0:27:58.080
<v Speaker 2>brutal twist. And I think in that universe that is

0:27:58.119 --> 0:28:00.879
<v Speaker 2>the hero that they need, and that is what Miles

0:28:00.960 --> 0:28:03.960
<v Speaker 2>was always supposed to be. I believe that it is

0:28:04.080 --> 0:28:06.560
<v Speaker 2>not the villainous turn people think, and I think that's

0:28:06.680 --> 0:28:07.440
<v Speaker 2>that's my theory.

0:28:07.440 --> 0:28:08.680
<v Speaker 3>But I had to put it out there because I know.

0:28:08.720 --> 0:28:10.640
<v Speaker 2>I had to text my sister and I said, warn

0:28:10.680 --> 0:28:13.119
<v Speaker 2>my nephew that the ending's going to scare him. But

0:28:13.160 --> 0:28:15.200
<v Speaker 2>I can explain what's going to happen because I don't

0:28:15.240 --> 0:28:17.760
<v Speaker 2>believe it's as clear cut as people.

0:28:18.000 --> 0:28:19.960
<v Speaker 1>I love that take, and we're gonna have to wait

0:28:20.000 --> 0:28:22.760
<v Speaker 1>till March to find out if you're right. Up next,

0:28:23.320 --> 0:28:25.440
<v Speaker 1>stay tuned for Kemp Powers.

0:28:38.360 --> 0:28:40.680
<v Speaker 2>Welcome to the Hive Mind, where we explore a topic

0:28:40.720 --> 0:28:44.080
<v Speaker 2>in more detail with an expert guest. This episode we

0:28:44.160 --> 0:28:47.320
<v Speaker 2>are thrilled to welcome are truly great Across the Spider

0:28:47.440 --> 0:28:53.360
<v Speaker 2>Verse expert co director Kemp Powers, playwright, writer, and as

0:28:53.360 --> 0:28:58.560
<v Speaker 2>we just mentioned, co director of the unbelievable New Across

0:28:58.560 --> 0:29:03.280
<v Speaker 2>the Spider Verse. Now warning, this does contain spoilers. I

0:29:03.280 --> 0:29:05.600
<v Speaker 2>would say they are quite vague, but if you want

0:29:05.600 --> 0:29:08.520
<v Speaker 2>to stay fully spoiler free, I would skip this until

0:29:08.520 --> 0:29:09.240
<v Speaker 2>you've seen the movie.

0:29:09.240 --> 0:29:11.160
<v Speaker 3>Go see it. Go see it on the biggest screen possible.

0:29:11.560 --> 0:29:13.000
<v Speaker 1>Kemp Power's welcome next re Vision.

0:29:13.080 --> 0:29:14.760
<v Speaker 5>Thank you for having me. Good to be here. I'm

0:29:14.760 --> 0:29:17.360
<v Speaker 5>a little tired, but I'm going to give it my best.

0:29:17.560 --> 0:29:18.720
<v Speaker 1>So the premiere was last night.

0:29:18.800 --> 0:29:20.800
<v Speaker 5>It was, and then there was the after party.

0:29:20.920 --> 0:29:24.640
<v Speaker 1>Oh man, Well, so I hope y'all really parted. Yeah,

0:29:24.680 --> 0:29:29.040
<v Speaker 1>because across the Spider Verse is a masterpiece.

0:29:29.160 --> 0:29:32.400
<v Speaker 3>I know, it was absolutely no question. We would just

0:29:32.480 --> 0:29:33.479
<v Speaker 3>it blew our minds.

0:29:33.560 --> 0:29:34.640
<v Speaker 5>I'm so happy to hear that.

0:29:34.720 --> 0:29:37.240
<v Speaker 6>I mean, we you work in these bubbles for so

0:29:37.320 --> 0:29:39.480
<v Speaker 6>many years and you kind of come out of your cave.

0:29:39.520 --> 0:29:41.479
<v Speaker 6>And I was talking to another one of the I

0:29:41.560 --> 0:29:44.160
<v Speaker 6>was talking to the to the writer, like we got

0:29:44.160 --> 0:29:46.200
<v Speaker 6>we were getting drunk, and it was just like at

0:29:46.200 --> 0:29:49.240
<v Speaker 6>a certain point, you don't even know what's good or bad. Yeah,

0:29:49.480 --> 0:29:52.120
<v Speaker 6>I just hope that it is, but you just you're

0:29:52.600 --> 0:29:54.560
<v Speaker 6>you're so passionate about it, you know what I mean.

0:29:54.640 --> 0:29:57.000
<v Speaker 6>So it was such a relief to finally just like

0:29:57.040 --> 0:29:59.680
<v Speaker 6>see it with an audience and hear people's real time

0:29:59.680 --> 0:30:02.160
<v Speaker 6>reaction actions it was it meant a lot.

0:30:02.440 --> 0:30:04.480
<v Speaker 1>It is incredible, and I mean, and so in the

0:30:05.000 --> 0:30:11.440
<v Speaker 1>in the most positive way. People were like not mad

0:30:11.480 --> 0:30:15.280
<v Speaker 1>when it was over, but like it had propelled everyone

0:30:15.360 --> 0:30:18.200
<v Speaker 1>to the end with such rapidity. I didn't even know

0:30:18.240 --> 0:30:20.880
<v Speaker 1>how much time it's passed. And when it gets to

0:30:20.920 --> 0:30:24.800
<v Speaker 1>the break where you realize it's over, it was just like, what,

0:30:25.160 --> 0:30:28.000
<v Speaker 1>I'm ready to sit here for another couple hours. It's

0:30:28.080 --> 0:30:32.760
<v Speaker 1>so energetic, so visceral. It shouldn't be as funny and

0:30:32.800 --> 0:30:35.680
<v Speaker 1>as an emotion as emotional as it is, and it's

0:30:35.720 --> 0:30:40.240
<v Speaker 1>just fantastic. It's wonderful. It really conveys the visceral feeling

0:30:40.320 --> 0:30:43.160
<v Speaker 1>of what it must be like to watch people have

0:30:43.240 --> 0:30:45.800
<v Speaker 1>these powers and to use them in such a masterful way.

0:30:45.800 --> 0:30:48.360
<v Speaker 6>It's beautiful, and I mean, of course, I mean, I

0:30:48.400 --> 0:30:50.640
<v Speaker 6>know when you have a I mean, even though we

0:30:50.680 --> 0:30:54.040
<v Speaker 6>told everyone in your first yeah three, you know when

0:30:54.040 --> 0:30:56.880
<v Speaker 6>you when you decide to have a cliffhanger, it's going

0:30:56.920 --> 0:30:59.200
<v Speaker 6>to be divisive, and that's okay. It's okay for some

0:30:59.240 --> 0:31:01.400
<v Speaker 6>people to love it, it's okay for some people to

0:31:01.400 --> 0:31:04.680
<v Speaker 6>not be cool about it, but without spoiling the ending,

0:31:05.600 --> 0:31:08.640
<v Speaker 6>I was a big believer in that ending because of

0:31:08.680 --> 0:31:11.800
<v Speaker 6>the idea of introducing a new problem.

0:31:12.120 --> 0:31:14.800
<v Speaker 5>Yes, so as opposed to like, this is all that's.

0:31:14.600 --> 0:31:17.160
<v Speaker 6>Happened, and now we're going to go into It's like, no,

0:31:17.320 --> 0:31:20.600
<v Speaker 6>at the last minute, let's introduce a new problem so

0:31:20.640 --> 0:31:23.760
<v Speaker 6>that the audience doesn't necessarily know how it's all going

0:31:23.840 --> 0:31:26.840
<v Speaker 6>to be figured out. It's not as simple as this

0:31:26.960 --> 0:31:30.200
<v Speaker 6>person is in a jail cell. So the next movie,

0:31:30.240 --> 0:31:31.920
<v Speaker 6>we're going to break that person out of a jail.

0:31:32.200 --> 0:31:32.400
<v Speaker 2>Yeah.

0:31:32.640 --> 0:31:34.440
<v Speaker 6>I wanted to compl you know, I think it's important

0:31:34.480 --> 0:31:37.240
<v Speaker 6>to kind of complicate it a little bit. Audiences are

0:31:37.240 --> 0:31:41.080
<v Speaker 6>incredibly smart. We do what we can to try to

0:31:41.120 --> 0:31:44.320
<v Speaker 6>stay at least a step ahead if we can. And

0:31:44.360 --> 0:31:47.000
<v Speaker 6>I'm the worst audience member, Like I can't watch movies

0:31:47.040 --> 0:31:50.320
<v Speaker 6>with family members because I'm so used to story math

0:31:50.600 --> 0:31:52.600
<v Speaker 6>that I'll sit there and watch a movie and say

0:31:52.640 --> 0:31:54.240
<v Speaker 6>everything that's going to happen.

0:31:56.400 --> 0:31:59.280
<v Speaker 5>Just so, and it's like I'm trying to outsmart me.

0:32:00.840 --> 0:32:02.040
<v Speaker 3>I will say I did not.

0:32:02.320 --> 0:32:04.480
<v Speaker 2>I have that very same problem because we watched so

0:32:04.480 --> 0:32:06.440
<v Speaker 2>many movies we write stories ourselves.

0:32:06.600 --> 0:32:09.800
<v Speaker 3>I did not see that big new problem coming.

0:32:09.520 --> 0:32:11.240
<v Speaker 2>And I actually I loved the Cliffanger, and I think

0:32:11.240 --> 0:32:13.160
<v Speaker 2>it was more of a case definitely an our screening

0:32:13.320 --> 0:32:15.440
<v Speaker 2>of people being left wanting more.

0:32:15.560 --> 0:32:17.920
<v Speaker 3>Which is a good thing. Like nobody felt cheated. It

0:32:17.960 --> 0:32:19.480
<v Speaker 3>was more. Everyone I spoke to was like I could

0:32:19.480 --> 0:32:21.440
<v Speaker 3>have watched another two hours, like I was ready.

0:32:21.560 --> 0:32:21.920
<v Speaker 1>So I was.

0:32:21.920 --> 0:32:25.280
<v Speaker 2>Speaking outside to a friend of mine, Eric, who's so great.

0:32:25.320 --> 0:32:27.680
<v Speaker 2>He also loved the movie rights over it noticed and

0:32:27.720 --> 0:32:29.960
<v Speaker 2>he made a great comparison that made me get thinking.

0:32:30.040 --> 0:32:32.040
<v Speaker 2>He was like, for a generation of kids, this is

0:32:32.080 --> 0:32:34.320
<v Speaker 2>going to be their Empire, Like, not only did you

0:32:34.360 --> 0:32:36.680
<v Speaker 2>come out and you topped the first movie, but it

0:32:36.760 --> 0:32:39.680
<v Speaker 2>leaves it on this kind of not a downer note,

0:32:39.720 --> 0:32:42.040
<v Speaker 2>but there's a complex problem that needs to be solved,

0:32:42.080 --> 0:32:45.080
<v Speaker 2>and you've learned something shocking and new. Was that something

0:32:45.120 --> 0:32:47.440
<v Speaker 2>that you were purposefully going into with this movie that

0:32:47.480 --> 0:32:48.840
<v Speaker 2>it was going to be more mature, that was going

0:32:48.920 --> 0:32:50.360
<v Speaker 2>to end and leave we.

0:32:50.360 --> 0:32:52.680
<v Speaker 5>Knew, we knew it was going to be darker, and that's.

0:32:52.560 --> 0:32:55.080
<v Speaker 3>Okay, Yeah, no, kids can kids have grown up with this.

0:32:55.720 --> 0:32:57.720
<v Speaker 6>First Star Wars film I saw in a movie theater

0:32:58.120 --> 0:33:01.440
<v Speaker 6>because the first Star Wars I was too young, and

0:33:01.520 --> 0:33:03.560
<v Speaker 6>so Empire was the first time I saw a Star

0:33:03.600 --> 0:33:07.040
<v Speaker 6>Wars film and like, news flash, Luke got his fucking

0:33:07.080 --> 0:33:10.280
<v Speaker 6>arm collage. I was just like, oh ship, you know,

0:33:10.280 --> 0:33:12.320
<v Speaker 6>I'm a little kid, like what's going on?

0:33:12.960 --> 0:33:13.160
<v Speaker 5>You know?

0:33:13.200 --> 0:33:15.680
<v Speaker 6>And I'm talking in the very beginning when his tantong

0:33:15.760 --> 0:33:19.200
<v Speaker 6>gets killed and they hang them upside down and Han

0:33:19.480 --> 0:33:23.600
<v Speaker 6>cuts the thing open and pulls the guts out. This

0:33:23.640 --> 0:33:26.480
<v Speaker 6>is I'm horrified, and this is the most awesome thing ever.

0:33:26.640 --> 0:33:30.640
<v Speaker 6>But there were real steaks. And the interesting thing is

0:33:30.760 --> 0:33:34.600
<v Speaker 6>our film is so much darker to a lot of people,

0:33:35.080 --> 0:33:36.920
<v Speaker 6>but the first film, like a lot of people.

0:33:36.720 --> 0:33:38.920
<v Speaker 1>Got killed, Spider Man dies.

0:33:41.920 --> 0:33:44.800
<v Speaker 6>Because the darkness comes from I think real steaks in

0:33:44.920 --> 0:33:48.320
<v Speaker 6>real menace. I really think that that's and that's a

0:33:48.400 --> 0:33:51.360
<v Speaker 6>that's a difficult thing I think to accomplish these days,

0:33:51.760 --> 0:33:54.480
<v Speaker 6>a real sense of steaks. I mean, the wonderful thing

0:33:55.120 --> 0:33:59.360
<v Speaker 6>that the very comics that inspire us to do this.

0:33:59.440 --> 0:34:02.360
<v Speaker 6>One of the problems with comics is that there's no stakes.

0:34:02.040 --> 0:34:03.480
<v Speaker 3>In nobody you know.

0:34:06.720 --> 0:34:07.200
<v Speaker 5>The canon.

