- 5 days ago
From interviews and games to behind-the-scenes moments, revisit some of Vanity Fair's favorite Spider-Man videos in one supersized marathon.
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00:00Honestly, I never think about it while I'm making it, but I just knew that, I just felt like it
00:04was special.
00:04The cast that was coming together always, it was like Willem Dafoe and Alfred Merlina, and like we always had
00:10amazing actors.
00:11You are amazing.
00:14Sam always wanted the quality, the heart and soul, that was always the most important.
00:18And the way he talked about Spider-Man and movies, he just got you excited.
00:23Like I remember when we did do the Upside Down Kiss, he had given me a book of like famous
00:28kisses.
00:28Like Sam was so romantic about this movie, and so making it with him didn't feel like a huge movie.
00:34It felt like we were making a tiny movie on a bigger scale.
00:41Mary Jane, you kind of like kind of know what she is when she runs out of her house, like
00:45a fight going on in her house.
00:47And she sees Peter there and you're like, oh, Mary Jane has this whole really hard childhood that like you
00:52just got a glimpse of.
00:53She's kind of represents every girl next door, kind of everyone has problems.
00:57She represents first love.
01:09Hello, my dear.
01:11Sam Raimi wanted me to like try out a stunt, so he took me to the top of a Sony
01:15studio, which is very, very, very high.
01:17And they just free fell, like I bungee jumped basically.
01:20I was like, you should have shot that because I'm never doing that again.
01:22I was like, that's never happening.
01:24I was terrified.
01:24We are who we choose to be.
01:27Now, shoot!
01:32Ladies and gentlemen.
01:36Fasten your seatbelts.
01:37It was a big surprise to me because it's not the kind of movie that I imagined myself to be
01:44qualified for.
01:46You know, you always think of these big action films as being kind of certain actors who are known to
01:52be, you know, kind of physical types.
01:54And I've definitely never been there.
01:56The story goes that Sam Raimi's wife happened to say to him, there's this actor in Frida, you know, he
02:04looks interesting.
02:05And Sam, being a smart man, listened to his wife, as all smart men do, and he called me in,
02:13and we had a great meeting.
02:14And I kept saying, look, I'm up for it, but I've got to be honest with you, I've never done
02:19anything like this before.
02:20And I've certainly never worked on a film with all this technology, you know, I've never done much green screen
02:26or anything like that.
02:27But what swung it was we did a screen test where they gave me an approximation of the costume, the
02:34big leather thing with the big trench coat.
02:36You know, I'm doing all the usual things that you do at screen test, you know, giving them different angles.
02:40And then Avi Arad, who at the time was head of Marvel, takes off his sunglasses and goes, put these
02:48on.
02:49And so I put the sunglasses on, and the whole room just sort of went, oh, this could be the
02:54image.
02:55And I think that's what swung it.
02:56I will not die, monster.
03:02The beautiful thing about a lot of the Marvel villains, and in fact, a lot of the Marvel heroes, is
03:08that they all become so reluctantly.
03:11Otto Octavius has this terrible tragedy in his life which changes things.
03:15And so they become these monsters, these villains, almost against their will.
03:20And what that does, it gives those characters a real level of humanity.
03:25It gives them kind of moral dilemmas to deal with.
03:29And there's always a moment when they're struggling with that dilemma.
03:32Should I carry on doing this?
03:33Should I pull back?
03:34Am I being a bad person?
03:36These monstrous things should be at the bottom of the river.
03:42And that was all in the script.
03:45And Sam wanted to develop that.
03:48It gave the character a kind of depth and something that the audience can hang on to.
03:53Because it's no longer a two-dimensional character.
03:56He's not just the bad guy.
03:57He's actually the bad guy with a kind of emotional life.
04:02And that just, I think, makes them just so much more interesting.
04:05Hi, everybody.
04:06My name is Kelly Port.
04:07I was the visual effects supervisor on Spider-Man No Way Home.
04:10Previously worked on Avengers Endgame.
04:13And prior to that, Avengers Infinity War.
04:15And I'd love to take you through one of our big action sequences, which is the introduction to Doc Ock,
04:20The Big Bridge Fight.
04:24Hello, Peter.
04:27Most of the film has some portion of visual effects.
04:30I think there's maybe 80 shots that didn't have visual effects.
04:32I wanted to start the sequence on this particular shot.
