How Spider-Verse Uses ACTION To Tell A Story

[Music] how was that moment chosen to be made one of the things that happen with this scene when it's first boarded and it's a lot of cool action it was a lot of Chase Chase Chase fight fight fight that's all very cool but we're lacking character why don't we take some of this dialogue on top of the train and mix them into this battle lay it through the rest of the scene throwing in those moments helps the peak emotion of the scene moments where miles's heroic Glory are always fulfilling there is absolutely no doubt that the editing of Spider-Man across the spider verse was astronomical and that was confirmed when we invited the editor of the movie Michael Andrews to break down Advanced Techniques and how they made this masterpiece Michael Compares how a Scene goes from storyboard to screen explored why Gwen dominated the First Act we also challenged Michael and whether the Cliffhanger worked how Michael juggled the Colossal edit or die process that shaped the film which meant there's multiple versions of the same movie why this movie has three directors and an in-depth editing breakdown of the train action sequence and we begin with a dissection of the movie's iconic opening sequence this is the editing podcast brought to you by Riverside a powerful online video recording tool if you're new here please subscribe let's do things differently this time like so differently the whole idea of the scene is we didn't just start off in a scene we started off with like imagery and it's just coming at you fast and furious and just a barrage and we're basically in Gwen's head it just gets you right into the moment of what's going on with her he was bitten by a radioactive spider and he's not the only one she's full of angst she's got a lot going on she's thinking about a lot and it gives you little hints of things to come down the line in the movie like there's like flashback material but there's also stuff coming down the line so it was all just mishmash of all these materials that that all came together so much all happening all at once and you had to make something out of that that kind of like made sense and it was like settled us into the movie again and I kept pushing the envelope I kept like adding layers of like just flash frames and and things that would just make it you know visually a little more stunning like because it was a drum there was one moment where picture of Gwen and Miles that's on the drum should be of bouncing the drum and I like oh that's cool I want to do that for the whole scene since we're sort of in this drum set and in her head like the whole thing is just sort of like pulsating the whole time parts of the scene are just like moving to the beat like they're like have like a camera Shake on them almost exactly sometimes you'll see a little pulse or like a vibration like that yeah these little images here were one of the last things we did and this was sort of an omage to the original artist who does the Gwen comic books Phil got these from him directly and I was at the mix stage throwing these in and I just created like a little collage of them the after effects guy took it and ran with it and he made that sort of all cool imagery pop in and out he hasn't always had it easy one thing Phil insisted on was if we show something from the old movie like the shot don't make it look like the old movie we want to we don't want to look cheap we want to look like we did something some of the production design on this stuff is just amazing what they did we felt a need to bring back uncle Aaron because there were screenings where one of my favorite parts of the movie is when Aaron walks through the door Uncle Aon gave chills I know I just got chills right it didn't have that same effect on the audience and we were like why like why are they not caring this should be huge found out you know through cards and stuff that like people had kind of forgotten who he was and so we had to put a little reminder here and then also miles is doing his talk up he mentions Aaron too I miss my uncle sometimes try to do what he told me just keep going so in order to basically give the audience more of an an emotional impact it was important to put him earlier and give him more screen time remember who he was and land the emotion of you know what he means to Miles he's not the only one there's like lots of Fast Cuts going aggressive aggressive aggressive and in this kind of help now he's on his own this kind of then broke the Rhythm for me a little bit well this is a hard image to take in what the hell's going on here this is something we're going to see in the late second act but we don't know that we felt there was we needed to kind of settle on this moment just go oh this is in what's he looking at what are these shapes what are what are these people yeah otherwise it's it's too confusing if it goes by too quickly contrast creates Focus contrast creates Focus one of our favorite things you guys were paying attention I'm very impressed I don't high five I'm sorry that was the most awkward thing ever in Ed podcast history and he's not the only one that was A New Perspective I picked that up very good very good that was Phil's call like let's make this from Gwen's point of view she's diving down from first movie you don't so like that is that's meant to be spot oh and there were scenes that we had in the movie that clarify that more but we at one point we had the shot from the original movie with spart than 4 miles going off with the flashlight down the subway tunnel you see p come in and grab it and this is just like the hinty version of it maybe the other version was probably a bit too it told too much and it was too confusing like who's that but this is like oh that's intriguing she just