0:34:07.720 --> 0:34:09.640
<v Speaker 6>So you find out a care and you know it's

0:34:09.719 --> 0:34:12.000
<v Speaker 6>news now, like the death of Superman. I was one

0:34:12.000 --> 0:34:16.640
<v Speaker 6>of those people who best selling comic of all I

0:34:16.680 --> 0:34:22.239
<v Speaker 6>got so many different and three months later, guess Who's Back. So,

0:34:22.840 --> 0:34:26.719
<v Speaker 6>you know, we were inspired by comics, but this is cinema,

0:34:27.280 --> 0:34:29.799
<v Speaker 6>and I think we have a different goal. We we

0:34:29.800 --> 0:34:32.960
<v Speaker 6>we were comic fans ourselves. We want comic fans to

0:34:32.960 --> 0:34:36.560
<v Speaker 6>to be excited and love it. But we also were filmmakers.

0:34:36.600 --> 0:34:36.759
<v Speaker 2>Man.

0:34:36.800 --> 0:34:39.680
<v Speaker 6>We want to try to tell a cinematic story that

0:34:39.800 --> 0:34:43.600
<v Speaker 6>feels emotional, that feels personal and human and and has

0:34:43.719 --> 0:34:46.520
<v Speaker 6>real stakes, and we feel as they can only be

0:34:46.600 --> 0:34:49.320
<v Speaker 6>told through cinema. So yeah, we always knew it was

0:34:49.320 --> 0:34:50.840
<v Speaker 6>going to be more mature. I mean one of the

0:34:50.880 --> 0:34:54.000
<v Speaker 6>first decisions that was made was aging Miles up, you know,

0:34:54.200 --> 0:34:57.840
<v Speaker 6>making him less of an adolescent more of a young adult,

0:34:58.200 --> 0:35:02.440
<v Speaker 6>making Miles competent. You know, he ends the first film

0:35:02.480 --> 0:35:05.319
<v Speaker 6>just barely getting his sea legs, and we were all

0:35:05.360 --> 0:35:07.840
<v Speaker 6>excited by the idea of seeing Miles as the Spider

0:35:07.880 --> 0:35:11.439
<v Speaker 6>Man who is responsible for protecting his city and doing

0:35:11.480 --> 0:35:14.360
<v Speaker 6>it really well. But then with that maturity, you know,

0:35:14.480 --> 0:35:16.719
<v Speaker 6>comes more mature problems. And I think it's I think

0:35:16.719 --> 0:35:19.560
<v Speaker 6>it's natural. Plus, you know, kids grew the same kids

0:35:19.560 --> 0:35:22.239
<v Speaker 6>who saw the first into the Spider Verse are five

0:35:22.320 --> 0:35:23.920
<v Speaker 6>years old.

0:35:24.120 --> 0:35:26.000
<v Speaker 3>You imagine if you were ten when you saw that

0:35:26.040 --> 0:35:26.600
<v Speaker 3>first movie.

0:35:26.640 --> 0:35:27.480
<v Speaker 5>And you're fifteen.

0:35:27.600 --> 0:35:30.239
<v Speaker 3>Now that just I imagine that is just one of

0:35:30.320 --> 0:35:31.840
<v Speaker 3>the most special experiences.

0:35:31.960 --> 0:35:33.839
<v Speaker 5>Now, I would hope, so, I would really hope. So.

0:35:33.880 --> 0:35:37.640
<v Speaker 6>I mean, of course we do these films for everyone,

0:35:37.920 --> 0:35:40.000
<v Speaker 6>but the reality is different. People are going to take

0:35:40.040 --> 0:35:41.840
<v Speaker 6>it different ways. And I have a bit of experience

0:35:41.960 --> 0:35:43.600
<v Speaker 6>doing this. Soul was a film that a lot of

0:35:43.600 --> 0:35:45.640
<v Speaker 6>people are like, did you forget kids are out there?

0:35:45.640 --> 0:35:47.879
<v Speaker 6>And it's like no, because they were like, Okay, let's

0:35:47.880 --> 0:35:50.319
<v Speaker 6>see all the things kids aren't interested in forty five

0:35:50.400 --> 0:35:51.000
<v Speaker 6>year old man.

0:35:51.400 --> 0:35:54.600
<v Speaker 5>Yes, you know, like they just like ran down the

0:35:54.680 --> 0:35:55.960
<v Speaker 5>list of things.

0:35:55.640 --> 0:35:58.560
<v Speaker 7>That like, kids go don't give a shit about, and

0:35:58.600 --> 0:36:00.600
<v Speaker 7>we went and made a movie about it, and guess what,

0:36:00.680 --> 0:36:03.640
<v Speaker 7>kids got it, you know, and kids enjoy it, enjoyed it,

0:36:03.680 --> 0:36:05.879
<v Speaker 7>and thanks to COVID, they had nothing else to watch

0:36:05.880 --> 0:36:08.640
<v Speaker 7>on Christmas that year, so they all watched it and

0:36:09.239 --> 0:36:11.360
<v Speaker 7>took it and actually came away with something.

0:36:11.440 --> 0:36:14.239
<v Speaker 5>So I think people, when we say it's for.

0:36:14.200 --> 0:36:16.279
<v Speaker 6>Everyone, that doesn't mean that everyone's going to receive it

0:36:16.320 --> 0:36:17.520
<v Speaker 6>exactly the same way.

0:36:17.840 --> 0:36:18.920
<v Speaker 5>And that's okay.

0:36:19.160 --> 0:36:21.120
<v Speaker 6>I have friends with little four year olds who would

0:36:21.120 --> 0:36:23.439
<v Speaker 6>probably be bouncing out of their seats through the first

0:36:23.440 --> 0:36:25.520
<v Speaker 6>half of this film and that's okay too.

0:36:25.600 --> 0:36:29.359
<v Speaker 1>Yeah, you know, for sure. I think people have an

0:36:29.400 --> 0:36:32.560
<v Speaker 1>idea of what directing a film is like, Well, what

0:36:32.640 --> 0:36:35.080
<v Speaker 1>is directing an animated film like?

0:36:35.840 --> 0:36:37.040
<v Speaker 5>It's complex.

0:36:37.640 --> 0:36:40.040
<v Speaker 6>I mean, the main thing about animation is that it's

0:36:40.080 --> 0:36:45.760
<v Speaker 6>an iterative process. Because of the use of storyboards and scratch,

0:36:46.200 --> 0:36:49.239
<v Speaker 6>we're able to make version after version after version of

0:36:49.280 --> 0:36:53.239
<v Speaker 6>the film before we actually animate the thing. So when

0:36:53.280 --> 0:36:57.400
<v Speaker 6>you're seeing an animated film like Soul or Across the

0:36:57.440 --> 0:37:00.200
<v Speaker 6>Spider Verse, you're seeing like the thirtieth or forty.

0:37:00.320 --> 0:37:01.280
<v Speaker 5>Version of the film.

0:37:01.600 --> 0:37:04.759
<v Speaker 6>And that iterative process is what makes it take so long.

0:37:05.160 --> 0:37:08.279
<v Speaker 6>But with animation you have to kind of it doesn't

0:37:08.320 --> 0:37:11.640
<v Speaker 6>necessarily you have a script, but you don't necessarily know

0:37:11.760 --> 0:37:15.080
<v Speaker 6>how it works until you start building it. There are

0:37:15.160 --> 0:37:18.759
<v Speaker 6>certain things that are similar in certain things that are

0:37:18.880 --> 0:37:21.440
<v Speaker 6>very different from live action. One of the biggest differences

0:37:21.680 --> 0:37:24.200
<v Speaker 6>working with the voiceover performers is that people are almost

0:37:24.200 --> 0:37:26.440
<v Speaker 6>never in the same room. So you have an actor

0:37:26.960 --> 0:37:29.279
<v Speaker 6>and they come in and they get a script and

0:37:29.320 --> 0:37:31.520
<v Speaker 6>there's no one there, and in many cases there's no

0:37:31.560 --> 0:37:34.359
<v Speaker 6>one there the entire process. In many cases, they don't

0:37:34.400 --> 0:37:36.400
<v Speaker 6>even know who the other actor is playing the part.

0:37:36.560 --> 0:37:36.840
<v Speaker 3>Wow.

0:37:36.880 --> 0:37:40.880
<v Speaker 6>So it was always funny when you realize that cast

0:37:40.920 --> 0:37:43.000
<v Speaker 6>members as we got closer to opening, didn't know who

0:37:43.040 --> 0:37:46.680
<v Speaker 6>else was in the movie with characters that they had.

0:37:46.680 --> 0:37:50.000
<v Speaker 5>Major scenes with, because they never knew. It was just

0:37:50.520 --> 0:37:51.000
<v Speaker 5>me and the.

0:37:50.960 --> 0:37:53.120
<v Speaker 6>Booth and Phil or Phil Lord and me and Phil

0:37:53.160 --> 0:37:54.480
<v Speaker 6>and me and Chris and we're in the booth and

0:37:54.520 --> 0:37:57.239
<v Speaker 6>we're working with these actors, and so you know, you

0:37:57.320 --> 0:37:59.719
<v Speaker 6>have to act against nothing or act against you know.

0:37:59.760 --> 0:38:01.719
<v Speaker 6>Some times I'll be their scene partner, but I'm not

0:38:01.760 --> 0:38:03.799
<v Speaker 6>an actor, so I give them the terrible version of

0:38:03.800 --> 0:38:06.839
<v Speaker 6>the line and they just work that way. So that's

0:38:06.840 --> 0:38:11.160
<v Speaker 6>a that's a pretty tremendous difference. Obviously, our sets are

0:38:11.200 --> 0:38:11.600
<v Speaker 6>all in.

0:38:11.560 --> 0:38:15.439
<v Speaker 5>A computer, you know, like rough layout or layout is.

0:38:15.560 --> 0:38:20.920
<v Speaker 6>Like basically the equivalent of building your set with animation,

0:38:21.000 --> 0:38:24.040
<v Speaker 6>because you have the two D storyboards and the board

0:38:24.160 --> 0:38:26.759
<v Speaker 6>artists really help us get the story solid. But then

0:38:26.800 --> 0:38:28.560
<v Speaker 6>when it comes time to build it in three D,

0:38:29.080 --> 0:38:31.880
<v Speaker 6>we go into building the set and you quickly discover

0:38:31.960 --> 0:38:35.120
<v Speaker 6>the stuff that's been storyboarded doesn't necessarily work in three D.

0:38:35.800 --> 0:38:37.600
<v Speaker 6>And that's when you because when it's in three D,

0:38:37.680 --> 0:38:41.240
<v Speaker 6>when it's in layout, that's when you start setting your cameras. Yeah,

0:38:41.320 --> 0:38:44.120
<v Speaker 6>you know, and we'll often do something like we'll be

0:38:44.160 --> 0:38:45.960
<v Speaker 6>in the edit suite and you'll have like a picture

0:38:45.960 --> 0:38:49.040
<v Speaker 6>in picture, so we'll have the layout version with the

0:38:49.080 --> 0:38:51.760
<v Speaker 6>two D storyboard version like up in the corner and stuff.

0:38:51.800 --> 0:38:53.880
<v Speaker 6>And I don't want to get like technical bore you

0:38:53.920 --> 0:38:56.719
<v Speaker 6>to death, but there are certain where we're trying to

0:38:56.719 --> 0:38:58.279
<v Speaker 6>do what you do in live action, but a lot

0:38:58.360 --> 0:39:00.520
<v Speaker 6>of it is done in a computer of it is

0:39:00.560 --> 0:39:03.840
<v Speaker 6>done separately, and then you piece the elements together and

0:39:03.880 --> 0:39:07.000
<v Speaker 6>it takes a long a much longer time than making

0:39:07.000 --> 0:39:08.080
<v Speaker 6>a live action film.

0:39:08.200 --> 0:39:08.359
<v Speaker 3>Yeah.

0:39:08.360 --> 0:39:09.680
<v Speaker 2>I was going to say one of the things that

0:39:09.800 --> 0:39:12.279
<v Speaker 2>kind of blew everyone away about the original Into the

0:39:12.280 --> 0:39:14.719
<v Speaker 2>Spider Verse. It really changed the game in the way

0:39:14.760 --> 0:39:17.480
<v Speaker 2>people treated and approached animated movies. I mean, every other

0:39:17.520 --> 0:39:19.880
<v Speaker 2>studio is still doing movies that are coming out the

0:39:19.920 --> 0:39:21.839
<v Speaker 2>beginning of this year that everyone's saying, Oh, they're trying

0:39:21.840 --> 0:39:23.040
<v Speaker 2>to do Into the Spider of Us or they were

0:39:23.080 --> 0:39:24.359
<v Speaker 2>impacted by Into Spite of Us.

0:39:24.920 --> 0:39:26.280
<v Speaker 3>With Across the Spider Use.

0:39:26.120 --> 0:39:28.040
<v Speaker 2>You kind of blow that up and bring in all

0:39:28.040 --> 0:39:30.759
<v Speaker 2>these different animation styles and go even kind of more

0:39:30.800 --> 0:39:32.560
<v Speaker 2>ambitious and out of the box and it.

0:39:33.040 --> 0:39:33.760
<v Speaker 3>Blew us away.

0:39:34.880 --> 0:39:36.799
<v Speaker 2>How does that then come in because you're not just

0:39:36.840 --> 0:39:39.760
<v Speaker 2>trying to make an animated movie. You're making an animated

0:39:39.760 --> 0:39:41.839
<v Speaker 2>movie in a way that no one else has really done,

0:39:41.880 --> 0:39:44.840
<v Speaker 2>where you have multiple different universes that all look asthetically

0:39:44.920 --> 0:39:47.120
<v Speaker 2>different but still have to fit into this space and

0:39:47.160 --> 0:39:48.080
<v Speaker 2>tell a human story.

0:39:48.239 --> 0:39:49.759
<v Speaker 6>I mean, I give a lot of credit to I

0:39:49.760 --> 0:39:53.600
<v Speaker 6>mean Justin my co directors came Dos Santos and Justin Thompson.

0:39:53.760 --> 0:39:56.520
<v Speaker 6>Justin Thompson was actually the production designer in the first

0:39:56.520 --> 0:39:59.360
<v Speaker 6>into the Spider Verse. And it's just justin being the

0:39:59.400 --> 0:40:01.000
<v Speaker 6>type of guy he is. He just doesn't want to

0:40:01.040 --> 0:40:03.680
<v Speaker 6>do the same stuff again. I love you now, it's

0:40:03.760 --> 0:40:06.799
<v Speaker 6>just not wanting to like, well that was cool, and

0:40:06.840 --> 0:40:08.240
<v Speaker 6>now let's try something different.