04:36Because this, when you look at it, this is exactly one of those shots that doesn't seem like a visual
04:42effects shot.
04:42But it absolutely is.
04:44This set here was built in Atlanta.
04:48We had just this door right here.
04:50The steps and the door.
04:52In that particular case, we had to extend all of this area on the left and right of that.
04:58So that's a really common practice, what we call just set extension.
05:02But it includes all the little details that come along with it.
05:05Digital animated leaves that maybe blow in the wind and things like that.
05:10That's just one of the first shots.
05:11Now, there's a lot of circumstances where you get into a situation like this.
05:16And it's like, oh, this is a shot in a room.
05:19How could there possibly be any visual effects here?
05:21Well, scheduling reasons, for whatever reasons, he was not available.
05:26When this part of the movie was shot on one day, he had to be shot a different day.
05:34He's over a blue screen.
05:35This was shot separately.
05:37And this is one of those good examples of what you would consider an invisible effect.
05:41There's no electro beams coming off or arms doing something crazy or something exploding.
05:47This is just one that looks like just a normal shot.
05:49And it's not.
05:51So this part here is part of our set in Atlanta.
05:57Obviously, Tom is there.
05:58But all of this out here is fully digital.
06:04Now, some of these pedestrians are digital pedestrians.
06:08And some of them are extras that were shot on blue screen.
06:11It's a combination of both.
06:12But all the cars, the trees, the moving leaves on the trees, that's all CG.
06:18In a sense, it's easier to create the world rather than shoot it in New York.
06:23Okay, perfect.
06:23Where is she?
06:24She left.
06:24To go where?
06:25To the airport.
06:26Even though we had a lot of aerial photography, we had this traffic that we're going to be needing
06:32to be continuous with.
06:34When we shot the aerial, it looked nothing like that.
06:36So, of course, we had to replace all of this traffic on here with cars.
06:41We actually had to move this tower.
06:43And by the way, not only did we have to move the tower, the tower is under renovation.
06:48So it had all this scaffolding on it.
06:50We didn't remove the scaffolding.
06:52We just made a CG tower.
06:54So you've got a whole bunch of mix and match of digital and photograph.
07:01So this is sort of one of those hybrid plates.
07:03So here's Spider-Man flying, looking for the assistant vice chancellor.
07:07So what we ended up calling her is AVC just for shorthand.
07:10He's flying in.
07:12At one point, just to talk about different kinds of previs and versions of that,
07:16we had him climbing up that tower, looking around, all sorts of things like that,
07:21that we were just exploring.
07:22But, you know, as part of trimming the sequence, he's just now flying there.
07:27And then you see him land.
07:28This piece was actually built.
07:30A lot of these things that were actually built end up getting replaced,
07:35whether it's to add detail or if it needs to be cleaner or dirtier,
07:39or if his animation changes and it makes it easier to remove Tom.
07:44He's on wires.
07:45He lands.
07:45We basically, what's called Rotomation,
07:48which is your frame by frame matching what Tom's doing,
07:52what his action and performance is.
07:54And then you're creating the Spider-Man version of that,
07:57which is where he's wearing this Iron Spider suit.
08:00In a situation like this, and for all the shots where you see Iron Spider that are live action,
08:05we created a physical model, a bust of Iron Spider,
08:10that we could actually put in that lighting environment.
08:12So it really helps us understand how something metallic would behave in that particular light because that's how we ultimately
08:22need to light it to sort of get to match that, if not better.
08:25Tom does a ton of his own stunts and this is one that he particularly did and this is Tom's
08:30idea.
08:31It was really funny because he's wearing a suit underneath this Iron Spider suit that ends up getting all wrinkled.
08:36So in this particular shot, Tom Holland is wearing the wrinkly suit and we put the Iron Spider suit on
08:42top of that because it would be easier for us to do that than having to recreate the wrinkly suit
08:48as an all digital suit.
08:49We had this couple rows of cars, two rows over here and one row over here and this K-rail
08:55divider here.
08:56But everything beyond that, the distant cars, the signs, all these distant buildings, the other bridge, all of that was
09:04blue screen and would have to be extended.
09:07So what we do is just match what the physical camera was doing.
09:11We have to create a virtual camera that matches that exactly and then we're able to put our world beyond
09:17what the blue screen was.
09:19So now we're on a wide shot. There's a lot of visual effects here, but the idea is that you
09:23don't really see them.
09:24It's like, oh yeah, he's on a freeway and he's just running.
