It’s really important for us to be able to communicate that this isn’t a remake of Sam Raimi’s movie. There’s a new territory, there’s a new villain, it’s a different Peter Parker
There’s this trickster quality we were very keen on exploring, with that humor and that fun and that wisecracking stuff. We wanted to keep that alive, but we wanted it to be realistic. We wanted that humor to come from a real place. My aim was to create a world where you could feel all those emotions. There are certainly darker, more intense feelings in this movie. There is betrayal, there is tragedy, but there’s also humor and romance. So it’s a very complex bouquet of emotions, but what you have to tread on is what feels authentic and what feels real, and you have to earn those different emotions. There are moments of furiousness and gravity, absolutely. But are there moments of humor and levity and whimsy? Absolutely.
I thought if there’s ever a movie that should be in 3D, it’s Spider-Man for crying out loud. And watching it in 3D, particularly in IMAX, even the early stuff I’ve seen, it’s fantastic. You get a visceral feeling that you don’t get any other way when you have good 3D. We shot this all in stereo so it was native 3D. Nothing has been converted. And when you get that scope, the movie gradually expands. It starts off in a very intimate, small way and gradually expands to take advantage of that sensation. So do you have to see it in 3D? No, you’ll still get the thrill of it. But those point-of-view sequences, those came very directly from a philosophy about putting the audience in Spider-Man’s shoes. We wanted them to feel what he feels, and that’s where those sequences came from.