0:40:08.239 --> 0:40:10.279
<v Speaker 5>Wouldn't it be cool to do this? Can we do that?

0:40:10.320 --> 0:40:12.880
<v Speaker 6>Can we put off the folks at Sony Pictures Image

0:40:12.880 --> 0:40:14.359
<v Speaker 6>Works like you know, we do a lot of viz

0:40:14.400 --> 0:40:16.719
<v Speaker 6>dev It's just we want to we we just we

0:40:16.840 --> 0:40:20.520
<v Speaker 6>just want to try new stuff. And and I wouldn't

0:40:20.520 --> 0:40:24.759
<v Speaker 6>even say I think it's exciting when people see something

0:40:24.800 --> 0:40:26.600
<v Speaker 6>done a little bit differently and it opens them up

0:40:26.600 --> 0:40:30.160
<v Speaker 6>to other possibilities because obviously when Pixar did Toy Story,

0:40:30.400 --> 0:40:33.920
<v Speaker 6>I mean, look at that transformational change, and to me

0:40:33.960 --> 0:40:35.880
<v Speaker 6>it got a little maybe too extreme, because all of

0:40:35.920 --> 0:40:37.600
<v Speaker 6>a sudden it was like, no one can do too

0:40:37.680 --> 0:40:42.400
<v Speaker 6>d animated anymore. And quietly during that period, some amazing

0:40:42.880 --> 0:40:46.440
<v Speaker 6>Perseis was one of the best animated films I saw.

0:40:46.480 --> 0:40:49.880
<v Speaker 6>I lost to Oscar, I think, to a Pixar film.

0:40:50.040 --> 0:40:51.200
<v Speaker 3>Yeah, you know what I'm saying.

0:40:51.360 --> 0:40:53.719
<v Speaker 5>So like, it's not like it ever died. It's not,

0:40:57.040 --> 0:40:57.600
<v Speaker 5>And that's just it.

0:40:57.600 --> 0:41:01.560
<v Speaker 6>It's just opening people up to using different kinds of

0:41:01.640 --> 0:41:04.800
<v Speaker 6>animation again, but none of it's really gone anywhere because

0:41:05.800 --> 0:41:08.040
<v Speaker 6>you know, there's different practitioners. It was funny when I

0:41:08.080 --> 0:41:11.640
<v Speaker 6>was at Pixar one of my favorite Pixar shorts came

0:41:11.719 --> 0:41:15.799
<v Speaker 6>up there. It was called Kitbull, and it was it

0:41:15.840 --> 0:41:18.440
<v Speaker 6>was just it was unusual and that it was too

0:41:18.560 --> 0:41:22.120
<v Speaker 6>d animo, you know. So the director of that particular

0:41:22.880 --> 0:41:25.360
<v Speaker 6>short decided that even though she could have done it

0:41:25.360 --> 0:41:27.719
<v Speaker 6>three D, she did it two D, and and I

0:41:27.760 --> 0:41:29.799
<v Speaker 6>think that that's what we really want. We just want

0:41:29.800 --> 0:41:33.040
<v Speaker 6>people to figure out the best expression of it. Whether

0:41:33.960 --> 0:41:37.840
<v Speaker 6>Wes Anderson He's done two pretty phenomenal stop motion animated films.

0:41:38.320 --> 0:41:39.719
<v Speaker 5>You know that in the past.

0:41:39.800 --> 0:41:41.960
<v Speaker 6>So so that's all it is is that, you know,

0:41:42.040 --> 0:41:44.400
<v Speaker 6>we want to we we just I hope it just

0:41:44.480 --> 0:41:47.440
<v Speaker 6>opens people up to understanding that there's different ways you

0:41:47.440 --> 0:41:49.680
<v Speaker 6>can do animation. But I already think that's happening. I

0:41:49.680 --> 0:41:52.680
<v Speaker 6>mean Nocchio last year. Yeah, you know, I thought the

0:41:52.719 --> 0:41:56.759
<v Speaker 6>Lego movie was another leg When Phil and Chris did that,

0:41:56.800 --> 0:41:59.480
<v Speaker 6>I was so excited, you know that we got got

0:41:59.480 --> 0:42:02.920
<v Speaker 6>to get a little Lego sequence so.

0:42:02.760 --> 0:42:04.720
<v Speaker 5>Much, which wasn't in the film.

0:42:04.760 --> 0:42:06.520
<v Speaker 3>I don't know if you guys, oh no, we didn't

0:42:06.560 --> 0:42:07.280
<v Speaker 3>know that.

0:42:07.280 --> 0:42:11.440
<v Speaker 6>That's one of the Okay, when we released our first

0:42:11.560 --> 0:42:16.360
<v Speaker 6>teaser trailer for this film, someone recreated the entire trailer

0:42:16.400 --> 0:42:17.279
<v Speaker 6>in the Lego Yeah.

0:42:17.320 --> 0:42:20.880
<v Speaker 1>We watched it, watched it. Yeah, I believe a fourteen

0:42:20.960 --> 0:42:21.719
<v Speaker 1>year old kid.

0:42:21.800 --> 0:42:24.080
<v Speaker 5>Yeah, we hired him. He did the Lego sequence in our.

0:42:24.000 --> 0:42:27.640
<v Speaker 1>Movie No way. Yeah, that's like the coolest year old kid.

0:42:28.520 --> 0:42:31.080
<v Speaker 6>Actually, we went and tracked him down because we were like,

0:42:31.120 --> 0:42:32.799
<v Speaker 6>we should add a Lego sequence to this film.

0:42:32.880 --> 0:42:34.359
<v Speaker 5>You have this guy do it.

0:42:34.480 --> 0:42:39.200
<v Speaker 6>And we found out that Preston was fourteen in Canada

0:42:39.680 --> 0:42:41.600
<v Speaker 6>and we had to work it all out. But yeah,

0:42:41.680 --> 0:42:44.800
<v Speaker 6>we added that Lego sequence and Preston the same kid

0:42:45.040 --> 0:42:49.440
<v Speaker 6>who did those our teaser he he actually animated.

0:42:49.000 --> 0:42:50.719
<v Speaker 3>That amazing good.

0:42:51.239 --> 0:42:54.759
<v Speaker 1>His teaser trailer is yeah, lighting everything, it's ridiculous. The

0:42:54.760 --> 0:42:56.160
<v Speaker 1>camera moves, it's stupid.

0:42:56.440 --> 0:42:58.279
<v Speaker 6>Yeah, I mean, you know, we gave him notes and

0:42:58.320 --> 0:43:01.200
<v Speaker 6>stuff like that, and honestly, I thought that was like

0:43:01.200 --> 0:43:03.799
<v Speaker 6>one of my favorite I mean, it was just so

0:43:03.920 --> 0:43:07.160
<v Speaker 6>funny to us this idea that like Lego Peter Parker,

0:43:07.640 --> 0:43:10.680
<v Speaker 6>you might not notice it, but the first people, yeah,

0:43:10.680 --> 0:43:13.279
<v Speaker 6>pops up. And the fact that Miguel says.

0:43:13.040 --> 0:43:15.520
<v Speaker 1>You're he's the only one.

0:43:16.280 --> 0:43:19.600
<v Speaker 6>He's actually the only Spider person in the movie. Miguel

0:43:19.840 --> 0:43:22.040
<v Speaker 6>compliments being competent.

0:43:22.160 --> 0:43:26.200
<v Speaker 2>Is the Lego and a screening that got such.

0:43:25.960 --> 0:43:28.120
<v Speaker 3>A huge everyone.

0:43:27.800 --> 0:43:31.200
<v Speaker 2>Was just and of course immediately everyone's like the Lego movie, which, again,

0:43:31.280 --> 0:43:33.120
<v Speaker 2>like you say, that just totally changed the way people

0:43:33.160 --> 0:43:35.080
<v Speaker 2>were perceiving what could be done with animation.

0:43:35.280 --> 0:43:35.480
<v Speaker 5>Yeah.

0:43:35.920 --> 0:43:38.560
<v Speaker 1>One of the things that really struck me watching into

0:43:38.719 --> 0:43:44.520
<v Speaker 1>this morning, after watching Across last night is above and

0:43:44.520 --> 0:43:46.719
<v Speaker 1>beyond what we've talked about with the animation is how

0:43:46.840 --> 0:43:50.960
<v Speaker 1>experimental the backgrounds are, you know, like it could have

0:43:51.440 --> 0:43:54.440
<v Speaker 1>into is very clean. You know, when you see Miles

0:43:54.560 --> 0:43:59.320
<v Speaker 1>or Gwen and in an interior setting and the apartment somewhere,

0:43:59.640 --> 0:44:01.560
<v Speaker 1>and you can really make out the background, it looks,

0:44:01.920 --> 0:44:04.480
<v Speaker 1>you know, like a like a comic book page. But

0:44:04.560 --> 0:44:07.560
<v Speaker 1>you're doing so many things with the backgrounds in this movie.

0:44:07.600 --> 0:44:09.759
<v Speaker 1>I'm thinking of the scene.

0:44:09.440 --> 0:44:15.520
<v Speaker 2>With Gwen, Gwen's water.

0:44:13.280 --> 0:44:15.719
<v Speaker 1>Color and moving around. What what inspired that?

0:44:16.120 --> 0:44:18.560
<v Speaker 6>Well, I mean there's different challenges because think the first one,

0:44:18.920 --> 0:44:21.239
<v Speaker 6>you have these different animation styles, but they all come

0:44:21.280 --> 0:44:25.359
<v Speaker 6>to one set, and that's Miles's universe. So that's all

0:44:25.400 --> 0:44:28.120
<v Speaker 6>you have to really keep in consideration. With this one,

0:44:28.800 --> 0:44:32.279
<v Speaker 6>you have not just the characters from those universes, but

0:44:33.560 --> 0:44:36.160
<v Speaker 6>coming to different universes, and we have to think through

0:44:36.520 --> 0:44:39.240
<v Speaker 6>does a character look exactly the same in every universe,

0:44:39.239 --> 0:44:42.120
<v Speaker 6>because there's actually subtle differences in how Miles looks in

0:44:42.200 --> 0:44:46.359
<v Speaker 6>his universe versus Pavittrus. Yeah, and Gwen's is a great

0:44:46.520 --> 0:44:49.360
<v Speaker 6>I mean, hers was inspired by the comic books, which

0:44:49.719 --> 0:44:52.840
<v Speaker 6>the Gwen the Spiderwind comic books, which have this amazingash

0:44:53.280 --> 0:44:55.759
<v Speaker 6>water color look, and we just took it to a

0:44:55.760 --> 0:44:58.000
<v Speaker 6>different level in terms of like, you know, what if

0:44:58.000 --> 0:45:01.600
<v Speaker 6>her whole world is basically like a mood. So so like

0:45:02.440 --> 0:45:05.399
<v Speaker 6>the inspiration is almost like when you're in when you're

0:45:05.440 --> 0:45:08.239
<v Speaker 6>watching a stage play and like a character like needs

0:45:08.239 --> 0:45:10.760
<v Speaker 6>a chair and a chair like appears to sit down.

0:45:10.960 --> 0:45:13.680
<v Speaker 6>So Gwen's entire world is kind of a reflection of

0:45:13.719 --> 0:45:16.040
<v Speaker 6>her mood. And I think you see it, you know,

0:45:16.080 --> 0:45:18.359
<v Speaker 6>you see it one way in the beginning of the film,

0:45:18.400 --> 0:45:20.719
<v Speaker 6>but then I think you see it even more extremely

0:45:20.760 --> 0:45:23.000
<v Speaker 6>when she reconnects with her dad at the end, and

0:45:23.040 --> 0:45:27.160
<v Speaker 6>when it goes from hostile to loving, the changes in it.

0:45:27.200 --> 0:45:30.000
<v Speaker 5>So it was always meant to be this watercolor mood

0:45:30.080 --> 0:45:31.239
<v Speaker 5>ring and look like.

0:45:31.440 --> 0:45:33.960
<v Speaker 6>A painting, and it was. It was one of the

0:45:33.960 --> 0:45:37.160
<v Speaker 6>most challenging things to execute. But that's what that's what

0:45:37.239 --> 0:45:40.000
<v Speaker 6>vizdev that's what visual development is for. You know, you

0:45:40.080 --> 0:45:43.600
<v Speaker 6>spend a year just like experimenting with how we're going

0:45:43.680 --> 0:45:45.799
<v Speaker 6>to make this look and how we're going to make

0:45:45.840 --> 0:45:49.600
<v Speaker 6>it work. And and you know, knock Wood, you hope

0:45:49.600 --> 0:45:52.640
<v Speaker 6>that when it's all said and done, people are positive

0:45:52.680 --> 0:45:54.920
<v Speaker 6>about it. And then I mean the even bigger decision

0:45:55.000 --> 0:45:58.160
<v Speaker 6>is to open the film with that, because it's such

0:45:58.200 --> 0:46:01.839
<v Speaker 6>a visual departure from the first film. So to have

0:46:01.920 --> 0:46:04.840
<v Speaker 6>the first, you know, twenty minutes of the movie be

0:46:04.920 --> 0:46:08.120
<v Speaker 6>in this world that's like visually people aren't accustomed to.

0:46:08.800 --> 0:46:11.560
<v Speaker 6>I think was it was something we talked about a lot,

0:46:11.760 --> 0:46:13.440
<v Speaker 6>you know, because we knew it was like, well, are

0:46:13.440 --> 0:46:15.000
<v Speaker 6>people going to get with this or not? But it's like,

0:46:15.040 --> 0:46:16.719
<v Speaker 6>you know what, considering the journey we're going to take

0:46:16.760 --> 0:46:19.360
<v Speaker 6>people on, better to throw them in the deep end

0:46:19.360 --> 0:46:21.319
<v Speaker 6>of the ye, you know what I mean and get

0:46:21.320 --> 0:46:23.680
<v Speaker 6>them used to something a little bit different and try

0:46:23.719 --> 0:46:26.360
<v Speaker 6>to get them to get with this, then spring that

0:46:26.440 --> 0:46:26.799
<v Speaker 6>on them a.

0:46:26.760 --> 0:46:27.399
<v Speaker 5>Little bit later.

