Spider-Man: Accross the Spider-Verse, intervista ai filmmaker

cinefilos.it

Ecco la nostra intervista ai filmmaker di Spider-Man: Accross the Spider-Verse, JOAQUIM DOS SANTOS, KEMP BOWERS e JUSTIN K. THOMPSON, i registi del film, e CHRIS MILLER e PHIL LORD, i produttori. Spider-Man: Accross the Spider-Verse è al cinema dal 1° giugno, distribuito da Eagle Pictures. Leggi la nostra recensione - https://www.cinefilos.it/tutto-film/recensioni/spider-man-across-the-spider-verse-film-animazione-576207

Transcript

00:00Questo film, e non credo che sia possibile,

00:07ma ha spazzato il Spider-Verse

00:09ancora più che il primo film.

00:12E voglio sapere,

00:14che era il segretto di fare questo

00:15usando, allo stesso tempo,

00:17questi diversi,

00:19stessi di animazione.

00:22You know,

00:23I think we've all

00:24maybe sort of

00:27discussed this amongst ourselves,

00:28you know, while the first film

00:30broke so much new ground

00:32and when it started being recognized

00:34for all the, you know,

00:36given all its accomplishments

00:37and started being recognized,

00:39you know, the shoes that we had to fill

00:41for the sequel got a little bigger,

00:43but at the same time,

00:44as artists,

00:45it also just gave us permission

00:46to try more things.

00:49So,

00:51incredibly challenging

00:52to try to develop these techniques,

00:54but as an artist,

00:55as a fan,

00:57you know,

00:58we basically got to play

00:59in a playground

01:00and play with really awesome tools

01:03and really amazing artists

01:05and awesome people

01:05who were all equally dedicated

01:07to, you know,

01:09making sure that we weren't

01:10just resting on our laurels

01:11and getting comfortable

01:13in trying to repeat the success

01:15of the first film,

01:16but try to break new ground

01:17and do new things.

01:18and you absolutely did it.

01:22Justin,

01:23what I actually loved

01:25the most about

01:26these new movies

01:27is that

01:28it has a very specific

01:29rhythm

01:31and a balance.

01:31It really accelerates

01:32when it's the mainstream,

01:33the multiverse,

01:34and the action,

01:35but then it slows down

01:36in order to address

01:37family issues

01:38going deeper

01:39in Gwen

01:41and Miles' characters.

01:42How did you work

01:43also with the screenplay

01:44in order to find

01:45these very specific bonds,

01:47I'd say?

01:49I think from the very beginning,

01:50all three of us

01:51knew that

01:52if we were going to make

01:52a big spectacle-driven movie

01:55about all these

01:56different dimensions,

01:58the only thing

01:59that would make it matter

02:02is if there was

02:03something strong,

02:05a very strong emotional

02:07sense of stakes

02:09to the whole film

02:10that

02:10with these characters

02:13and their families

02:14and their personal lives

02:15and that we could

02:16see ourselves in

02:17in our own conflicts

02:18with our own families

02:19that we could relate to

02:21if we didn't make that matter,

02:23if we didn't make that matter,

02:24none of the spectacle

02:26was going to mean anything.

02:29It would have just been

02:30a bunch of loud noises

02:32and fast-moving visuals.

02:33and so what we tried to do

02:36was purposely pick moments

02:38in the film

02:38where it would slow down

02:41and you would be

02:42with these characters

02:43and I think those are the ones

02:44we worked the longest on.

02:45Yes.

02:46Actually, the action,

02:48the big stuff

02:49was probably the stuff

02:50that went the fastest

02:51because,

02:52but the thing that took years,

02:54years,

02:55was actually developing

02:57those scenes

02:57where people were just

02:58talking to each other.

02:59Yes.

03:00You previously co-directed

03:02Soul.

03:03which is a completely

03:04different animation movie

03:06in the tone,

03:07in the aesthetic.

03:09Did you change your approach

03:11to animations

03:12switching from

03:13Soul to

03:14Spider-Man

03:15across the Spider-Man?

03:16No, not at all.

03:18This is storytelling.

03:20It's just,

03:21and it's the opposite

03:23of changing your approach.

03:24We bring our unique approaches

03:26to everything we do.

03:28I think that's part of why

03:29we're asked to do these projects

03:31and work on these projects.