didn't close that Curiosity loop I didn't want to hurt him foreshadowing more there y you're spoiling the whole movie before the movie started you really are if you're really paying attention I mean it's all there that's the moment right there you know on the train where he realizes she's deceived him some of the shots like a too brief actually that it's like there's not enough time for me to take it in it's just too short raises your curiosity just enough and this is barely very very quick moment came in late in the game to make room for that I mean the scene kept kind of expanding but you know Daniel pton was wonderful period of time where Daniel was in a room down the hall for me I've never had that experience where I can go talk to the composer he got anything and I was like well the only thing is I feel like it should accelerate more towards the end get more Manic and crazy and he goes what do you think of this and he you know he had this great monster keyboard he starts banging on it and it's making drum sounds which you know you can do and and he's just going he's drumming on his keyboard and got right into that sort of manic feeli that I was hoping for hey yo Jeff [Music] leopard is the song over so was all this storyboarded out at any level or were they just giving you material and they're like hey throw this together there was a storyboard version of this it was kind of minimal so like like that's why I was pulling from whatever I could and and Phil had this um idea about oh let's pull stuff from YouTube even like there was some uh slow-mo drawing on YouTube with paint I think he kind of literally wanted that in production design kind of went a different route with it sort of would take on their own life and what would come back be great we're seeing the finished version but how did this look like at that very early stage his name is Miles Morales drum beat see yeah right into miles so that's the vibration and twisting I was putting on to give the feel of a uh you know being in the drums he's got a tough job so the energy in the feel is already there that's that's what we went for sometimes it's just Graphics you know like going across the screen oh that's interesting so that's that version of that other shot ah so that was kind of foreshadowing the an event sort of narrative interesting and there's the flashback shots yeah yeah there we go and then there's a new perspective the moment on the train basically right so that's the equivalent of that a lot of the seeds are being planted here but then there is an animated shot Gwen drumming is from the first movie the first time she does her talk up yeah that that's what that's from you really are grabbing anything and everything from anything that you can and I just cropped in on it so it wasn't the same shot yeah so didn't instantly recognize it the moment I said that's a new that is from the last [Music] movie that's meant to be Peter This was meant to be literally superimposing sort of image of miles and Peter she doesn't want to lose miles the same way which is the reason for what she does people were a little confused about some things in the storyboard phase that's the kind of thing I'm talking about because of the different stylings of all the board artists you don't obviously recognize who that is I think that might be part of the problem I could see why people were confused but uh that was the idea a lot of it it was like this is kind of full of a lot of so many different ideas of what could be done here but it seems to be the discipline of actually what you should take out yeah and then focus on what is probably the core most important elements we do need to set up for this whole story and it was always meant to be here's the inspiration here's the groundwork you guys we pass it on to the next Department please give us gold that takes to the next level you know and you hope that that happens the animators gave us a lot of great stuff so it just kept getting better and better I think you know the rest but you don't it is a lot faster yeah we're we're already building it up like it's into that Peak path know foring the in Bay little glimpse of punk in there little glimpse of uh even the future in the next movie in there if you're looking okay maybe we not allowed to see that part she's going to slap me if I show you that we might have to hold yeah I might have to cut that part out but when we put it in there it was meant to be hey Death Leopard w so Riverside's been partnered with us for almost a year now and we wouldn't be able to create this without them we use it to record every remote interview for our show it's an absolute necessity it's been one of our most reliable tools for our workflow this is online software that records your screen your camera and audio all separately and uploads it to the cloud that means you can end up with multiple files that you can edit separately giving you full creative control in the edit it also doesn't give you bad recording quality like other video call softwares do it gives you 4K footage it looks professional as freck also if your connection drops during the interview it doesn't matter because Riverside records locally so no footage will ever get lost more than just recording Riverside has amazing post- production tools as well to help you create your show as fast as possible Riverside generates AI transcriptions which you can use to then do text based editing on your show and if you want to introduce the guest you can pop your script in a teleprompter and I'll you guys and lastly you can use Magic Clips basically you can automatically create shorts from your long form show right in Riverside with the click of a button you can do everything from pressing record to pressing publish right in Riverside you can sign up to