0:46:27.480 --> 0:46:30.600
<v Speaker 2>And I think that opening action, like the opening sequence

0:46:30.640 --> 0:46:32.640
<v Speaker 2>is so stunning because immediately you realize this is a

0:46:32.680 --> 0:46:35.600
<v Speaker 2>different game. Like you said, I mean, there's moments, little

0:46:35.600 --> 0:46:38.160
<v Speaker 2>things logically that I feel a lot of animated movies

0:46:38.200 --> 0:46:40.120
<v Speaker 2>wouldn't do, Like when Gwen's hair changes color.

0:46:40.320 --> 0:46:40.879
<v Speaker 3>Because of the.

0:46:40.800 --> 0:46:42.400
<v Speaker 2>Color, there's a lot of people who say, oh, well,

0:46:42.400 --> 0:46:43.560
<v Speaker 2>why would her hair change color?

0:46:43.600 --> 0:46:45.680
<v Speaker 3>Like how does that? But the atmosphere is so there,

0:46:45.719 --> 0:46:46.000
<v Speaker 3>and then.

0:46:45.960 --> 0:46:49.480
<v Speaker 2>You get an unbelievable fight sequence that's like just mind blowing.

0:46:50.160 --> 0:46:51.799
<v Speaker 3>But one of the other things that I just.

0:46:51.920 --> 0:46:54.960
<v Speaker 2>Really I guess you guys have to balance that we

0:46:54.960 --> 0:46:57.480
<v Speaker 2>haven't really seen them before. You get to play not

0:46:57.560 --> 0:46:59.879
<v Speaker 2>only in these different animated universes, we get to see

0:47:00.080 --> 0:47:02.200
<v Speaker 2>these different cool worlds, but you get to bring in

0:47:02.640 --> 0:47:04.600
<v Speaker 2>the and we will put a big spoiler warning on

0:47:04.640 --> 0:47:06.279
<v Speaker 2>this and it will come out after the film is out,

0:47:06.360 --> 0:47:08.600
<v Speaker 2>but like you get to bring in these live action

0:47:08.840 --> 0:47:09.640
<v Speaker 2>elements too.

0:47:10.120 --> 0:47:12.319
<v Speaker 3>What is it like to then balance.

0:47:12.040 --> 0:47:13.840
<v Speaker 2>That because we, i mean, what is it Roger Rabbit

0:47:13.880 --> 0:47:15.960
<v Speaker 2>the last time we really got to see like animation

0:47:16.160 --> 0:47:18.360
<v Speaker 2>and live action together. So what was it like to

0:47:18.400 --> 0:47:21.120
<v Speaker 2>get to not only just tease those moments and do throwbacks,

0:47:21.160 --> 0:47:23.440
<v Speaker 2>but to even bring a live action character into the

0:47:23.480 --> 0:47:24.360
<v Speaker 2>animated world.

0:47:24.400 --> 0:47:26.600
<v Speaker 6>It's interesting because one of the you don't want to

0:47:26.640 --> 0:47:29.719
<v Speaker 6>overdo it. That's one of the key things is that, like,

0:47:29.960 --> 0:47:32.680
<v Speaker 6>you know, we had a lot of different ideas for

0:47:32.880 --> 0:47:35.600
<v Speaker 6>live action things, and you know, we would storyboard them.

0:47:35.719 --> 0:47:37.879
<v Speaker 6>The storyboards of the live action stuff was great because

0:47:37.880 --> 0:47:39.400
<v Speaker 6>we did it south Park style where it'd be like

0:47:39.440 --> 0:47:42.920
<v Speaker 6>a cutout would like the flapy mouth, and it's like, oh,

0:47:43.719 --> 0:47:46.920
<v Speaker 6>you know, it was just really it was hilarious seeing

0:47:46.960 --> 0:47:50.520
<v Speaker 6>all these floppy mouth yeah versions, but but then we

0:47:50.680 --> 0:47:51.399
<v Speaker 6>just realized it.

0:47:51.360 --> 0:47:52.480
<v Speaker 5>Was diminishing returns.

0:47:53.120 --> 0:47:56.279
<v Speaker 6>So it was again this is I can talk about

0:47:56.280 --> 0:47:57.239
<v Speaker 6>the film this is coming out.

0:47:58.360 --> 0:47:59.120
<v Speaker 5>It will come out.

0:47:59.000 --> 0:48:02.680
<v Speaker 2>On Friday, okay, and we will put spoiler.

0:48:03.520 --> 0:48:06.279
<v Speaker 6>But like, you know, when we decide to have a

0:48:06.360 --> 0:48:09.520
<v Speaker 6>live action character in there, I mean, it creates its

0:48:09.600 --> 0:48:11.520
<v Speaker 6>believe it or not, it creates its own challenges.

0:48:11.160 --> 0:48:13.000
<v Speaker 5>Because we have to like build a costume for.

0:48:12.960 --> 0:48:15.360
<v Speaker 6>The character and then like figure out a way to

0:48:15.440 --> 0:48:19.719
<v Speaker 6>make it not look terrible existing in the animated world, right,

0:48:20.880 --> 0:48:23.200
<v Speaker 6>And but it's also like you just want to have

0:48:23.239 --> 0:48:27.399
<v Speaker 6>the best impact, I guess, and also make it something surprising.

0:48:28.120 --> 0:48:31.239
<v Speaker 6>You know, there's the thing that people expect, and it's like, well,

0:48:31.239 --> 0:48:33.719
<v Speaker 6>if everyone expects it, do we really want to do

0:48:34.200 --> 0:48:37.040
<v Speaker 6>you know this person or that person or this character.

0:48:37.080 --> 0:48:39.640
<v Speaker 6>And it's like, you know, we can't help but get

0:48:39.640 --> 0:48:40.200
<v Speaker 6>a little.

0:48:39.960 --> 0:48:41.359
<v Speaker 5>Bit metas sometimes.

0:48:41.440 --> 0:48:44.640
<v Speaker 6>So you know, we were just you know, thinking about like, well,

0:48:44.640 --> 0:48:46.759
<v Speaker 6>what's a character from the live action that you know

0:48:46.800 --> 0:48:50.440
<v Speaker 6>people wouldn't expect to see and you know, just again

0:48:50.719 --> 0:48:53.600
<v Speaker 6>it's it's Lord Miller Man like it's we want to

0:48:53.600 --> 0:48:57.839
<v Speaker 6>make each other laugh, and honestly we do.

0:48:58.000 --> 0:48:59.480
<v Speaker 5>It's very useful for us.

0:48:59.480 --> 0:49:02.040
<v Speaker 6>To do things like do audience testing and stuff like that,

0:49:02.120 --> 0:49:04.960
<v Speaker 6>and we see the reaction the audience has to it,

0:49:05.040 --> 0:49:07.040
<v Speaker 6>But that's just proving out what we were.

0:49:06.880 --> 0:49:08.040
<v Speaker 5>Already excited by.

0:49:08.280 --> 0:49:10.560
<v Speaker 6>Yes, so we're kind of like trying these versions out

0:49:10.960 --> 0:49:13.960
<v Speaker 6>and it's like, when we're all really tickled and amused,

0:49:15.440 --> 0:49:17.719
<v Speaker 6>that's kind of where we decide to go with it.

0:49:17.760 --> 0:49:20.239
<v Speaker 6>But the technical things, I believe it or not, the

0:49:20.239 --> 0:49:23.399
<v Speaker 6>live action is far from the most difficult technically, where

0:49:23.480 --> 0:49:25.239
<v Speaker 6>it's just basically like, Okay, let's just make sure it.

0:49:25.239 --> 0:49:26.040
<v Speaker 5>Doesn't look stupid.

0:49:26.160 --> 0:49:28.840
<v Speaker 6>Yeah, But for the most part, like yeah, yeah, I

0:49:28.960 --> 0:49:31.000
<v Speaker 6>just want to surprise people if we can.

0:49:31.920 --> 0:49:43.640
<v Speaker 1>X ray Vision will be back and we're back. There's

0:49:43.680 --> 0:49:49.600
<v Speaker 1>some wonderful parallels from across the Spider Verse and into

0:49:49.640 --> 0:49:52.640
<v Speaker 1>the Spider Verse. The one that jumps to mind is

0:49:54.160 --> 0:49:58.120
<v Speaker 1>when Miles first encounters Peter alternate universe Peter in into

0:49:58.160 --> 0:50:01.840
<v Speaker 1>the Spider Verse, he has and tied to a punching

0:50:01.920 --> 0:50:05.040
<v Speaker 1>bag much in the same way, almost the exact same

0:50:05.239 --> 0:50:07.880
<v Speaker 1>same setups as Miles finds himself in at the end

0:50:07.880 --> 0:50:10.640
<v Speaker 1>of the movie. There's different, you know, there's the oh,

0:50:10.680 --> 0:50:16.920
<v Speaker 1>that's a Banksy guys.

0:50:14.239 --> 0:50:15.160
<v Speaker 5>I think that's a vagacy.

0:50:15.960 --> 0:50:18.960
<v Speaker 1>How purposeful, how early in the process, I guess I

0:50:18.960 --> 0:50:22.000
<v Speaker 1>should say, did those ideas come up, like, oh, we

0:50:22.080 --> 0:50:23.319
<v Speaker 1>know that Miles is going to be tied up, what

0:50:23.320 --> 0:50:25.200
<v Speaker 1>if he was tied up the same way as Peter

0:50:25.320 --> 0:50:25.759
<v Speaker 1>was tied up?

0:50:25.800 --> 0:50:27.959
<v Speaker 6>In terms of the specificity, I think it's much later

0:50:28.000 --> 0:50:31.440
<v Speaker 6>in the process. You know, those are you know, you're

0:50:31.480 --> 0:50:32.920
<v Speaker 6>not gonna you're not gonna.

0:50:32.600 --> 0:50:34.879
<v Speaker 5>Build a scene or build a film around a joke.

0:50:35.120 --> 0:50:37.400
<v Speaker 6>Yeah, you know what I mean that the story, the

0:50:37.440 --> 0:50:41.640
<v Speaker 6>story has to work in its simplest, least funny version,

0:50:41.760 --> 0:50:45.000
<v Speaker 6>right you know, So, I mean the scene with Miles

0:50:45.000 --> 0:50:47.919
<v Speaker 6>on the bag, that was always the scene in terms

0:50:47.960 --> 0:50:50.239
<v Speaker 6>of the specificity of like shooting it in a way

0:50:50.239 --> 0:50:53.919
<v Speaker 6>that it literally mirrors that that that came to when

0:50:53.960 --> 0:50:55.640
<v Speaker 6>we got to the point where we were getting detailed

0:50:55.640 --> 0:50:57.640
<v Speaker 6>about it and it was like, oh, let's see, you know,

0:50:57.640 --> 0:50:59.120
<v Speaker 6>and that's not the only thing. It's like, you know,

0:50:59.160 --> 0:51:01.000
<v Speaker 6>a certain character turning up the.

0:51:01.440 --> 0:51:02.720
<v Speaker 1>Sound y yeah, yeah.

0:51:03.000 --> 0:51:05.680
<v Speaker 6>Like perfectly yeah, And we and we we got to

0:51:05.719 --> 0:51:08.919
<v Speaker 6>that specificity a little bit later, but in its earlier version,

0:51:09.000 --> 0:51:11.480
<v Speaker 6>the scene that the dialogue wasn't even all locked in

0:51:11.520 --> 0:51:14.160
<v Speaker 6>and we were just kind of experimenting with it. But

0:51:14.160 --> 0:51:15.920
<v Speaker 6>but we were always thinking about, like I mean, that

0:51:16.000 --> 0:51:17.600
<v Speaker 6>was one of my you know, it was one of

0:51:17.640 --> 0:51:19.840
<v Speaker 6>my favorite little parts in the in the first film,

0:51:19.880 --> 0:51:22.400
<v Speaker 6>when you know he's Peter's tied to the bag and

0:51:22.440 --> 0:51:28.600
<v Speaker 6>he like guesses immediately exactly where. It was such a

0:51:28.600 --> 0:51:31.640
<v Speaker 6>great scene and and so yeah, yeah, yeah, we were

0:51:31.640 --> 0:51:32.239
<v Speaker 6>thinking about it.

0:51:32.160 --> 0:51:33.160
<v Speaker 5>But that's not always a case.

0:51:33.200 --> 0:51:36.279
<v Speaker 6>Sometimes it's just like like that, like the little Banksy joke.

0:51:36.880 --> 0:51:38.839
<v Speaker 5>And I'm not kidding. I think we just added it,

0:51:39.280 --> 0:51:40.759
<v Speaker 5>maybe just a couple of.

0:51:40.680 --> 0:51:43.200
<v Speaker 6>Weeks before we finished, yeah, because at first it was

0:51:43.280 --> 0:51:44.920
<v Speaker 6>just like everyone was like whoa, and it was just

0:51:44.960 --> 0:51:46.640
<v Speaker 6>like just put that there.

0:51:47.160 --> 0:51:50.080
<v Speaker 5>You know, why not.

0:51:50.280 --> 0:51:51.960
<v Speaker 2>We live in this age where there is like a

0:51:51.960 --> 0:51:54.839
<v Speaker 2>lot of comic book adaptations. But I think the first movie,

0:51:54.880 --> 0:51:56.920
<v Speaker 2>and especially I think in this movie is you know,

0:51:56.960 --> 0:52:00.279
<v Speaker 2>I'm Top to eleven. This feels like it is adapting

0:52:00.400 --> 0:52:03.960
<v Speaker 2>a comic book. It's not just about adapting Miles, who

0:52:03.960 --> 0:52:06.239
<v Speaker 2>came from a comic book. You know, Bendis Andceelli like

0:52:06.280 --> 0:52:09.800
<v Speaker 2>created this character. This we have Hobi here, this spider punk,

0:52:10.160 --> 0:52:14.080
<v Speaker 2>his hornerful visual seeing stealing sid but my favorite no

0:52:14.160 --> 0:52:17.960
<v Speaker 2>surprises to anyone, but like the way you bring him

0:52:17.960 --> 0:52:21.160
<v Speaker 2>to life. He's a zine basically you see these collages

0:52:21.239 --> 0:52:23.440
<v Speaker 2>this so that's one style of comic books. You get

0:52:23.480 --> 0:52:26.239
<v Speaker 2>these moments where you see actual comic books and you

0:52:26.320 --> 0:52:28.560
<v Speaker 2>have people like Samford Green, you know, Rick Leonardi, these

0:52:28.719 --> 0:52:30.440
<v Speaker 2>icons come on raw. Could you talk a little bit

0:52:30.440 --> 0:52:33.920
<v Speaker 2>about bringing the comics to life, because that is not

0:52:33.960 --> 0:52:35.040
<v Speaker 2>something we get so much.