09:27This could easily have been shot had we been in New York and locked off that bridge, you know.
09:32It's a lot of money to lock off of the Brooklyn Queens Expressway, I would imagine.
09:36But you could and keep shooting that for a couple weeks and get a lot of angry New Yorkers probably.
09:43Obviously, some of this is what was filmed. I think it was something like this.
09:48So what's interesting about that is that we have to, again, extend all that environment out, create digital cars on
09:55the left, the surrounding environment.
09:58Peter running in this case is all digital as well.
10:01Some of that was based on motion capture, some of it's keyframe animated by hand.
10:07We changed signs, like this says JFK Airport, but that's not actually what it says there.
10:13But since the AVC is theoretically headed to the airport, like everything is like really accurate in terms of the
10:19signage and things like that.
10:20But we sometimes need to introduce things that say, oh yes, she's going to the airport, because we just said
10:26that.
10:27A lot of these scenes, these little vignettes as he's passing from car to car, the dog, the two kids
10:35were actually just ideas that came up with, that the guys came up with in the previs.
10:40As we get closer and closer to shooting, that previs becomes a template for how we shoot.
10:45And so this happened to be one of those shots, the dog barking.
10:48We had a bunch of other ones that were just not used, but and then in just this particular case,
10:54the kids had an iPad here and that was just a blank iPad.
10:58But we took the helicopter footage and we just stuck that on there, added some Daily Bugle bugs on it,
11:06like it was a live broadcast.
11:08Here's a little Easter egg I'll show you, because it's already out there.
11:11We did do a little tribute to Stan Lee, that's his birthday, so.
11:16This was actually a very tricky thing. We had all sorts of reflections.
11:19We had camera reflections, flags, the blue screens, all sorts of things like that that we basically have to remove
11:27them
11:27and then add in the correct ones. That happens a lot.
11:31Peter jumps on the car, he's pulled on wires, we transition that into an Iron Spider suit, we get our
11:38reference of the Iron Spider bust,
11:40we have a grey ball, a silver ball, we do something called HDRI.
11:45The Iron Spider suit, we need to light that in a similar way as everything else in the scene was
11:50lit, otherwise it won't fit in.
11:52So we put a camera, it's just a digital SLR camera, you do highly bracketed photos,
11:58all the way from where the exposure is pure white to pure black.
12:02And what you're left with is the relative range of light, so you're able to use that image, image-based
12:09lighting,
12:10in a way to sort of help augment how we light characters that need to be integrated into a photographed
12:17or live action world.
12:20So, we're all familiar with this shot, this is basically the reveal of Ock.
12:25We code our shots by code names and shot names, but that one is called HBX1980,
12:32because I've seen it many, many times.
12:35I still remember shots from Titanic, TD-35, very difficult shot.
12:41So this shot, I think, if you count up all the different versions of it,
12:45I think this one shot had over a thousand different versions,
12:50of which I probably saw a couple hundred.
12:57Hello Peter.
12:58One thing that's important to know for both Alfred Molina and Willem Dafoe,
13:02we did do some de-aging because they're coming from an older timeline.
13:07So that was a process that we had to do on every single shot of Willem Dafoe and every single
13:11shot of Alfred Molina.
13:13For all these kinds of shots, we had to certainly do hours and hours of research.
13:18We would take the Spider-Man 2, specifically for Doc Ock, cut all of his shots together, study them.
13:26We even had animators that worked on the previous film, so they had a real good sense of how he
13:32moves.
13:33And it was so great talking to him on set, Alfred Molina, when they had shot that.
13:37They had some physical arms that they could play with, but they also were digital as well.
13:44So it was a combination of arms that were puppeteered and some of them were all digital.
13:49In our case, they were all digital.
13:51Let's take a look at Doc Ock's arms.
13:53This is a perfect example of the rigging and animation departments.
13:57What the rigging department essentially does is responsible for creating the controls for the animators to use.
14:04They're able to take the controls that the rigging department has given them,
14:08the joints, how detailed of a control do you want, where those controls are,
14:13how easy they are to use, how intuitive they are.
14:15And that feeds into the animation department, who's responsible for creating the animation.
14:21This is kind of what they see. It's a very simple version.
14:24It's a lightweight version of the character.
14:27And then this gets translated, obviously, into a much higher-res, photorealistic version.
14:32He has to rise and fall as the legs are taking him if he's not just walking on the ground.