Riverside for free and use the code editing podcast for 20% off the paid version back to the conversation I remember for me at this point just the emotion was like I was being overwhelmed in a really great way like oh my God this is going to be fantastic you were in I was in I was in one of the things I'm getting out of this is that uh like we're often feel compelled of like you got to start the story straight away you got to start the film with like an explosive action sequence whereas this is kind of going no we're going to start with just emotion we're going to start with tone we're going to start with feeling we're going to kind of let you get settled into this and I think that's how I kind of feel about this whole uh opening sequence is just like the opportunity for us to settle in and telling us this is how the film's going to feel and the other curveball is it's not miles it's gwent she has the whole first reel to herself you know that it's a miles movie and we don't see him until the beginning of the second reel you know there was a lot of debates about how much Gwen we should have at the beginning of the movie Phil was the one that was like a big believer and let's give her her moment because it sets up so much down the road and he was dead on right you know on top of what you're saying there was there were ideas of like no let's make it a real slam bang cold open and start at the goog [Music] Hut explain to me how a guy with a 40ft wingspan just waled into the Guggenheim unnoticed hey it's New York everyone's got their thing if we did that we wouldn't have all the setup with Gwen and her father she killed your friend you don't know that what do you mean I don't know that I do know that you know I was there she ran from the scene maybe she didn't have a choice I I got a job to do Quinn it won't bring him back you know you needed those moments and those are you know those are like slow tender moments to kick off a movie with it laid all the perfect groundwork for you know what happens between them down the line I've thought about telling you but you can see why I didn't want to you can see why I didn't want to tell you I didn't murder Peter all of that was absolutely necessary I think I I even remember when I was first watched this it was like 20 minutes in like I haven't seen Miles yet but I'm loving this good starting it with the action sequence again like maybe that that could have been interesting but I think the emotional impact emotional cont text of all of that would have been gone yeah I would even say like uh starting it with the drums here and then there drums coming back when the helicopter's coming down [Music] right that wouldn't land as well because we hadn't wouldn't have had that set up as what as much I mean there's a balance of like how much setup you need to do and want to do and you got to make it not overstate it's welcome and keep it moving we did a lot of work to make that feel that way you know cuz the like the scene that follows there's Peter dying her backstory of all of that you that used to be a bit longer and we had to like kind of condense it because we felt like we were digging into that a little too deep and we didn't need to it's interesting that you say that though because I think quite a few people felt that the story structure of this movie was a little bit weird me included yeah and I was like I was just I was just like okay I feel like the story like it felt like the Cliffhanger was it earned was it not I'm not sure so you weren't happy with the ending is that what your I don't know I yeah I don't know I wasn't I wasn't like super I don't know I felt like it wasn't quite it wasn't quite earned I felt a little bit unsatisfied at the end but some people did I mean that's sort of the problem with um a cliffhanger ending yeah too is like we it was sort of unavoidable to some degree Cliffhangers are just so difficult to do they're so hard to do and because it it is it is technically the signal of saying the story is not over and then it's like well I've just tuned in for 2 and a half hours for this and then you're not giving me the ending it's like and so part of that frustration is like well what did I sit down for for me it was the moment to be continued like no and then I got excited about the fact that I now have to wait yeah AB but then also that works on the opposite end it's just like like oh I have to wait [ __ ] you like why would you why would you do this to me and I was like I think both are right it is it can be frustrating thing but then like but when you guys would uh cuz I know this movie was originally meant to be just a singular one and they got split into two movies and so I guess this Cliffhanger came sort of because of that then we were long and we had a whole back half of the movie um assembled in a very rough State you know we had had a couple screenings and having panic attacks thinking about how do we how do we fit all of this in one movie and someone came up with the idea of like well let's make it a two-parter so then the next question was well where do we split it yeah you know one of our last previews we got that note people were people were angry really like we we kind of left off too much but at the time the movie ended with Miles tied to the [Music] back people were pissed off and we like oh okay and and it did feel too dark you know we needed to end on a lighter note and the perfect moment seemed to be leaving miles in distress but we haded you know very late in the game we had a little hint of I'm getting out of here right with this little you know Venom strike thing he's about to do that adds on that's that's interesting so that's L little seed planting we didn't want to leave him feeling like you know he was lost we want to feel like he's going to