0:52:35.239 --> 0:52:37.680
<v Speaker 6>Yeah, I mean a lot of it was actually inviting

0:52:37.680 --> 0:52:40.560
<v Speaker 6>in the artists. Yes, folks like you know, Rick Leonardi,

0:52:40.600 --> 0:52:43.279
<v Speaker 6>Brian Stealfries. You know, a lot of the look of

0:52:43.480 --> 0:52:47.200
<v Speaker 6>Jess Drew's character. We brought in Brian Stealfries, not just

0:52:47.200 --> 0:52:49.400
<v Speaker 6>his comic work, but he does this amazing pin up work,

0:52:49.840 --> 0:52:51.359
<v Speaker 6>and it was a lot of the pin up work

0:52:51.440 --> 0:52:55.440
<v Speaker 6>that really inspired the look of Jess Drew. And of

0:52:55.440 --> 0:52:57.880
<v Speaker 6>course Sandford. I mean you wouldn't even realize it, but

0:52:57.920 --> 0:53:00.319
<v Speaker 6>a lot of the marketing materials to pose as you

0:53:00.360 --> 0:53:03.320
<v Speaker 6>see of miles all over the place, those were Sanford's poses.

0:53:03.920 --> 0:53:07.440
<v Speaker 6>Sanford was brought in really really early to do lots

0:53:07.440 --> 0:53:11.440
<v Speaker 6>of miles posing. You know, it's it's amazing, how how

0:53:11.480 --> 0:53:13.120
<v Speaker 6>long and and it's.

0:53:13.000 --> 0:53:14.840
<v Speaker 5>Just you know, comics.

0:53:14.880 --> 0:53:18.360
<v Speaker 6>I don't I don't want to get like overly philosophical here,

0:53:18.480 --> 0:53:21.120
<v Speaker 6>but you know, it's kind of sad when you think

0:53:21.160 --> 0:53:26.640
<v Speaker 6>about the history of comic books and how these creators,

0:53:26.680 --> 0:53:29.160
<v Speaker 6>you know, created these amazing things that are now so

0:53:29.320 --> 0:53:33.000
<v Speaker 6>valuable and just got cut out of everything about monetarily

0:53:33.400 --> 0:53:37.879
<v Speaker 6>and also creatively, and and it's and it's and it's

0:53:37.960 --> 0:53:41.680
<v Speaker 6>inspired at least, and sometimes it's just like straight up ripping,

0:53:42.160 --> 0:53:44.880
<v Speaker 6>you know, off the work. And I mean people legally

0:53:44.920 --> 0:53:46.480
<v Speaker 6>have a right to do it, but I don't know,

0:53:46.600 --> 0:53:49.520
<v Speaker 6>I just it just felt better, It felt right to

0:53:49.840 --> 0:53:52.720
<v Speaker 6>kind of invite this community as much as we could

0:53:52.760 --> 0:53:56.480
<v Speaker 6>that inspired it, you know, into into the process. I mean,

0:53:56.760 --> 0:54:00.160
<v Speaker 6>my favorite comic book artists, I mean I have I

0:54:00.200 --> 0:54:09.919
<v Speaker 6>have a big three. It's Adams, you know, Frank, Frank

0:54:09.960 --> 0:54:12.279
<v Speaker 6>Miller because my first comic book that I love was

0:54:12.280 --> 0:54:13.360
<v Speaker 6>Frank Miller's Wolverine.

0:54:14.239 --> 0:54:15.160
<v Speaker 5>And billson Kevich.

0:54:15.400 --> 0:54:19.799
<v Speaker 6>Yeah, so we hire billson Kevich, who actually did what

0:54:19.920 --> 0:54:22.480
<v Speaker 6>I think is like one of the most amazing posters

0:54:23.239 --> 0:54:24.560
<v Speaker 6>that I think they're going to be giving out at

0:54:24.600 --> 0:54:26.359
<v Speaker 6>one of the theaters. So just to be able to

0:54:26.960 --> 0:54:31.520
<v Speaker 6>engage some of the like artistic the people who made

0:54:31.560 --> 0:54:33.600
<v Speaker 6>me love comices.

0:54:32.960 --> 0:54:35.200
<v Speaker 5>Like billson Kevitch's run on New Mutants.

0:54:35.320 --> 0:54:38.840
<v Speaker 6>Of course, you like changed my impression of like what

0:54:38.960 --> 0:54:41.839
<v Speaker 6>a comic book could be. And and I mean that's

0:54:41.880 --> 0:54:43.879
<v Speaker 6>what this film is really trying to do. It's it's

0:54:44.080 --> 0:54:46.280
<v Speaker 6>it's it's like, you know, you're seeing all these different

0:54:46.280 --> 0:54:48.319
<v Speaker 6>styles that say, like, oh, animation could be that, because

0:54:48.360 --> 0:54:50.600
<v Speaker 6>like that's what that's what comics are about, is that

0:54:50.640 --> 0:54:53.960
<v Speaker 6>there's all these amazing you know, Alex Ross, there's just

0:54:54.040 --> 0:54:59.359
<v Speaker 6>all these different styles, painterly abstract, you know, like, yeah,

0:54:59.520 --> 0:55:02.160
<v Speaker 6>I thought, you know m Night Shyamalan, his his crazy

0:55:02.239 --> 0:55:04.160
<v Speaker 6>character who runs like a comic book art gallery.

0:55:04.200 --> 0:55:05.600
<v Speaker 5>It's a little bit crazy about it, but.

0:55:05.600 --> 0:55:09.600
<v Speaker 2>Like it is, no, it is really that's amazing because

0:55:09.640 --> 0:55:11.480
<v Speaker 2>like so when there's the five X structure with the

0:55:11.520 --> 0:55:13.319
<v Speaker 2>comic books, right, and when they were coming up at first,

0:55:13.360 --> 0:55:14.960
<v Speaker 2>I'm sitting there and I'm like, oh, that's the Samford

0:55:15.000 --> 0:55:16.800
<v Speaker 2>Green like nod, it's a knee ter egg, that's a

0:55:16.880 --> 0:55:19.000
<v Speaker 2>Leonardi not I have. This is a Leonardi piece on

0:55:19.040 --> 0:55:21.640
<v Speaker 2>my palm. Like but actually then at the end really

0:55:21.719 --> 0:55:24.759
<v Speaker 2>early credits, you get comic books and they were also

0:55:24.880 --> 0:55:28.120
<v Speaker 2>Neila Magruder, who was a co creator of Spider By Yes, exactly.

0:55:28.440 --> 0:55:30.160
<v Speaker 2>So I love to hear that that was your mentality,

0:55:30.160 --> 0:55:31.880
<v Speaker 2>because that's how it felt like it was. The movie

0:55:31.920 --> 0:55:33.880
<v Speaker 2>moved me in many ways, but as someone who cares

0:55:33.920 --> 0:55:35.400
<v Speaker 2>about this stuff we talk about all the time we

0:55:35.520 --> 0:55:38.160
<v Speaker 2>dream of comics getting a union. That was the thing

0:55:38.160 --> 0:55:39.799
<v Speaker 2>that moved me the most was to see these people.

0:55:39.920 --> 0:55:42.160
<v Speaker 2>Chris Anka, who made these characters.

0:55:42.719 --> 0:55:44.879
<v Speaker 5>He is everything.

0:55:45.160 --> 0:55:47.640
<v Speaker 6>I mean, all of these you know, Metro Wooman's been

0:55:47.640 --> 0:55:51.600
<v Speaker 6>posting all these Metro so those are all Chris. Chris

0:55:51.680 --> 0:55:53.920
<v Speaker 6>has done all that stuff, all the all the Metro

0:55:54.000 --> 0:55:56.640
<v Speaker 6>sonas have all been Chris Anchor and and a lot

0:55:56.680 --> 0:55:59.600
<v Speaker 6>of our key character designs for the film, you know,

0:56:00.160 --> 0:56:03.759
<v Speaker 6>have started, you know, with Chris Anka's pencil, and it's

0:56:04.960 --> 0:56:07.919
<v Speaker 6>I mean, I can't really imagine us having been able

0:56:07.920 --> 0:56:10.160
<v Speaker 6>to accomplish it without without any of them.

0:56:10.400 --> 0:56:11.080
<v Speaker 3>I can't.

0:56:11.960 --> 0:56:15.880
<v Speaker 1>That grounding and reverence for the comics allows you to

0:56:15.960 --> 0:56:22.120
<v Speaker 1>do some really great, uh humorous moments where you poke

0:56:22.239 --> 0:56:28.320
<v Speaker 1>fun at certain characters. I'm thinking specifically of Scarlet Spider Ben's.

0:56:31.640 --> 0:56:35.239
<v Speaker 1>It's so good because if you are not aware of

0:56:35.400 --> 0:56:39.640
<v Speaker 1>the nineties material, it's funny, it's accessible, you're laughing, and

0:56:39.680 --> 0:56:43.680
<v Speaker 1>if you are aware of it, have you readier mask Rale.

0:56:44.200 --> 0:56:47.200
<v Speaker 6>His design was like we were literally saying, like, Okay,

0:56:47.239 --> 0:56:48.440
<v Speaker 6>how many pouches can we get?

0:56:50.040 --> 0:56:50.680
<v Speaker 5>You know what I mean?

0:56:52.200 --> 0:56:54.880
<v Speaker 6>I think the casual fan doesn't even notice because his

0:56:55.000 --> 0:56:56.680
<v Speaker 6>poses are extreme.

0:56:59.320 --> 0:57:00.600
<v Speaker 5>And he goes a fick poke.

0:57:01.760 --> 0:57:04.680
<v Speaker 6>His legs are doing things that legs can't really do

0:57:05.000 --> 0:57:07.720
<v Speaker 6>and he's casually doing it, and we just would laugh

0:57:08.000 --> 0:57:10.360
<v Speaker 6>so hard. But then when we saw it rendered the

0:57:10.360 --> 0:57:13.520
<v Speaker 6>first time in his style FO Miles of World, it

0:57:13.600 --> 0:57:15.279
<v Speaker 6>was Honestly, it was one of the first things that

0:57:15.360 --> 0:57:16.920
<v Speaker 6>kind of took my breath away. We had a three

0:57:16.960 --> 0:57:19.760
<v Speaker 6>D model and it turned and moved because I just

0:57:19.800 --> 0:57:21.080
<v Speaker 6>thought it. I was like, oh, I thought I was

0:57:21.160 --> 0:57:23.520
<v Speaker 6>just looking at a picture from an image, you know,

0:57:24.120 --> 0:57:27.040
<v Speaker 6>comic from the from the Heyday. But but yeah, that

0:57:27.160 --> 0:57:30.920
<v Speaker 6>that design, man, I was just like, yeah, that's that

0:57:31.080 --> 0:57:34.240
<v Speaker 6>is like the Heyday, the nineties, the muscles on top

0:57:34.280 --> 0:57:39.760
<v Speaker 6>of muscles, shading, yes, crying.

0:57:39.560 --> 0:57:43.680
<v Speaker 2>Yeah, I mean, you obviously love comics. Was there for you,

0:57:43.720 --> 0:57:46.800
<v Speaker 2>like coming into this project and getting this idea of

0:57:46.920 --> 0:57:47.959
<v Speaker 2>how many Spider people?

0:57:48.320 --> 0:57:50.000
<v Speaker 3>Was that someone you really wanted to see?

0:57:50.040 --> 0:57:53.520
<v Speaker 2>Like was there a Spider character or urist or you know,

0:57:53.720 --> 0:57:55.600
<v Speaker 2>was there's something that you were like I want to

0:57:55.600 --> 0:57:57.600
<v Speaker 2>bring this into the world, even if it's just for me.

0:57:58.560 --> 0:57:59.480
<v Speaker 5>There wasn't any one.

0:57:59.560 --> 0:58:02.160
<v Speaker 6>There were just I mean honestly, the ones that I

0:58:02.200 --> 0:58:04.000
<v Speaker 6>most wanted to see were the ones we put in

0:58:04.040 --> 0:58:06.400
<v Speaker 6>the film. Yeah, you know, I was goundy. I was

0:58:06.440 --> 0:58:10.520
<v Speaker 6>really excited about Punk. I was really excited about Pov

0:58:11.040 --> 0:58:15.240
<v Speaker 6>Pov because we did a pretty extreme redesign of his

0:58:15.400 --> 0:58:16.520
<v Speaker 6>character so good.

0:58:17.200 --> 0:58:20.320
<v Speaker 2>We were talking about, Yeah, I was actually my brilliant

0:58:20.320 --> 0:58:22.440
<v Speaker 2>friend nick I Shookla is the writer of the New

0:58:22.480 --> 0:58:24.440
<v Speaker 2>Spider Man in the ecomic, and I was just saying,

0:58:24.560 --> 0:58:26.520
<v Speaker 2>I just want to see Pav on the pages now

0:58:26.560 --> 0:58:28.160
<v Speaker 2>because the design you guys did.

0:58:28.040 --> 0:58:29.120
<v Speaker 1>Is so cool.

0:58:29.320 --> 0:58:29.520
<v Speaker 5>Yeah.

0:58:29.520 --> 0:58:31.880
<v Speaker 6>I was really gassed about and you know, there was

0:58:31.960 --> 0:58:33.360
<v Speaker 6>It took a lot of you know, we brought in

0:58:33.400 --> 0:58:37.160
<v Speaker 6>a consultant to talk about like certain things, you know,

0:58:37.280 --> 0:58:41.240
<v Speaker 6>like the Nehrew collar and and what you know he

0:58:41.320 --> 0:58:44.600
<v Speaker 6>should and then the hairstyles was also a tremendous thing,

0:58:44.840 --> 0:58:48.200
<v Speaker 6>and then our first design from him. He was younger

0:58:49.280 --> 0:58:52.640
<v Speaker 6>and and rightfully so someone brought up like issues of

0:58:52.720 --> 0:58:56.560
<v Speaker 6>like why don't make the dying guy like a Mowgli stereotype,

0:58:56.800 --> 0:58:58.800
<v Speaker 6>So it was like, you know what let's age this kid.