14:38We tried a few different things like a wire harness.
14:42Ultimately, we ended up where he's standing on a platform that could be pivoted.
14:46Because his legs weren't moving or dangling in that kind of case,
14:49we often had to replace his body or at least minimally his legs.
14:53And if he's swaying back and forth, something like that,
14:56we would often have to replace the rest of his costume.
14:59So in a lot of these shots, he's basically digital from below the neck,
15:03which is another thing that you don't, well, hopefully don't notice.
15:09What's fun here is this particular shot was on what we called like a rotisserie rig
15:15that Dan Sudik, the special effects supervisor, created.
15:18We actually had to turn this car upside down,
15:22and we had Cheerios kind of falling in the air, things like that.
15:25But that was one of the great physical effects that Sudik and his team put together,
15:31along with some others that we'll talk about.
15:33We were able to put the two parents in the rotisserie rig,
15:36but we just couldn't, we weren't able to put the baby in the rotisserie rig.
15:40So we had to composite the baby into what the parents were going through,
15:45which was in fact being turned upside down.
15:49A lot of these shots came in a little bit later as the cut was sort of refined.
15:54We discovered certain shots that just weren't shot.
15:56We didn't, we didn't have this angle, for example.
16:00So even though this is a relatively close up shot,
16:02it's over the shoulder of, of Alfred Molina.
16:05This is in fact an all CG shot.
16:09One of the things I wish we had done from the helicopter rotor blades,
16:12I really wish we had blown away some of this trash, you know, moving.
16:16It's that little detail.
16:18The fact that those little pieces of trash and debris are just not moving
16:22is really bugging me.
16:23It's one of those things that's like be nice to get to, but we didn't.
16:28As we get into this sequence where you've got dock ox, four tentacles,
16:34iron spider legs, and so it's this, this crazy almost swashbuckling sword fight.
16:40Conceptually a section, like a beat of the sequence like this,
16:44where it's the, it's the arm fighting, things like that,
16:47starts in previs, started as a long kind of one-er going all the way
16:51from when they first start all the way up onto the top of the sign.
16:55Ultimately that got cut apart.
16:57It's not just a brawl, a street brawl with two people fighting.
17:00It's just adds that layer of complexity.
17:03Okay, so now we get into a really fun part of the sequence.
17:06Doc Ock grabs one of the pipes off the pipe truck and smashes it onto the car.
17:12Spider-Man's running and getting chased by Ock.
17:15What's really interesting and fun is to look at the blue screen,
17:18the original photography of Tom going through this,
17:21and we did it in different passes too.
17:23So Tom, again, doing a lot of his own stunts,
17:26would run through the pass and jump on walls and trampolines
17:31and do flips and things like that.
17:33He's an incredibly physical actor.
17:36And then we would do this as different passes.
17:38The camera team had to really be, you know, as accurate as possible
17:41to do the exact same move several different times.
17:44Dan Sudik and his team, you know, rigged the big pipe
17:47that was pulled into the car at just an enormous amount of pressure
17:51and velocity on pulley rigs and things like that,
17:54physically smashing that first car.
17:56We augmented this so a lot of this is also digital ultimately.
18:00It's always fun to physically try to do some of these things.
18:04Even if it ultimately ends up being reference,
18:07it's incredibly valuable reference.
18:09You just don't know really until you really get into it
18:12what the ultimate shot or the angles are going to be,
18:15whether you're going to use it fully or partially or maybe not at all.
18:20But it's regardless of what you end up doing,
18:23it's extremely valuable to see that.
18:27Here's the second pipe flying.
18:30It smashes that car underneath.
18:31And you actually don't end up seeing a lot of it,
18:33but that's what's happening.
18:35We actually shot that as a separate pass too.
18:38Ultimately, we sort of ended up framing more for Spider-Man
18:41and what the acrobatics he was doing.
18:44John kept pushing us more and more.
18:45And this is where the animation gets refined.
18:48It's like it's looking too easy.
18:49Like he needs to be like right on him.
18:52The tentacles need to be pounding.
18:54And he just narrow miss after narrow miss after narrow.
18:56And just getting really just beat to hell the whole time.
19:00So with Tom doing this pass, we have a variety of sources to choose from.
19:05We have what Tom was actually doing on the set.
19:07Now that shot ends up being manipulated or changed later.
19:11We can use some of that.