do something too and there's Empire stricks back Han Solo's in his whatever and uh the team is gathering to to rescue him so that all that stuff with Gwen came very very late in the game we did that like in the last couple months I think Bob petti was the one that said let's uh let's bring back the voice over from the beginning where she's talking about joining a band she says I never wanted to join a band I always wanted to be in a band guess I just never found the right one I never found the right band to [Music] join so I started my own that's so good I that that part was that part was awesome I've always wanted to I've always wanted to join a band and has a band that's so it's so you're closing that Loop in that way and so that's maybe that's a satisfying moment didn't satisfy you though we tried I mean I'm sure I mean I'm I'm definitely a small group I think a lot of people like absolutely were so stoked on it and I really understand the Empire Straits back comparison I feel like Luke was the hero in that story and he's the guy that you know he's the on the rescue team yeah he's on the rescue team instead of being the guy in carbonet and I think that's maybe where the disconnect there but I guess also would that then make uh Gwen Luke then cuz she was the hero coming to rescue and then it's true miles is the Han Solo in carbonite moment this was partially Gwen's movie too and like we were talking about in the beginning she took over the first reel she would you know there was a lot of it was her story too personally Lov that ending you know we quickly quickly layout put in layout quickly we we did all that super fast and um and it came together I think perfectly I I love it to me it was much more rewarding to have that kind of ending making a satisfying Cliffhanger that's like an oxymoron seriously what if you made a video essay on the incredible editing of euphoria but you were actually able to use the Euphoria soundtrack in your video well that's exactly what we did on our Euphoria episode The Story of euphoria is there's little story now some of you may be wondering how the heck did we get to actually use that soundtrack without getting demonetized the answer is simple we licensed the song with licked licked is the place for YouTube creators to license the most popular music in the world they have soundtracks from Barbie everything everywhere all at once Lord of the Rings and there's also pop songs from mainstream artists like Justin Bieber du alipa Bruno moris and so many others you simply license the track you want to use at an affordable price and licked makes sure that there's no copyright claims on your video music is so important to convey the feeling the tone of your edit so don't settle for anything less than exactly what you're looking for for go to the link in the description to sign up for lick today and get 50% off your first mainstream music track and 14 days of free stock music one of the things I'm finding really most fascinating about this is that last year we interviewed some of the OG editors of Pixar and they introduced us into the editorial concept the editor was essentially The Hub of everything the writers with the music even the directors production design everyone kind of to an extent reported back to the editor and they would have sent to HUB was that a sort of similar workflow with this as well I think in an ideal Studio Universe they would go like all right story does their thing kicks it to editorial they cut the movie together it goes to production production creates it you don't change a thing just keep it moving and I would say less linear than that I think more circular in a way like you know things were constantly evolving our approach was if needs change it can change it and we and we did we just attacked it at any stage and just try to make we just constantly just try make the movie better and Phil's great at that he's like he just never wants to give up and he wants to make the best movie he can possibly make many times where you'll get the layout back even to animation where you're go wait a minut something happened it's not as impactful as it used to be I keep everything stacked so that I can always check every layer of everything that comes in and the storyboards are there and so I can always bounce back and go oh this well this is what we did in storyboards during the the Chase and and they go through the gym and there's guy doing the Iron Cross and Miles runs across him then the whole crowd runs across in boards and layout it was always funny cuz his webs broke and they just collapsed this has always worked we knew we've screened this this we knew this was funny we don't want to break this animation went a different route where they all flew up in the air like a rubber band you know it was a good Valiant effort to try to embellish it and then when we screened it it fell flat and we like oh wait we got to go back to the other one and this was very late in the game and I think the international version has the band and cuz we were on the mix stage when all this stuff was coming in um and then the final version went back to the claps you've mentioned this a couple times like the International Version and like the domestic version I think so many people went into conspiracy theories about why is there many different versions but it was because the movie wasn't finished and we were still making it better but if someone's admitting to that that means they're you know committing piracy because they're using a VPN because they're watching the international version somehow Christ and Phil addressed this in a article already they already said like that'll I'll get blown BL out of proportion it was just very simple we had to meet a deadline for France and some other country and we had