0:58:58.680 --> 0:58:59.720
<v Speaker 3>Up and he gets to be that.

0:59:00.840 --> 0:59:03.480
<v Speaker 5>Yeah, but he's he's just tough, he's good at what

0:59:03.520 --> 0:59:05.840
<v Speaker 5>he does. It was.

0:59:05.920 --> 0:59:08.000
<v Speaker 6>It was one of the most challenging parts of the

0:59:08.040 --> 0:59:10.360
<v Speaker 6>film to do, which I think made it all the

0:59:10.400 --> 0:59:14.760
<v Speaker 6>more satisfying. But from the redesign of Pav to executing

0:59:14.800 --> 0:59:17.760
<v Speaker 6>his character and his story which involved I mean true story,

0:59:18.280 --> 0:59:19.280
<v Speaker 6>an early version of it.

0:59:19.320 --> 0:59:19.920
<v Speaker 5>We thought it was.

0:59:19.840 --> 0:59:23.120
<v Speaker 6>Getting pretty good and then we got an email from

0:59:23.160 --> 0:59:25.400
<v Speaker 6>a lot of our animators in India who were just like,

0:59:25.480 --> 0:59:28.640
<v Speaker 6>this is not good. Like it's not, it's not it's

0:59:28.680 --> 0:59:31.040
<v Speaker 6>not as good a character. Like we're we're from different

0:59:31.080 --> 0:59:33.040
<v Speaker 6>parts of India and like one thing we agree on

0:59:33.200 --> 0:59:34.960
<v Speaker 6>is like this, this could be better.

0:59:35.400 --> 0:59:38.320
<v Speaker 5>So and again this is this is the nature of collaboration.

0:59:38.440 --> 0:59:42.200
<v Speaker 6>Yeah, we very quickly assembled in all like Indian writer's room,

0:59:42.640 --> 0:59:45.760
<v Speaker 6>and we invited not just Indian American Indian like Hassamanaj

0:59:45.880 --> 0:59:48.200
<v Speaker 6>was in the room, like we we brought in a

0:59:48.240 --> 0:59:50.680
<v Speaker 6>lot of people and showed him the scene and then

0:59:51.280 --> 0:59:53.760
<v Speaker 6>just got notes and taught and they were just talking

0:59:53.760 --> 0:59:56.680
<v Speaker 6>about their lives, talking about their culture, and then rewrote

0:59:56.720 --> 0:59:57.200
<v Speaker 6>the whole thing.

0:59:58.040 --> 1:00:01.200
<v Speaker 5>Pav went He was very different he was much younger

1:00:01.600 --> 1:00:02.360
<v Speaker 5>he he was.

1:00:02.480 --> 1:00:07.479
<v Speaker 6>He was kind of like almost like naive, and and

1:00:07.560 --> 1:00:11.680
<v Speaker 6>we just transformed the character into something that the folks

1:00:11.680 --> 1:00:14.720
<v Speaker 6>in that room could recognize. So I don't know just

1:00:14.800 --> 1:00:17.520
<v Speaker 6>of the characters. I didn't know much about Spider Man

1:00:17.520 --> 1:00:19.880
<v Speaker 6>India and the comic books. I just literally saw a

1:00:19.960 --> 1:00:22.160
<v Speaker 6>design and I read a little bit about it, and

1:00:22.160 --> 1:00:25.520
<v Speaker 6>I was like, oh, he gets power, so it's really cool.

1:00:27.160 --> 1:00:29.640
<v Speaker 6>Came in his uncle's uncle beam like it's like there's

1:00:29.640 --> 1:00:31.680
<v Speaker 6>always gonna be Peter, you.

1:00:31.640 --> 1:00:32.560
<v Speaker 5>Know, parallels.

1:00:32.760 --> 1:00:34.920
<v Speaker 6>But but it was like, Okay, I think this is

1:00:34.920 --> 1:00:37.800
<v Speaker 6>an interesting idea, but we got to like, really, let's

1:00:37.840 --> 1:00:40.200
<v Speaker 6>try to just do our version of it, because that's

1:00:40.240 --> 1:00:42.120
<v Speaker 6>the other thing is we don't want to be beholden

1:00:42.200 --> 1:00:45.560
<v Speaker 6>to any source material, which if you've seen our movie

1:00:45.880 --> 1:00:48.520
<v Speaker 6>you should know that's a pretty strong The world view

1:00:48.600 --> 1:00:51.120
<v Speaker 6>we have is that, you know, canon can also be

1:00:51.240 --> 1:00:54.040
<v Speaker 6>like turned into a noose, and it can it can

1:00:54.080 --> 1:00:56.400
<v Speaker 6>take all the joy, it can take all the excitement

1:00:56.400 --> 1:00:59.360
<v Speaker 6>out of anything when you know you set these incredibly

1:00:59.440 --> 1:01:01.480
<v Speaker 6>rigid rules. And so of course we weren't going to

1:01:01.520 --> 1:01:04.440
<v Speaker 6>where to that in making this film or any other characters.

1:01:04.520 --> 1:01:06.840
<v Speaker 6>But I think Punk and POV are the greatest examples

1:01:06.880 --> 1:01:10.240
<v Speaker 6>of it. Yeah, because they look nothing like their source material.

1:01:10.800 --> 1:01:12.960
<v Speaker 2>That's going to become the defining version for people who

1:01:13.160 --> 1:01:14.040
<v Speaker 2>watch these movies.

1:01:14.120 --> 1:01:17.000
<v Speaker 5>Oh man, the punk toys, it looks incredible.

1:01:17.000 --> 1:01:19.600
<v Speaker 6>When they gave me schwag and like, my son came,

1:01:19.680 --> 1:01:21.520
<v Speaker 6>I was like, you got some stuff in there, and

1:01:21.560 --> 1:01:25.720
<v Speaker 6>he was like, where's punk? Then Action figure has like

1:01:25.720 --> 1:01:28.760
<v Speaker 6>a guitar, and you know, then my daughter came by

1:01:28.920 --> 1:01:30.400
<v Speaker 6>and she was like, oh, you want to pinch.

1:01:30.400 --> 1:01:33.840
<v Speaker 5>She was like, where's punk? They went right for the

1:01:33.880 --> 1:01:34.920
<v Speaker 5>Spider Punk stuff.

1:01:35.640 --> 1:01:37.800
<v Speaker 1>Tell us about the inclusion of punk, because, as we

1:01:37.800 --> 1:01:41.200
<v Speaker 1>were saying before, Cody Ziggler, great friend of the Pod,

1:01:41.480 --> 1:01:45.560
<v Speaker 1>was the writer of the ongoing Spider Punk series over

1:01:45.560 --> 1:01:49.600
<v Speaker 1>at Marvel Comics, and I remember talking with him before

1:01:50.080 --> 1:01:52.920
<v Speaker 1>he had seen the movie and several weeks back, and

1:01:52.960 --> 1:01:54.080
<v Speaker 1>he was like, I don't know. They tell me the

1:01:54.200 --> 1:01:56.640
<v Speaker 1>art style is like incredible, but I haven't seen yet

1:01:56.680 --> 1:02:00.520
<v Speaker 1>and it truly is startling and great. Tell us about

1:02:00.520 --> 1:02:01.120
<v Speaker 1>the inclusion of.

1:02:01.080 --> 1:02:03.520
<v Speaker 6>Spider Yeah, I mean, I think his design is like

1:02:03.560 --> 1:02:06.280
<v Speaker 6>the coolest thing in the film. I agree, And there

1:02:06.360 --> 1:02:08.200
<v Speaker 6>was an earlier version of it where you know, we

1:02:08.240 --> 1:02:11.120
<v Speaker 6>almost cut Punk out of the film, but wonderfully, as

1:02:11.120 --> 1:02:13.360
<v Speaker 6>we were working on the story, he became integral to

1:02:13.400 --> 1:02:15.880
<v Speaker 6>the plot. And then I think that's that's really what's key.

1:02:16.080 --> 1:02:17.480
<v Speaker 6>And it starts were like, well, this is kind of

1:02:17.480 --> 1:02:20.560
<v Speaker 6>a cool character, this idea of you know, Miles starting

1:02:20.560 --> 1:02:23.560
<v Speaker 6>to have feelings for Gwen and being uncertain about this

1:02:23.600 --> 1:02:27.040
<v Speaker 6>other boy. So immediately like filled in that slot because

1:02:27.080 --> 1:02:30.640
<v Speaker 6>it's like, Miles is so cool that we watched the

1:02:30.640 --> 1:02:32.560
<v Speaker 6>first end of the Spider Verse and Miles is cool.

1:02:32.920 --> 1:02:34.560
<v Speaker 6>So it's like, we need a character that would make

1:02:34.600 --> 1:02:36.200
<v Speaker 6>Miles immediately look uncool.

1:02:37.240 --> 1:02:38.320
<v Speaker 5>Make one of them cool. You know.

1:02:38.400 --> 1:02:41.920
<v Speaker 6>It's like Miles who's wearing his nikes and his hoodie.

1:02:42.000 --> 1:02:45.720
<v Speaker 6>We need to make that character look like a dork. Yeah,

1:02:45.760 --> 1:02:48.320
<v Speaker 6>And the character that makes that character like a dork

1:02:48.560 --> 1:02:49.240
<v Speaker 6>is Spider Punk.

1:02:49.720 --> 1:02:49.960
<v Speaker 2>You know.

1:02:50.160 --> 1:02:55.120
<v Speaker 6>He's he's nineteen twenty, he's six foot three inches tall,

1:02:55.360 --> 1:02:58.160
<v Speaker 6>rail thin, you know, And we always we always use

1:02:58.200 --> 1:03:00.520
<v Speaker 6>the term, Like when we first brought in Annual and

1:03:00.560 --> 1:03:02.800
<v Speaker 6>we were talking about the character and it was like,

1:03:02.840 --> 1:03:04.960
<v Speaker 6>the way we describe him is it's not just that

1:03:05.000 --> 1:03:07.640
<v Speaker 6>he's cool, he's effortlessly.

1:03:07.000 --> 1:03:08.520
<v Speaker 5>Cool and makes him annoying.

1:03:09.120 --> 1:03:11.360
<v Speaker 6>You know, he's effort and for there was an early

1:03:11.440 --> 1:03:13.680
<v Speaker 6>version of the script where everyone kept saying that like

1:03:13.960 --> 1:03:17.720
<v Speaker 6>it's so effortless, it's so effortless, Like it's so effortless,

1:03:17.760 --> 1:03:20.000
<v Speaker 6>and Miles was just like, if one more person says effortless,

1:03:20.280 --> 1:03:23.520
<v Speaker 6>they're gonna scream. But it's the fact that he's effortlessly cool.

1:03:23.880 --> 1:03:26.360
<v Speaker 6>So you know, we always knew he was gonna be

1:03:26.360 --> 1:03:27.960
<v Speaker 6>in there, but then we had to make sure it

1:03:28.000 --> 1:03:31.200
<v Speaker 6>worked for the overarching narrative. But it started with, you know,

1:03:31.320 --> 1:03:34.920
<v Speaker 6>the the boy who makes Miles jealous, but then when

1:03:34.920 --> 1:03:37.240
<v Speaker 6>we really dug into it, it just became a character

1:03:37.280 --> 1:03:40.080
<v Speaker 6>that became integral to the plot of the entire film.

1:03:40.120 --> 1:03:42.760
<v Speaker 6>And you know, again without spoiling it, there's certain key

1:03:42.800 --> 1:03:43.840
<v Speaker 6>like the film can't exist.

1:03:43.720 --> 1:03:45.280
<v Speaker 5>Without company anymore.

1:03:45.360 --> 1:03:48.160
<v Speaker 6>Yeah, and and and you know, we knew there was

1:03:48.200 --> 1:03:50.680
<v Speaker 6>gonna be a lot of people who were just like, oh.

1:03:50.480 --> 1:03:52.360
<v Speaker 5>Man, where's where's Noir?

1:03:52.480 --> 1:03:55.720
<v Speaker 6>And where's Henny and and you know, again spoiler, you're

1:03:55.760 --> 1:04:00.520
<v Speaker 6>gonna but it's like, you gotta take some time to develop.

1:04:00.760 --> 1:04:04.640
<v Speaker 6>You can't just throw one dimensional characters on top of people,

1:04:04.920 --> 1:04:07.360
<v Speaker 6>and you you really have to take the time to

1:04:07.440 --> 1:04:10.480
<v Speaker 6>give these characters a story, give them a motivation, to

1:04:10.560 --> 1:04:13.160
<v Speaker 6>make people care about them in order for this all

1:04:13.280 --> 1:04:16.000
<v Speaker 6>to work in the in the bigger story that you're

1:04:16.000 --> 1:04:18.440
<v Speaker 6>trying to tell. It was so great to hear people

1:04:18.520 --> 1:04:20.920
<v Speaker 6>cheer at the end when it's like, Okay, now you're

1:04:20.920 --> 1:04:23.880
<v Speaker 6>seeing some characters you know that you are familiar with,

1:04:24.040 --> 1:04:25.240
<v Speaker 6>but you love these new ones.

1:04:26.240 --> 1:04:27.680
<v Speaker 3>Seeing them together, you're.

1:04:27.800 --> 1:04:30.240
<v Speaker 6>Thinking, Wow, what's it going to be like? You know,

1:04:30.480 --> 1:04:34.400
<v Speaker 6>Noir interacting with Punk? How fun is that's gonna be?

1:04:34.840 --> 1:04:37.240
<v Speaker 8>Yeah, and you get That's one of my favorite lines

1:04:37.280 --> 1:04:39.320
<v Speaker 8>in the movie that I think sums up the effortlessly

1:04:39.360 --> 1:04:42.880
<v Speaker 8>cool thing is when he takes his mask off and

1:04:43.080 --> 1:04:46.439
<v Speaker 8>Miles is like, like.

1:04:46.720 --> 1:04:48.720
<v Speaker 3>That's not fair. So you talk kind of about this.