03:32Like Justin was mentioning,

03:34you know,

03:35there's a,

03:36one,

03:36there's,

03:37you can't,

03:38you won't have a good film

03:39if you lose sight

03:41of the emotion

03:42and the character

03:43and the emotional stakes

03:44as much as the world

03:45challenging stakes.

03:46Second,

03:47good storytelling

03:48has to go over

03:49into things like action.

03:51Action can just turn into

03:52mindless crashing

03:54and bashing

03:55and bore you,

03:56but there's actually

03:57a lot of story

03:58that is told

03:59in action

03:59and I think people

04:01sometimes might

04:02not appreciate that

04:04quite as much

04:06so that,

04:07you know,

04:07even the action scenes,

04:09if it doesn't,

04:10if it's not speaking

04:11to the story,

04:12it's the central plot

04:13and moving the characters along,

04:15we don't have it

04:16in the film.

04:17So,

04:17so if anything,

04:18I think that working on

04:20the emotional elements,

04:22the beats

04:23of a film like Soul

04:24actually prepared me

04:26to do a film like this.

04:33I found that

04:34while the first movie

04:35deals with

04:37what it means

04:37in some way

04:38to be Spider-Man,

04:39this second one

04:40deals a little bit more

04:42about what it means

04:44to be Miles Morales.

04:46Can you,

04:47can you talk about

04:49this subtle,

04:49but I think

04:50very important switch

04:51in some way?

04:51I think that

04:53Chris and I

04:56and Dave Callaghan

04:57when we were

04:59writing the movie,

05:02we felt like

05:03it was an opportunity

05:04to get to know

05:05every character

05:06more deeply

05:07and,

05:09you know,

05:10a sequel

05:10can be

05:13a difficult challenge

05:16unless you use it

05:17as an opportunity

05:18to go deeper,

05:20right?

05:20now that we've

05:21gotten to know

05:22Miles,

05:23like,

05:23where does he

05:25go from here?

05:26And so we wanted

05:27to explore,

05:28you know,

05:29what it is like

05:30to leave

05:32the nest

05:33and,

05:34and,

05:35and leave home

05:36and how do you

05:37carry with you

05:39the,

05:40the,

05:40the values

05:41and strengths

05:42of your family

05:43out into the world

05:45when the world

05:46may challenge

05:47those values,

05:48and you may want

05:50so desperately

05:51to be included

05:53by people

05:54who maybe

05:55don't

05:56share the same

05:58values as you.

06:00That was

06:01the,

06:01the essential idea

06:02that we started with,

06:04you know,

06:06and,

06:07and how can,

06:09what Miles'

06:09essential strength is,

06:11is his family.

06:12That's his superpower.

06:13and how could we

06:15challenge that

06:16and test it

06:18throughout the movie.

06:22One of the best

06:23part of this second movie

06:24is actually

06:25Gwen's story.

06:27Can you talk about

06:27how you developed

06:28this character

06:29compared to the first one?

06:30Yeah, we,

06:31we,

06:32early on,

06:32we thought it would be

06:33interesting to start

06:34the movie

06:35with Gwen

06:36in her world

06:37and get to know

06:38her more deeply

06:39and see how,

06:42you know,

06:42how she

06:44came to be

06:45and,

06:45and how she sees

06:46the world.

06:47And it would be

06:48an opportunity

06:49to show

06:49the audience,

06:50you know,

06:51a wholly different

06:52style of,

06:53of how a world

06:55can look.

06:55But also,

06:56more importantly,

06:57it gets you

06:58to understand,

06:59like,

06:59what her issues

07:01going on

07:01in her world

07:02are with her,

07:03her dad

07:04and how that,

07:05it relates

07:06to the stories

07:07going on

07:07with Miles

07:08and,

07:09and so it was,

07:10it was unconventional

07:12because obviously

07:12Miles is the,

07:13is the,

07:14you know,

07:15is the protagonist

07:16of the movie

07:16but Gwen is such

07:17an important part

07:18of,

07:19of that story.

07:20We wanted her,

07:21her to be

07:23important as well

07:24and her arc

07:27that she has

07:27with her dad

07:28that sort of

07:29the movie begins

07:30and ends with

07:30is a really

07:31important thematic

07:33and emblematic

07:35of the story

07:36we're trying

07:37to tell

07:37from,

07:38about parents

07:39and children

07:39and,

07:40and parents

07:41needing to grow up

07:42just as much

07:42as,

07:43as the kids are

07:44and how

07:45relationships evolve

07:46and how everyone

07:49needs to grow

07:49and evolve

07:50with them.

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