to ship that version but we were still on the mix stage we were still working we didn't want to stop it's just because the fact it was a multiversal movie it was like the conspiracy is like depending on where you are in continent you get a different Multiverse movie the movie wasn't finished yet we didn't go that crazy no no no the one thing I'm definitely very interested in I think when this movie was released digitally animation Twitter went crazy and all the animators started showcasing just the iterations that they were making them work shopping like how they were going to do it why would I do that I love the fact that he matches the posing did he actually change his hair to do it maybe and it's such a very smart way of workshopping that this is crazy I haven't seen these either bro these are so cool were you getting this as a shot in your editing or is it because it was going through their versions first Sometimes they'll shoot six versions of that and they'll show the directors and go what which one do you like and they'll go I'll take C and and then they start working from that one I'm From Another Dimension you are wow yeah great Wow have you not seen these I haven't even seen this stuff they would I wish I got all this reference because I wanted to cut a whole version of the movie together but just reference there's and it's great when they do like three characters in a scene and they all act together it's really fun it's like an alternative storyboard in a way like they film themselves and then yeah they get the body language and and they know how to do that the one that I found the most fascinating cuz it was about timing of the role and how this was iterated and so that's not even a storyboard artist that's actually the animator boarding stuff as as their reference like that's their version of like oh so that so the animator boarded it themselves sent that to the director and then the director then gave feedback vulture picks up someone and flies away we thought that was a little too harsh and dropped and she had to rescue that but but it was like too much you know let's let's let's wait on that a second and let her get into it with vulture with someone getting snatched right off the B but what was interesting for me then is like this was the director was giving lots of uh notes about the timing of it all like this is now changing the idea so like the story is changing a lot and then you get this sounds like T and had a basketball the basketball was important how do you keep that straight in your brain like if you're working with so many different departments and getting material constantly it's insane it's you know there are moments of like holy cow you know I I I'm you know I have a very kind of calm cool demeanor and I just sort of ride it out and Insanity comes into my room at all times and I just go I I I take aon's words just keep going just keep going so he just kept on just making the movie making it better better and better and better and better until was there a point when it was like that deadline day and I was like all right that's it I guess the movie is down and then off you and then you send it off it was never done like that was the running joke is like we're we cuz working on the mix stage like I was saying it's like I've never worked that deep you know it's a different world now with digital and you can push it a little closer than you used to you you're not making prints so it's like well you can that window I'm sure like you know there were Sony Executives and post- production people that were freaking out but like we were going to use every second we could you know to make it the best it could be I think this is a really really great example of like movies are never finished just abandoned I think it's just like all right I guess this in cinemas okay fine I guess we'll call it a day I've worked at other Studios where they're like no you're not changing that you know they draw the line um you know Phil and Chris have some street cred and they you know they know it works the studio knows that they will make the movie better no matter what they're never going to go backwards you know it's always going to get better so it's worth it you mentioned Phil a lot I think Phil Lord I know this was kind of like like sort of his passion project in a way as well and I think there was also alongside the other directors as well there were three directors on the movie wiim dos Santos K powers and Justin Thompson they all come with their own superpower there's so much to deal with on this movie the director's incredible at certain things that they excel at and were allowed to just run with those things like uh waim dos Santos is one of the greatest bordar if not the greatest bord I've ever worked with he's incredible so he was boarding a lot and he was involved with like layout and getting the camera cuz he was really good at that so Camp's a great writer he was always really great to have in the room with our editing sessions uh he was always a voice of reason like if Phil and ever going off the rails he was like no guys it was better Thompson was the production designer on the first movie he still had to Wrangle a lot of that on this movie you can see his work it's phenomenal people have said this in reviews and stuff and it's totally true you could take any frame and it's a magical painting on your wall you know at that I mean that's crazy it's interesting cuz it's like everyone kind of knows their strengths everyone kind of knows is like what is their superpower and giving them all each of them the opportunity to like this is the opportunity for me to like showcase that power equal collaboration it kind of felt like that in a way a weird commune of people that are just all you know trying to reach the same