19:12What we do is just rotomate,
19:14which is frame by frame matching what Tom was doing.
19:18Sometimes we do motion capture where Tom or one of his stunt doubles
19:22would run and jump and do a flip or something like that.
19:25So we can really mix and match all of these things along with just regular keyframe animation
19:30to combine and what we get ultimately.
19:35So I think this shot might be one of the only non-visual effects shots in the movie.
19:41But even though it was like just an insert shot of her putting her seatbelt on,
19:47I do think we actually retimed it.
19:49So technically it is a visual effects shot.
19:51Now this shot's really cool for special effects too.
19:55So Dan Sudik and his team actually rigged a car to be thrown 150, 200 yards or something
20:03across the freeway into these water barrels.
20:07So that actually happened.
20:09And you know, what's fun is that you, when you do events like that,
20:13you want to have a bunch of different cameras on it.
20:15So, you know, ultimately I think it just ended up being this, this kind of angle,
20:20but you know, it's fun to see the alternate takes of what could potentially have been in there.
20:25This movie is not about cars smashing into water barrels.
20:28It's about Peter trying to save the ABC.
20:30So you got to just kind of pick your battles and visually it may be really interesting to see all
20:35that stuff,
20:35but we got to get back to Peter and what he's trying to do just from a story perspective.
20:42Now, poor Paula Newsome here.
20:46She's literally in a car, again developed by Sudik and his special effects team,
20:52developed a rig that could tilt down at 90 degrees.
20:55And she was not a fan.
20:57So I think the terror that you see on her face is authentic.
21:00She did not like heights.
21:01She did not like this, but she was such a great sport and kept doing it over and over again.
21:06It was elevated, probably 20 feet off the ground or more.
21:10And then she'd get in the car and then it was just slowly turned down 90 degrees.
21:14And she'd be like, ah!
21:15And then we would, of course, put all the stuff back here in there.
21:21So all the interior car, that's real.
21:23So it's just blue screen out there.
21:25And we would add Spidey on the top, pulling the web or a piece of debris hitting the car.
21:32Just take a deep breath. Are you okay?
21:36This is one of my favorite shots.
21:38We have Paula Newsome hanging upside down.
21:40This is shot on a soundstage.
21:42We had to remove all of the interior soundstage reflections.
21:46This is a really shiny car.
21:47So it was reflecting all sorts of crazy stuff that we had to remove,
21:51not only on the car painted surface, but on the windows as well.
21:55What I love about this shot is just the photographic nature of it.
21:59It's a combination of technical things that make it look nice.
22:02It feels very photographic.
22:04It feels realistic to me.
22:05The fact that Iron Spider and his quick turn or reaction is sort of comical
22:11with his eyes coming up and her reaction out of focus in the background.
22:14It all nicely ties together.
22:16And, of course, one of my favorite things is being able to see Ock sort of approaching
22:21in the background, his reflection, too.
22:24There's a lot of story being told here in a relatively simple frame.
22:29I love this shot.
22:31What was fun about this shot, so this was shot interior.
22:35Tom was wearing what we call the fractal suit, the tracking suit.
22:39But we had a little patch of suit that had a little piece of cloth that could be pulled on
22:46a string.
22:46It was like a very simple gag.
22:49When that got pulled, the tie would fall down naturally.
22:53And he was actually being held upside down in the soundstage for that particular gag.
22:58About done yourself, Peter.
23:00Now, obviously, this is a very big shot, this big 360.
23:03So we did the move like a practical camera move on set on a soundstage to go around him.
23:10Obviously, there were no tentacles or arms there.
23:13And then we had to get the timing of the nanoparticles merging onto Ock's tentacles.
23:19Worked out with animation.
23:21And we had to do a lot of iterations on what is it exactly how the nanoparticles attach and flow
23:27and move.
23:29So here, poor Tom Holland, we actually hung upside down.
23:33Again, he's such a physical actor and is such a good sport.
23:36But we did have to like play with his blood flow in his head and had to color correct some
23:40of that.
23:41It was very uncomfortable for him.
23:43But luckily, we didn't have to do a lot of that or at least too long because that was just
23:47probably not very comfortable.
23:49When Ock first emerges out of the hole that he made in the freeway,
23:53you'll notice that the lights in his claws are red, indicating that the inhibitor chip is still not working,
24:02that the AI in his arms are controlling him.
24:05So you'll see that it's now a blue light.