1:04:49.320 --> 1:04:51.360
<v Speaker 2>We touched on the idea of this the noose of

1:04:51.440 --> 1:04:53.920
<v Speaker 2>Cannon and Spider Punk is kind of this great rebel

1:04:53.960 --> 1:04:57.360
<v Speaker 2>against the Cannon as that is such a fun meta

1:04:57.920 --> 1:05:00.200
<v Speaker 2>story arc and obviously as create as it come short

1:05:00.240 --> 1:05:02.360
<v Speaker 2>a place of you guys knowing that as readers and

1:05:02.400 --> 1:05:04.760
<v Speaker 2>people who love Canon but also have had to sit

1:05:04.800 --> 1:05:07.360
<v Speaker 2>through Uncle Ben dying fifty thousand times in fifty thousand

1:05:07.400 --> 1:05:09.480
<v Speaker 2>of us, could you talk about that because when that happened,

1:05:09.480 --> 1:05:12.800
<v Speaker 2>it sort of exploded the movie onto a different meta level. Yeah.

1:05:13.000 --> 1:05:15.080
<v Speaker 6>Yeah, it's a big turn for the film. And and

1:05:15.440 --> 1:05:18.960
<v Speaker 6>again like this is Look, we can't talk about Miles

1:05:19.000 --> 1:05:23.560
<v Speaker 6>Morales the character in the world without talking about the

1:05:23.600 --> 1:05:26.800
<v Speaker 6>negative pushback that to this day you still get for

1:05:26.840 --> 1:05:30.720
<v Speaker 6>the character about whether he's a legit Spider Man. And

1:05:30.760 --> 1:05:33.440
<v Speaker 6>it's it's heartbreaking that these are conversations that have to

1:05:33.440 --> 1:05:33.800
<v Speaker 6>be had.

1:05:34.120 --> 1:05:35.720
<v Speaker 5>But you know, it was.

1:05:35.800 --> 1:05:39.920
<v Speaker 6>Really you know, when when Miguel says a line like

1:05:40.000 --> 1:05:41.520
<v Speaker 6>you're not supposed to be Spider Man.

1:05:41.600 --> 1:05:44.080
<v Speaker 5>Of course that has a multiples.

1:05:44.200 --> 1:05:47.880
<v Speaker 6>You know, and in that moment, he represents every person

1:05:47.920 --> 1:05:50.480
<v Speaker 6>in the world who questions the existence of this very

1:05:50.600 --> 1:05:55.280
<v Speaker 6>character in the film and in him. If Miles is

1:05:55.320 --> 1:05:57.440
<v Speaker 6>going to push back and do something you know different,

1:05:57.480 --> 1:06:01.400
<v Speaker 6>Like we're having a conversation with our audience. Yeah, you know,

1:06:01.480 --> 1:06:02.760
<v Speaker 6>we're not trying to lecture anyone.

1:06:02.840 --> 1:06:03.760
<v Speaker 5>Yeah, but we want to.

1:06:03.680 --> 1:06:07.560
<v Speaker 6>Have a conversation and just like we we feel like

1:06:07.680 --> 1:06:11.480
<v Speaker 6>Miles in that moment, you know what I mean. So

1:06:11.480 --> 1:06:16.640
<v Speaker 6>so that those and hopefully if we're successful, someone who

1:06:16.680 --> 1:06:19.640
<v Speaker 6>doesn't know about any of that can just understand it

1:06:19.720 --> 1:06:23.320
<v Speaker 6>and appreciate it and be moved on the very simplest level,

1:06:23.520 --> 1:06:27.080
<v Speaker 6>But if you are privy to the world in which

1:06:27.120 --> 1:06:30.800
<v Speaker 6>these characters are being discussed, you can also get that

1:06:30.800 --> 1:06:31.920
<v Speaker 6>that double meaning.

1:06:32.000 --> 1:06:34.720
<v Speaker 1>It really amps up the movie. You're absolutely right, because

1:06:34.720 --> 1:06:37.960
<v Speaker 1>it's in that moment where you understand that Miles has

1:06:38.040 --> 1:06:40.520
<v Speaker 1>to do what he has to do despite the fact

1:06:40.520 --> 1:06:43.760
<v Speaker 1>that everybody is telling him not to. Yes, he can't

1:06:44.040 --> 1:06:45.920
<v Speaker 1>do that. He has to go to the other is.

1:06:45.880 --> 1:06:50.240
<v Speaker 6>Our hero and what he's doing is ostensibly very selfish. Yeah,

1:06:50.280 --> 1:06:51.960
<v Speaker 6>but we have to be on his side.

1:06:52.080 --> 1:06:55.720
<v Speaker 2>And it's also it's also a choice that is incredibly relatable,

1:06:55.760 --> 1:06:58.040
<v Speaker 2>not just to the audience, but to every single Spider

1:06:58.080 --> 1:06:59.960
<v Speaker 2>Puss and in the Elite Spider Force they would have

1:07:00.120 --> 1:07:00.720
<v Speaker 2>done the same thing.

1:07:00.840 --> 1:07:02.240
<v Speaker 3>They can pretend that Miguel.

1:07:02.000 --> 1:07:05.000
<v Speaker 2>Has, you know, So in that way, it's a very

1:07:05.000 --> 1:07:07.640
<v Speaker 2>interesting choice. And I think the coolest thing is I

1:07:07.640 --> 1:07:09.800
<v Speaker 2>think a lot of people will probably learn the term

1:07:09.880 --> 1:07:12.720
<v Speaker 2>canon from this movie and learn it and understand it

1:07:12.760 --> 1:07:15.200
<v Speaker 2>in that context, and then get to understand and learn

1:07:15.520 --> 1:07:18.720
<v Speaker 2>retroactively how it impacts comics and the way that we

1:07:18.760 --> 1:07:19.200
<v Speaker 2>read them.

1:07:19.440 --> 1:07:22.200
<v Speaker 6>Canon is something that is always and again, I had

1:07:22.200 --> 1:07:25.040
<v Speaker 6>a lot of experience with it. My first TV job

1:07:25.120 --> 1:07:27.919
<v Speaker 6>was on Star Trek Discovery, so it just felt like.

1:07:27.880 --> 1:07:31.760
<v Speaker 1>Well, Cannon, here's the textbooks.

1:07:34.200 --> 1:07:36.480
<v Speaker 6>I've worked on other projects behind the scene that are

1:07:36.480 --> 1:07:40.480
<v Speaker 6>all a lot of big canon things, and it becomes

1:07:40.520 --> 1:07:44.040
<v Speaker 6>so rigid and so frustrating, and like we were having

1:07:44.080 --> 1:07:46.880
<v Speaker 6>a conversation earlier and it was just like so many

1:07:46.920 --> 1:07:50.680
<v Speaker 6>of the things you feel like you can't live without

1:07:50.760 --> 1:07:54.080
<v Speaker 6>and you love the most right now. When it first

1:07:54.080 --> 1:07:55.880
<v Speaker 6>came out, you were suspicious of it and you thought

1:07:55.880 --> 1:07:58.600
<v Speaker 6>it was stupid, you know what I mean. It's not

1:07:58.760 --> 1:08:03.360
<v Speaker 6>like people's saw these things that are iconic coming, whether

1:08:03.400 --> 1:08:07.480
<v Speaker 6>it's films or performances, I mean pretty much everything. When

1:08:07.480 --> 1:08:10.880
<v Speaker 6>it comes to comic book films, everyone wanted to Revolt.

1:08:10.880 --> 1:08:13.200
<v Speaker 6>When Michael Keaton was cast as Badman, they.

1:08:13.160 --> 1:08:15.240
<v Speaker 5>Wanted to Joker.

1:08:15.760 --> 1:08:18.240
<v Speaker 6>People thought, why do we need another Spider Man movie

1:08:18.240 --> 1:08:21.880
<v Speaker 6>into the Spider Verse. All of this stuff has been

1:08:22.000 --> 1:08:26.880
<v Speaker 6>greeted with hostility until it. For all the Star Wars,

1:08:26.920 --> 1:08:30.000
<v Speaker 6>I mean the year that Star Wars The Phantom Menace

1:08:30.040 --> 1:08:31.559
<v Speaker 6>came out, there was this other little movie called The

1:08:31.560 --> 1:08:34.360
<v Speaker 6>Matrix that was kind of silly and movie that turned

1:08:34.360 --> 1:08:37.120
<v Speaker 6>into another thing that people were psychotic and rich and

1:08:37.160 --> 1:08:40.160
<v Speaker 6>then immediately rigid about So here's all the rules that

1:08:40.200 --> 1:08:44.160
<v Speaker 6>have been established in newsflash. Most of the people creating

1:08:44.160 --> 1:08:47.400
<v Speaker 6>this stuff are kind of making it up as well.

1:08:47.720 --> 1:08:47.920
<v Speaker 1>Law.

1:08:49.120 --> 1:08:52.519
<v Speaker 6>The stuff that becomes cannon and law is we're just

1:08:52.600 --> 1:08:57.240
<v Speaker 6>kind of like whatever, Man, I'm going home right now,

1:08:57.439 --> 1:08:58.040
<v Speaker 6>or I'm drunk.

1:08:58.200 --> 1:08:59.280
<v Speaker 5>I don't know, did I say that?

1:08:59.360 --> 1:08:59.920
<v Speaker 8>Really?

1:09:00.040 --> 1:09:01.000
<v Speaker 1>The only words red shoes.

1:09:01.560 --> 1:09:03.479
<v Speaker 5>Yeah, we don't know.

1:09:03.600 --> 1:09:06.679
<v Speaker 3>This Spider Man was bitten by a pig.

1:09:09.479 --> 1:09:12.000
<v Speaker 6>That's really real because it's it's just a bunch of

1:09:12.040 --> 1:09:13.519
<v Speaker 6>people and we're throwing it and we kind of go

1:09:13.600 --> 1:09:16.280
<v Speaker 6>back and go, oh man, but that doesn't make sense.

1:09:16.439 --> 1:09:20.360
<v Speaker 5>That's too late. Now someone else makes problem.

1:09:20.479 --> 1:09:23.520
<v Speaker 6>Yeah, and and and so it's like be careful about

1:09:23.920 --> 1:09:26.719
<v Speaker 6>don't don't take the fun out of it, don't don't

1:09:26.720 --> 1:09:30.320
<v Speaker 6>turn it into something where it's the very thing that

1:09:30.439 --> 1:09:33.639
<v Speaker 6>made us get into comics is that we couldn't get

1:09:33.640 --> 1:09:36.599
<v Speaker 6>into the elite clubs. You know, we weren't invited into

1:09:36.680 --> 1:09:39.160
<v Speaker 6>all these spaces. I was a nerd growing up, so

1:09:40.640 --> 1:09:43.280
<v Speaker 6>that the reaction to that is to then become like

1:09:43.360 --> 1:09:47.960
<v Speaker 6>elitist and exclusive about about something that makes no sense

1:09:48.000 --> 1:09:48.200
<v Speaker 6>to me.

1:09:48.320 --> 1:09:51.160
<v Speaker 2>Man, Yeah, that makes no, especially when comics is not

1:09:51.240 --> 1:09:53.840
<v Speaker 2>just accessible because they've always been able to be bought

1:09:53.840 --> 1:09:55.920
<v Speaker 2>for a couple of dollars or twenty five cents depending

1:09:55.960 --> 1:09:57.760
<v Speaker 2>on how far. But anyone can make one because all

1:09:57.760 --> 1:09:59.599
<v Speaker 2>you need is paper and pencil. So in that way,

1:09:59.640 --> 1:10:02.519
<v Speaker 2>it's like almost impossible to gate keep. Yeah, people still

1:10:02.520 --> 1:10:06.400
<v Speaker 2>do everyone, you know, co makes off for everyone, just

1:10:06.439 --> 1:10:09.680
<v Speaker 2>like this movie's for everyone, and people hate that. It

1:10:09.760 --> 1:10:10.479
<v Speaker 2>terrifies them.

1:10:10.560 --> 1:10:11.920
<v Speaker 6>Yeah, they want to feel like, you know, I'm the

1:10:11.920 --> 1:10:14.040
<v Speaker 6>only one in the world who can enjoy this, and

1:10:14.600 --> 1:10:17.040
<v Speaker 6>it's like, no, man, you gotta gotta be open to

1:10:17.560 --> 1:10:19.400
<v Speaker 6>doing things a little a little bit differently.

1:10:20.439 --> 1:10:23.400
<v Speaker 1>I must ask Kemp, as the one of the co

1:10:23.439 --> 1:10:30.400
<v Speaker 1>writers of Soul, you put the Knicks joke in Soul

1:10:31.040 --> 1:10:36.360
<v Speaker 1>Bring Out. It was like a gut punch when I

1:10:36.439 --> 1:10:39.840
<v Speaker 1>saw the scene, and it's so incredibly accurate. Tell us

1:10:39.880 --> 1:10:41.840
<v Speaker 1>about putting that in the movie.

1:10:41.920 --> 1:10:43.680
<v Speaker 5>Yeah, well, context is everything, right.

1:10:44.400 --> 1:10:47.800
<v Speaker 6>I'm a lifelong Knicks fan and the last time the

1:10:47.840 --> 1:10:49.920
<v Speaker 6>Knicks won a title was the year I was born,

1:10:50.200 --> 1:10:51.920
<v Speaker 6>so I haven't been alive.

1:10:51.840 --> 1:10:53.880
<v Speaker 5>For a championship Knicks team.

1:10:53.960 --> 1:10:57.759
<v Speaker 6>So, and I'm loyal. Hey, I mean, I was sitting

1:10:58.120 --> 1:11:01.040
<v Speaker 6>in the front row of Nick heat. Like I literally

1:11:01.040 --> 1:11:03.920
<v Speaker 6>flew to New York just to watch Nick's heat and

1:11:03.720 --> 1:11:05.120
<v Speaker 6>I and I and I hold to you know, I

1:11:05.120 --> 1:11:07.120
<v Speaker 6>have I have Clipper season tickets. You know what I mean,

1:11:07.160 --> 1:11:10.479
<v Speaker 6>because I'm here, But I'm a Knicks die hard, and

1:11:10.840 --> 1:11:11.240
<v Speaker 6>I don't know.

1:11:11.320 --> 1:11:13.080
<v Speaker 5>It's just it felt like the perfect.