goals I'd love to know how that did work in terms of your workflow and I would say uh it is you're getting some direction from this person direction from this person direction from this person and they're all coming in with their own ideas I would love to see how that was then translated into the train sequence [Music] a great example of the animation team taking something and running with it in the storyboards for that version it was a much simpler move that Miles put on just there and animation turned it into this like complicated but cool move it's a really great Showcase of just how capable he is against these people yeah yeah yeah exactly he did just beat you so I'm not a terrible Mentor you're both equally terrible does that settle it I mean if you're really paying attention we you know we definitely took a leap there to get Miguel that close to him uh we caught a couple shots out of the middle of that there was a couple more car jumps little bit of a cheat it's kind of just insane with the amount of skills that he has well he's you know taking over as the villain basically so he's he's got to be intimidating stop pretending you know where you're going I have a plan this train is so cool yeah yeah I love that shot through the side that's layout see see how the images are kind of broken yeah yeah I just haven't told you yet I haven't told you yet uh that's animation so it's not lit yet here come story boards there story boards this is a different artist you're going to see a variety of artists in here but walk's in here too I mean that's you know almost verbatim What the movie is right there it is yeah [Music] look at all that imagery going at you again I was surprised when this came back from lighting and effects like oh my God it's so much and there's a lot of like advertising built into the the Rings and wording going by and lights flashing and I was worried that we lose sight of meaty moments that we need to do but I it was another one of those things where oh there goes my first instinct going down the wrong path and I get it now it's great no it's genius because it's it just intensifies everything that's happening what are those claws dude are you sure you're even Spider-Man are you who do you think you are this section coming up here is something the animation team broke down and created my name is Miles [Music] Morales I've never seen a moment like that ever before we have that slow moment where it's like he has the motivation of like okay I'm going to fight back we jump cut yeah ahead of time he's already leapt but he hasn't leapt then we see him jump off again I know what was the crit decisions in doing that and I also absolutely loved it I wasn't there the day they came up with this so but I have a feeling this smells like Bob's work to me I think he might have uh encouraged this so even for you like you got this and was like I don't know what just happened but I love it yeah I think I almost applauded at that moment when the cinema wow I wish I was sitting next to you my name is Morales oh I see yeah a difference whereas yeah oh and they have this and I have that in there only because we didn't have that in ports I was created an [Music] animation I was bitten by a radioactive spider I'm pretty sure you know the rest J right there so he's getting yanked under and so he's out of control he ends up bouncing off all the cars pretty sure you know the rest J he he goes back under where the traffic is under the train and this one he ends up kind of being yanked under by his own web so it's not as like as successful I you'll see it in the boards he's like a little more conscious of going in and like oh interesting cuz if like if he's competent and then Miguel gets him it's like that makes Miguel feel even more powerful but then also him still being clumsy also reiterates that he's still a developing Spider-Man right they both work yeah no totally what's up man but I know who that is I know who that is too you do The Smiler that's the that's the scary smiling guy you know you know you're out nerding me now I don't know you're getting it in the first spiderverse there was a few times where there was like in in in class there was a scary smiling person like really really creepy smile in the First Act of this movie he's somewhere in Brooklyn as well just awkwardly smiling at him I'm pretty certain and that's the same character model I think you're right my associate worked on the first one and he was well aware of these things all these little details and he would be able to confirm that but I think I remember him saying something about that so it's either it's a weird Easter egg or a potential twist reveal in the third movie it might be that thought out or it's just they used the same model uh I'm looking too much some I'm not get too much into it okay what's up man that was cool just the way stylistically Miguel just comes in how terrifying he is because of just those frame changes and originally in the boards miles is not on the hood he's on the side and the guy is just sitting there sipping a drink it's not The Smiler or whatever is with the mask on it window yeah yeah we didn't have to pan that way so that was debated whether this was better or not but we it's one of those things we let animation run with it and it worked out great you don't get it you're an anomal if you let me go home what you're about to see here was games martial arts come into play where he gives him the elbow in the face three times he insisted it had to be three times everywhere you go you're an anomaly boom yeah beautiful brutal and beautiful I put those two words together that was great brutiful that was that was gnarly everywhere you go you're an anomaly there's only two there wasn't there yeah and I think the framing of that was