24:07So from this point on in the film until he is cured or his inhibitor chip is fixed, they are
24:14blue.
24:15And then once they are fixed, they then turn back to white.
24:18And so when you actually catch these little things, these little nuances of it, it's like, oh, I appreciate that.
24:25A shot like this where we have the actual car, it's being lifted on big cables and actually put down.
24:32But again, we deal with reflections and things like that that have to be adjusted, adding Ock in the arms.
24:38When he webs the door and actually pulls it off, that's an actual practical gag.
24:42We actually physically pulled the door off the car.
24:45This shot, which ended up being in the trailer, these white lights are sort of like a timer.
24:50And so they are back timed to the actual explosion that happens in the next shot.
24:55In terms of visual effects on this shot, the grenade itself, the pumpkin bomb itself, the smoke, this fire in
25:02the foreground.
25:03So this is a great example of the collaboration between special effects and visual effects.
25:07They are, in fact, quite separate.
25:10So special effects has different terms.
25:13Practical effects or physical effects.
25:15All the stuff that happens on the live action photography.
25:20It could be cars really exploding.
25:23They rig cars to be thrown into water barrels and then they put charges in the water barrels to make
25:28them explode.
25:29They create these rigs that put Paula Newsome down at different angles.
25:34Or they put a family in a rotisserie so that they're spinning around and Cheerios go everywhere.
25:39Whereas visual effects or digital effects is all of the things that we add usually in post-production that have
25:48a digital nature to them.
25:49It's the act of compositing or adding animated characters.
25:54A lot of them can be very similar to what special effects does, but it's a digital version of that.
25:59So we can have digital pyrotechnics, digital explosions, rain, smoke, all of those things.
26:05There's a visual effects component of that as well, but it's just a digital version of that.
26:09So that's how we make the distinction between physical effects and visual effects.
26:15This is another fun example of Dan Sudik and the special effects team making just gigantic explosions.
26:20Of course, we added a lot of different cameras on a take like this because it's a big deal.
26:26You kind of have one go at it.
26:27Whenever you see something like a big explosion happen, word gets around.
26:31And so people in the office come down and end up getting a big crowd and you're watching the whole
26:36thing go off like a like a fireworks or something.
26:40But it's it's never boring to watch stuff blow up.
26:44I think we had like six or seven potentially crash cams, things like right close to it.
26:50That would be unmanned cameras.
26:52Ultimately, a couple shots ended up in the edit, but that's that's how it works.
27:01And of course, having Goblin make his entrance.
27:04We weren't sure if we should introduce him at the beginning and have a big role in the action and
27:08the fighting.
27:09At one point, we had previous something along those lines and we're exploring those ideas.
27:13Ultimately, we decided to have the big reveal like this, which is really fun.
27:18And so this is his the older suit from the other film.
27:23We were able to get access to that and digitize it, make a digital version of it.
27:27Glider was slightly adjusted to be as similar as possible from a profile perspective.
27:34But we did take some liberties and just design choices to improve it incrementally a little bit.
27:40But it's just fun to just play with this idea of him emerging from the smoke and getting that big
27:46reveal.
27:49What was really special is that we knew that this film was going to be big.
27:54I don't know if we knew it was going to be this big, but we just really enjoyed the process.
28:00And what was really fascinating and special, at least to me, and I know a lot of people that worked
28:04on the film,
28:05is just being able to go on that opening weekend.
28:08I took my kids to the opening weekend and just sitting there, I don't know how many times I've seen
28:14this film,
28:15but like seeing their seating with an audience that's just crazy about the film and hearing their reaction to these
28:23kind of special moments,
28:25whether they're tearful or surprising or their jokes and everyone's laughing.
28:32You know, we created this thing in the middle of COVID and this is one of the first films where
28:36people are actually going to theaters and watching this thing.
28:39It was more than we could ever hope for and it was just wonderful.
28:50That's some neat trick. That's sense of yours.
28:54Norman? Norman's on sabbatical, honey.
28:57That's from Spider-Man No Way Home.
29:00I was returning to a role that I had done 20 years before, the Norman Osborn slash Green Goblin role.
29:08And there's a really good action sequence with Tom Holland, who's excellent partner, really physical, really great with the stunt
29:16stuff.
29:17I did the fighting. They also have stunt guys do it. They tend to do both.
29:21And sometimes you're working over here and they're resetting and they'll have a stunt guy do it.
