Like the psychedelic Dondi White–Roy Lichtenstein team-up we never knew we were missing. The main-on-end sequence is a zipline through a kaleidoscopic vortex of blazing colour, invigorating energy, industry in-jokes, and meta-Spideys, all doused in Kirby dots and halftones, graffiti and street slaps. Its slam-dunk closing title sequence, which won the 2019 Excellence in Title Design Award at SXSW, required a team of about a dozen people. To achieve it, the film required 140 animators – at one point ballooning to reach 177 members – the largest crew that Sony Pictures Imageworks had ever used in film. Combining Sony’s computer animation with Pichelli’s vibrant traditional style proved to be key to Spider-Verse’s vivacious, one-of-a-kind aesthetic. Directed by Rothman, Bob Persichetti and Peter Ramsey, it’s the most innovative take on Spider-Man since 2002 when Columbia Pictures (now part of Sony) first brought the web-slinging hero to the big screen.įor stylistic inspiration, the filmmakers looked to the hand-drawn techniques of comics artist and Miles Morales co-creator Sara Pichelli. Written by Phil Lord (co-writer on The Lego Movie, 21 Jump Street) and Rodney Rothman ( 22 Jump Street), Spider-Man: Into the Spider-Verse is a wild, glitchy, exhilarating and most of all laugh-out-loud fun reworking of your friendly neighbourhood wall-crawler. Nothing looks like it and nothing feels like it. Spider-Man: Into the Spider-Verse is a film like no other. She declared that it would “break new ground for the superhero genre,” which, it turns out, was not simply run-of-the-mill hype.
When Kristine Belson, president of Sony Pictures Animation, confirmed the title for Spider-Man: Homecoming at CinemaCon in 2016, she briefly talked about the as-yet-unnamed animated Spider-Man film.
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