1:11:12.800 --> 1:11:15.240
<v Speaker 6>Joke, this idea of like, you know what, what if

1:11:15.240 --> 1:11:19.879
<v Speaker 6>my team's futility has been because of a cosmic prankster

1:11:19.960 --> 1:11:22.479
<v Speaker 6>who's just been like picking on them. But I will

1:11:22.520 --> 1:11:25.360
<v Speaker 6>say after Soul came out, it felt like the Knicks

1:11:25.360 --> 1:11:26.320
<v Speaker 6>started getting better.

1:11:26.720 --> 1:11:29.240
<v Speaker 5>And if we can talk basketball for just a.

1:11:29.200 --> 1:11:33.160
<v Speaker 6>Minute, please this year's playoffs, man, Like everyone's talking about

1:11:33.160 --> 1:11:34.080
<v Speaker 6>who can they trade for?

1:11:34.280 --> 1:11:37.639
<v Speaker 5>I think this team they have it as is if

1:11:37.640 --> 1:11:40.479
<v Speaker 5>you just stay with them. You know, everyone wants to

1:11:40.479 --> 1:11:41.200
<v Speaker 5>get rid of Randall.

1:11:41.640 --> 1:11:45.559
<v Speaker 6>I actually love this Knicks squad, man, I really love

1:11:45.640 --> 1:11:45.960
<v Speaker 6>this thing.

1:11:46.120 --> 1:11:47.800
<v Speaker 1>All I know is we got too off a team

1:11:47.840 --> 1:11:48.759
<v Speaker 1>that's going to the finals.

1:11:48.920 --> 1:11:51.600
<v Speaker 5>Yeah, I know, I really.

1:11:51.400 --> 1:11:55.320
<v Speaker 2>Like you said, they beat Jimmy Butler, who is currently unbeatable.

1:11:55.840 --> 1:11:58.000
<v Speaker 6>The problem with the Knicks is because New York is

1:11:58.040 --> 1:12:00.360
<v Speaker 6>such a huge market. Even when you have a team,

1:12:00.439 --> 1:12:02.200
<v Speaker 6>you feel like Okay, it's New York. We got to

1:12:02.200 --> 1:12:02.880
<v Speaker 6>get a bigger star.

1:12:03.080 --> 1:12:07.360
<v Speaker 5>Yeah, you know, and they they never build through the draft.

1:12:07.400 --> 1:12:09.640
<v Speaker 6>They always try to, like, you get some talent and

1:12:09.640 --> 1:12:11.559
<v Speaker 6>then you're like, now, let's get rid of this talent

1:12:11.920 --> 1:12:14.840
<v Speaker 6>and get a star who's gonna sell tickets. But nothing

1:12:14.880 --> 1:12:17.360
<v Speaker 6>will sell tickets more than just being good. And the

1:12:17.479 --> 1:12:20.160
<v Speaker 6>Knicks were good for years. The Ewing years were actually

1:12:20.479 --> 1:12:25.920
<v Speaker 6>awesome that you know, even the Allan Houston fighting getting

1:12:25.920 --> 1:12:28.439
<v Speaker 6>into fist fights with Miami years with Latrell's Freewell and

1:12:28.479 --> 1:12:30.920
<v Speaker 6>Allen Houston, those are pretty good years too, you know.

1:12:31.520 --> 1:12:33.800
<v Speaker 6>So anyway I can, I can go down a rabbit

1:12:33.840 --> 1:12:36.080
<v Speaker 6>hole and no one new questions. My New York Knicks

1:12:36.080 --> 1:12:38.840
<v Speaker 6>bomb can eat it because I.

1:12:38.880 --> 1:12:39.639
<v Speaker 5>Earned that joke.

1:12:40.760 --> 1:12:44.200
<v Speaker 6>I'll stand by that joking soul till my dying days.

1:12:44.400 --> 1:12:45.400
<v Speaker 5>And I think it's a good joke.

1:12:46.880 --> 1:12:50.519
<v Speaker 6>You know people Knicks fans laugh their asses off, and

1:12:50.680 --> 1:12:54.200
<v Speaker 6>Lakers fans laugh even harder, of course, so but whatever,

1:12:54.560 --> 1:12:55.599
<v Speaker 6>but I love that joke.

1:12:56.439 --> 1:12:58.439
<v Speaker 1>Camp Powers, thank you so much for Yeah, thank you

1:12:58.479 --> 1:12:58.800
<v Speaker 1>so much.

1:12:59.680 --> 1:13:01.840
<v Speaker 5>Great meet you come back any time. Thank you, thank

1:13:01.840 --> 1:13:02.439
<v Speaker 5>you very much.

1:13:03.160 --> 1:13:03.479
<v Speaker 3>Thank you.

1:13:03.560 --> 1:13:14.960
<v Speaker 2>Kemp up next ned out in today's nerd out where

1:13:15.040 --> 1:13:17.200
<v Speaker 2>you tell us what you love them, why, or a

1:13:17.280 --> 1:13:20.120
<v Speaker 2>theory you're excited share. Amy pictures us on the ya

1:13:20.280 --> 1:13:23.040
<v Speaker 2>series The Lunar Chronicles by Marissa Mayer.

1:13:23.479 --> 1:13:25.800
<v Speaker 4>My name is Amy and my nerd out is The

1:13:25.880 --> 1:13:28.880
<v Speaker 4>Lunar Chronicles by Marissa Meyer. It's a young adult book

1:13:28.880 --> 1:13:31.240
<v Speaker 4>series that can be described as fairy tales in space,

1:13:31.880 --> 1:13:34.200
<v Speaker 4>and it feels like a cross between Sailor Moon and Firefly.

1:13:34.760 --> 1:13:37.479
<v Speaker 4>It has great characters, type plotting, and is a space

1:13:37.520 --> 1:13:39.760
<v Speaker 4>opera that is clearly having so much fun being a

1:13:39.800 --> 1:13:42.680
<v Speaker 4>space opera. In the opening, Cinder is a mechanic in

1:13:42.720 --> 1:13:45.720
<v Speaker 4>New Beijing and Earthen City centuries in the future. She's

1:13:45.720 --> 1:13:48.519
<v Speaker 4>also a cyborg with mechanical hand and leg and a

1:13:48.560 --> 1:13:51.560
<v Speaker 4>brain interface so lets her download data directly into her head.

1:13:52.000 --> 1:13:54.519
<v Speaker 4>Across the series, we meet Little Red riding Hood, who

1:13:54.560 --> 1:13:57.519
<v Speaker 4>is a farmer, an expert pilot, Rapunzel, who is a

1:13:57.560 --> 1:14:00.200
<v Speaker 4>hacker trapped in a satellite, and snow White and says

1:14:00.200 --> 1:14:02.559
<v Speaker 4>who is letting herself lose touch with reality rather than

1:14:02.600 --> 1:14:06.200
<v Speaker 4>compromise her ethics. There's also a Moon colony, a pandemic

1:14:06.400 --> 1:14:09.799
<v Speaker 4>mind control, a social media star prints, genetically hybrid humans,

1:14:10.040 --> 1:14:12.320
<v Speaker 4>a scoundrel with a heart of gold, the stolen ship

1:14:12.360 --> 1:14:14.840
<v Speaker 4>he loves, a palace guard who keeps his cards close

1:14:14.880 --> 1:14:17.639
<v Speaker 4>to his chest, and a revolution about fighting the system,

1:14:17.720 --> 1:14:20.720
<v Speaker 4>by and for the people directly impacted by the oppression.

1:14:21.880 --> 1:14:23.640
<v Speaker 4>And let's not to forget near and dear to my

1:14:23.720 --> 1:14:27.400
<v Speaker 4>heart Eco, a robot buddy with a faulty personality. Chip

1:14:28.439 --> 1:14:32.040
<v Speaker 4>Meyer weaves in clever references to the old traditional tales,

1:14:32.120 --> 1:14:35.280
<v Speaker 4>which reward deep fairy tale readers, and she pre plotted

1:14:35.360 --> 1:14:38.760
<v Speaker 4>everything out so the foreshadowing is fierce. The first book

1:14:38.840 --> 1:14:41.559
<v Speaker 4>was published in twenty twelve, and the quartet was added

1:14:41.600 --> 1:14:44.200
<v Speaker 4>to with a collection of short stories, a villain origin novel,

1:14:44.400 --> 1:14:47.680
<v Speaker 4>and a graphic novel duology starring Eco. I first came

1:14:47.720 --> 1:14:50.160
<v Speaker 4>across the series while living abroad, and that cover image

1:14:50.160 --> 1:14:52.880
<v Speaker 4>of a Cinderella foot with a cyborg foot faintly visible

1:14:52.880 --> 1:14:56.160
<v Speaker 4>inside it definitely caught my eye. I'm a school librarian,

1:14:56.200 --> 1:14:57.680
<v Speaker 4>and I love that this is a series I can

1:14:57.680 --> 1:15:00.240
<v Speaker 4>hand to a mature eleven year old looking for light

1:15:00.360 --> 1:15:03.760
<v Speaker 4>romance and slightly more complexity in storytelling. But it's also

1:15:03.800 --> 1:15:05.680
<v Speaker 4>a series that as an adult I can read and

1:15:05.720 --> 1:15:08.920
<v Speaker 4>find utterly delightful in my opinion, it might be a

1:15:08.920 --> 1:15:11.800
<v Speaker 4>perfect way series. The books have remained in print and

1:15:11.840 --> 1:15:14.719
<v Speaker 4>are widely available libraries. My hope is that the sff

1:15:14.840 --> 1:15:17.240
<v Speaker 4>TV renaissance we're having right now will mean this series

1:15:17.280 --> 1:15:20.639
<v Speaker 4>gets adapted into a teen friendly, jubilant and fast paced

1:15:20.640 --> 1:15:23.680
<v Speaker 4>space opera. Other the books are already great, so you

1:15:23.680 --> 1:15:24.320
<v Speaker 4>should read them.

1:15:25.000 --> 1:15:25.679
<v Speaker 3>Thanks Amy.

1:15:25.880 --> 1:15:28.040
<v Speaker 2>If you have theories or passions you want to share,

1:15:28.320 --> 1:15:30.719
<v Speaker 2>hit us up at x ray at crooked dot com.

1:15:30.720 --> 1:15:32.000
<v Speaker 2>Instructions in the show notes.

1:15:34.080 --> 1:15:38.280
<v Speaker 1>Big thank you to Camppowers. What a wonderful interview, hewoye.

1:15:39.000 --> 1:15:40.960
<v Speaker 1>And that's it for us, Rosie, any plugs.

1:15:41.400 --> 1:15:43.799
<v Speaker 3>Go see Across the Spider of Us. Really delightful.

1:15:44.080 --> 1:15:44.280
<v Speaker 4>Good.

1:15:44.439 --> 1:15:45.479
<v Speaker 3>Lots of comic book.

1:15:45.320 --> 1:15:47.000
<v Speaker 2>Creators worked on this movie, and I want them to

1:15:47.000 --> 1:15:47.760
<v Speaker 2>get residuals.

1:15:47.800 --> 1:15:48.600
<v Speaker 3>I want them to do it.

1:15:48.640 --> 1:15:50.880
<v Speaker 2>I want them to be living life and enjoying it

1:15:50.920 --> 1:15:52.040
<v Speaker 2>and having a great time.

1:15:52.040 --> 1:15:54.160
<v Speaker 3>And I want you to watch the movie because it's delightful.

1:15:54.200 --> 1:15:57.080
<v Speaker 2>Also, go and buy some comics, go read some comics

1:15:57.080 --> 1:15:59.519
<v Speaker 2>by these brilliant creators, and of course listen to us

1:15:59.560 --> 1:16:01.760
<v Speaker 2>talking about those comics and the movies on here.

1:16:04.760 --> 1:16:07.960
<v Speaker 1>Catch the next episode of Extra Vision on Wednesday, June seventh,

1:16:07.960 --> 1:16:10.720
<v Speaker 1>where we finish our coverage of Yellow Jackets season two

1:16:10.760 --> 1:16:13.479
<v Speaker 1>on the Beleaguered Showtime. Now those girls.

1:16:13.280 --> 1:16:17.719
<v Speaker 2>Are looking Believe it in that finale and subscribe on YouTube.

1:16:17.760 --> 1:16:19.960
<v Speaker 3>But you can now watch full episodes.

1:16:19.439 --> 1:16:21.800
<v Speaker 2>Of the show and check out the discord to meet

1:16:21.920 --> 1:16:24.360
<v Speaker 2>and hang with tons of amazing fans and listeners plus

1:16:24.439 --> 1:16:25.320
<v Speaker 2>Mia Jason.

1:16:25.240 --> 1:16:28.720
<v Speaker 1>Five storrdy x five star. You gotta give them to us.

1:16:28.760 --> 1:16:31.599
<v Speaker 1>Here's one from Oh Bob Saggat forty for eighty nine,

1:16:31.880 --> 1:16:35.120
<v Speaker 1>simply the best. I could listen to Jason Rosie talk

1:16:35.280 --> 1:16:37.600
<v Speaker 1>all day. Oh they're super knowledgeable when it comes to

1:16:37.680 --> 1:16:40.240
<v Speaker 1>all things comics and just nerd culture in general. Listening

1:16:40.280 --> 1:16:42.360
<v Speaker 1>to these two is always the highlight of my week.

1:16:42.520 --> 1:16:45.800
<v Speaker 1>Thank you for keeping everyone saying all the best, Oh

1:16:45.840 --> 1:16:48.880
<v Speaker 1>Bob Saggat forty forty nine, Thank you, Bob Sagod forty

1:16:48.920 --> 1:16:52.000
<v Speaker 1>four eighty nine. Extra Vision is a Crooked Media production.

1:16:52.080 --> 1:16:54.000
<v Speaker 1>The show is produced by Chris Lord and Saul Rubin

1:16:54.040 --> 1:16:56.640
<v Speaker 1>and executive produced by me Jason Contempts You and our

1:16:56.760 --> 1:17:00.320
<v Speaker 1>editing at Sound design is by Facillis Fotopoulos. Video production

1:17:00.400 --> 1:17:04.080
<v Speaker 1>by Delon Villanueva and Rachel Gaiski. Social media by Awa

1:17:04.120 --> 1:17:07.640
<v Speaker 1>Oklati and Caroline Dunfey. Thank you to Brian Basquez for

1:17:07.680 --> 1:17:09.920
<v Speaker 1>our Themesday. See you next time, folks.

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<v Speaker 3>Bye,