29:26And then you'll come over later. And so there's a lot of leapfrogging.
29:31Strong enough to have it all.
29:36Too weak to take it.
29:40Choreography, you slowly learn it. They slowly refine it.
29:43And then when you get there, you practice a lot and really shoot it quite a bit because action sequences
29:48usually depend on pretty good cutting.
29:51I love doing that stuff just because it's athletic.
29:54And if you don't do it, it's really hard to connect the dramatic scenes if you don't do the action
30:02stuff.
30:02Because you got to do that stuff to get dirty to connect the dramatic pieces.
30:08Otherwise, you don't deserve to do the dramatic pieces.
30:17The laugh, you don't even think about it. It's like music, you know? It's like making a noise, that's all.
30:23I don't think about the quality of it. Something like that is just natural.
30:39Nothing's been the same since New York.
30:40I'm just a kid from Brooklyn.
30:41It's Peter.
30:42Parker.
30:44Parker.
30:53Parker.
30:56Parker.
31:02Parker.
31:06Parker.
31:08Parker.
31:10Parker.
31:11Parker.
31:14Hey, soldier.
31:48Hey, soldier.
32:15Hey, soldier.
32:41I'm going to torture your body now. You don't have time.
32:43Time is relative. Your body hasn't even hit the floor yet.
33:11What's up, Mr. Stark?
33:12Kid, where'd you come from?
33:13The field trip.
33:14Yemoma!
33:15The field trip.
33:17The field trip.
33:39I don't know.
33:59O'Connell, Michael, Rogers, Stephen.
34:30I don't know.
34:55I don't see what the problem is.
34:57You're about to be the last eligible man in New York.
35:11Woo!
35:13Everybody good?
35:18Hey, Happy.
35:19Um, here's my report for tonight.
35:20I stopped at Grand Theft Bicycle, couldn't find the owner, so I just left it out.
35:23I don't know.
35:24Um...
35:25I don't know.
35:25Woo!
35:25Woo!
35:27Woo!
35:27It's good.
35:56Now, Vic.
36:09This scene is from Spider-Man Homecoming.
36:11Told you it was worth it.
36:13Go, go, go.
36:17Oh, nice.
36:19What's up, guys?
36:20You forgot your PIN number?
36:23Four.
36:24Hold.
36:24Now, you've got to be careful in terms of the legal issues here.
36:28He's not trying to save life.
36:29He's trying to save property.
36:31And that's a big legal distinction that we make.
36:33The Good Samaritan Rule says if you're going to save somebody, especially someone's life,
36:38and you cause damage, say you're rescuing someone from drowning and you break their arm,
36:42you're not liable for breaking their arm because you saved their life.
36:44He's not saving any lives.
36:46He's merely trying to protect property.
36:48Oh!
36:50Ah!
36:53No!
36:59By getting involved and not letting them take the money and leaving,
37:02he causes additional damage to that bank area as well as to the building that it's in and the deli.
37:08Once an insurance company pays out for damages in order to repair these buildings,
37:12they'll do what's called subrogation.
37:14They subrogate or they collect against those that are responsible.
37:17Now, he didn't cause the damage to the ATM pulling it out of the wall,
37:20but when he starts throwing them around in order to stop them as opposed to just webbing them up,
37:25that type of damage he would be liable for.
37:27Meaning, but for his actions, there would have been less damage.
37:31ATMs are about $10,000.
37:34The glass and the poster, the window and the metal framing, probably another $15,000 or $20,000.
37:39There was probably ceiling damage if we looked at it a little bit more intently.
37:43That you're probably talking about $50,000 in damage to redo the facade on the bank side.
37:47You then on the deli side and on that commercial property,
37:50you've got this laser-type object going right through the wall.
37:54You're probably talking about total of about $300,000 in damage.
37:59Oh, come on.
38:00Now, more interesting is the deli and the building across the street.
38:03The deli would have what's called the BOP, the Business Owner's Policy.
38:07Part of that coverage, which you can also purchase, is called business interruption coverage.
38:12Any of the losses that you sustain from not being in business.
38:16If that store was making $20,000 a month,
38:19the insurance company would pay them $20,000 a month until they were back on their feet.
38:23And so then the question arises, is he liable for his actions?
38:27And the answer generally in the law is yes.
38:30So in this case, Spider-Man would be held by virtually all courts liable
38:33for any damage or additional damage that he caused.
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