different too two different shots that's kind of the situation where well maybe we don't and they do this a lot in production where they oh we can just combine those and make that one thing ah fair enough I love the fact that like wow was such a interesting change and like yeah it was just a simple Cho cut some shots I save some money that way some of this action stuff like I was saying this is all W's boarding you'll see it's just amazing you're the original anomaly it's always good to throw in a nice WI here and there like to break it was a little break I would say for as well yeah exactly the spider that gave you your powers wasn't from your dimension this is one of those things we needed to be closer to Miles see him registering all this stuff he's still in a little bit of denial no you're lying I'm Spiderman that's crazy that's a crazy shot I even love the little details here where it's comic book note there yeah exactly that so cool it's for one frame but it's just such a fun detail towards it all it's so cool that Miguel's World they do this where like the lines go you know off as if you like you're sketching it left the original sketch still there you're lying I'm Spiderman mistake that's one of the most famous shots from it actually and in terms of marketing we're came barded that early on it was part of like a I think a test animation piece was a test from the teaser I remember from the teaser trailer yeah so it was done very early that's why that's why I made it in the teaser that's cuz it was done prematurely and we forced it to work in the movie but that's a perf example of what what ke could do if you hadn't been bit your Peter Parker would have lived instead he died saving you Oscar kills this oh yeah you don't belong here you never did let me go that's enough this isn't what we talked about you talked about this you knew you all knew and the Music Drops again well how was that moment chosen to be made yeah I mean the biggest challenge we had in this area was uh where to place that narration one of the things that happened with this scene was it was a lot of Chase Chase Chase fight fight fight when it's first boarded and it's a lot of cool action the thing you realiz is okay that's all very cool but we're lacking character we need we need those moments like we need to see miles's reactions we need to see what he's thinking we you know we just have to make sure we carve out those every movie I've ever worked on you always got to remember protagonist give him the ball let him run with it focus on him hinge it on him sometimes you forget you get caught up in all the you get so caught up yes oh my God such a great spectacle look at these amazing images like oh but whose respective is this in and so we backed up and and this was Phil's idea to like wait a minute why don't we take some of this dialogue on top of the train you don't get it you're an anomaly if you let me go home everywhere you go you're an anomaly you're the original anomaly spider that gave you your powers wasn't from your dimension it was never supposed to fight you there's a world out there with no Spider-Man to protect them because it bit you instead you're not supposed to be Spider-Man you're a mistake if you hadn't been bit your Peter Parker would have lived these lines we brought these down from on top of the train and mixed them into this battle and lay it through the rest of the scene cuz of course it's like he's a mass character and then of course there's so much movement anywhere you can just throw it uh pretty much anywhere that's interesting the joy of working on this movie is you can put lines anywhere with masked characters you don't get it you're in anomalist did you let me go home everywhere you go you're an anomaly you're the original anomaly spider that gave you your powers wasn't from your dimension it was never supposed to fight you there's a world out there with no Spider-Man to protect them because it been you instead you're not supposed to be Spider-Man you're a mistake if you hadn't been it your Peter Parker would have lived that's such a great point of motiv making sure this actions character motivated and Soo sprinkles of that conversation kind of breaks it up right exactly cuz yeah we mentioned how action can just turn into an action sequence and we keep coming back to that and it kind of just helps this entire action sequence be character motivated and the moments where Miles heroic Glory are always fulfill throwing in those moments helps the peak emotion of the scene yeah exactly I'm going to do my own thing the build the build the build and then the Quick Cuts of Boom b boom and off goes gel I think animation doubled the length of him tumbling yeah [Music] yeah that's one of the best movements in the movie right the rising hero there that's something that really cool I thought animation did where he just releases without moving his body just goes what I'm getting out of all this is that to an extent I'm interpreting this as there there seem to be a bit of chaos I didn't say that it seems to be the chaos has been handled because of just communication people are just talking people are not assuming uh it is like it's like hey we should try this we should try this everyone seems to be on the same page amongst the chaos Let's Help shove coal in the engine you know let's let's just keep the Train on the tracks and and and that's how we got it done just keep going just keep going Mike thank you so much Mike thank you so [Music] much

Channel: The Editing Podcast

Views: 192,308

Keywords: spider man across the spider verse, film, editing, spider verse easter eggs, THE SPIDER WITHIN: A SPIDER-VERSE STORY | Official Short Film (Full) | Sony Animation

Id: hSpYOPUl-5I

Length: 39min 12sec (2352 seconds)

Published: Tue Nov 14 2023