Spider Man: Into the Spider Verse
Miles Morales is a New York teen struggling with school, friends and, on top of that, being the new Spider-Man. When he comes across Peter Parker, the erstwhile saviour of New York, in the multiverse, Miles must train to become the new protector of his city.
Director: Bob Persichetti, Peter Ramsey, Rodney Rothman
Writer: Phil Lord (screenplay by), Rodney Rothman (screenplay by), Phil Lord (story by)
Production: Sony Pictures
Year: 2018
MetaScore: 87/100
ImdbRating: 8.4
BoxOffice: N/A
Released: 14 Dec 2018
Awards: N/A
Movie Video Clips
00:14
That's all
00:34
Is he in black and white
00:21
With great ability comes great...
00:42
We've all been there
00:21
Do animals talk in this dimension
00:23
When will I know I'm ready
02:27
Let's do this one last time
00:32
This could literally not get any weirder
01:07
With great power comes great
00:23
How many more Spider People are there
00:11
I think it's a Banksy
04:24
What happened
00:12
I'm right here
00:37
What did you say your name was
02:57
Little fella
01:07
Watch this
00:16
Are you mad at me
00:34
Moving in the dark
00:20
And what dimension are you from
01:46
That's fine
00:21
I know you snuck out last night
00:37
You have a goober
02:32
All right
00:21
We taught him that
00:13
Did that feel like a cartoon
00:21
What are you
01:02
Why do you look like Peter Parker
00:41
Uncle Aaron
00:42
Einstein said time was relative
01:09
You got any Spider Man tips you can tell...
00:20
That's new
00:18
What are you doing
00:47
Go back outside
00:40
You like my new toy
01:23
A few more of those
00:25
Is that all you got
01:39
It's your dad
01:13
Spider Man
00:47
Look at that
00:46
Seriously
00:25
Don't watch the mouth
00:29
And it's a no on the cape
00:45
I gotta say
00:25
I am tired
00:22
Would you mind taking this outside
00:14
Your shoe's untied
00:34
Are you okay
00:27
Get a load of how the waiters are...
00:53
My name is Peter Porker
00:20
How did you get here
00:22
You gotta unstick
02:14
So how do we retrace Peter's steps
00:46
I don't know why
00:19
This is going to take a while
00:10
We're the Spider
01:08
I killed Spider Man
00:17
What's your take on head trauma
00:27
I'm going to miss him
00:16
Don't cops run red lights
00:59
We all have powers of one kind or...
00:55
See you Friday
01:37
We gotta team up here
01:07
Are you a ghost
00:52
I got one of these
00:57
That's a no no
01:28
If we fire again this week
Movie Quotes
- This is Phil Lord, a co-writer and producer of Spider-Man: Into the Spider-Verse. I'm Chris Miller, producer. I am Bob Persichetti, uh, one of the directors. This is Peter Ramsey, another one o
- [Miller] The Comics Code, for those who don't know, was a censorship board in the early days of comics, when they were worried about comics poisoning the minds of children. [Ramsey] Why'd you te
- - [Ramsey] Uncomfortable moment. - [Miller] We're just watching the movie. - [Persichetti] I know, we got lost in it. - [Lord] I got sucked into the movie.
- [Persichetti] Zero. Oh, this little scene came in late. Early and late. [Lord] Early, and we cut it, and then we put it back in. ...on a true-or-false quiz at random, do you know what score the
- [Miller] There is a rice cooker in the back because Miles's roommate, Ganke, is Korean-American. [Rothman] I don't think we're gonna win the "inventive metaphors of the year" award for this movi
- [Ramsey] Absolutely. [Lord] When we had this in, it really, like, lit people up. [Persichetti] Uh-oh. What's that? Easter egg. [Miller] There's a Donald Glover Easter egg there for those that m
- [Rothman] We were all in awe of Mahershala Ali. And every time we recorded with him, um, was a fantastic moment. [Persichetti] Yeah. [Lord] He makes you want to be a better person when you're ar
- [Miller] This was always a scene from Phil's very first draft of the motion picture.
- The Gwanda hair scene. [Persichetti] Yeah, boarded by Miguel Jiron. [Ramsey] The great Miguel Jiron. [Persichetti] Yeah, who's, um, one of our, like, younger story guys who just really, um, was
- - [Ramsey] Poor Gwanda. - [Miller] Oh, I know. [Persichetti] Uh, at one point that door was like nine feet tall, [laughing] and Miles looked like he was three feet tall. - [Rothman] Okay, here's
- [Ramsey] So this is one of our moments when we kind of deploy all our weapons with chromatic aberration and, uh, composition. Here come panels. Is this the first time panels come into Miles's wo
- um, you know, where we had everyone together, and Phil and Chris kind of expressed to everyone a just general MO, in every department, to try to push, uh, conventions wherever we could. And ther
- - [Rothman] Yeah. - [Ramsey] Just one of the best. [Persichetti] I don't think you ever see something like this, um, or at least you haven't, um, definitely not in feature animation in America,
- [Lord] This song, I have to say, elevated this scene quite a bit. [Miller] It's a really wonderful song. The prices in the world, this world, are very high is another key that this is another di
- - [Miller] And now this scene. - [Ramsey] Here we come.
- [Lord] This, uh, we'd been working on for over a year. And it took on a new poignancy when, uh, Stan passed away a few weeks back at this recording. [Persichetti] And yet, he can still deliver t
- [Miller] He's earned it. [Persichetti] Our head of animation, Josh Beveridge, true name, he was holding on to all those shots for himself. [chuckles] And we ran out of time in the entire... So h
- [Persichetti] That joke killed and slayed. - [Persichetti] I think that was... - [Miller] From the beginning. [Persichetti] It's either... [stammers] It was Phil, Chris, or Rodney, I can't rememb
- - I love that. - [Rothman] Yeah. [Miller] And here's another 42. The reason why, 42 is the number of the lottery ball that picked Miles. It also was picked because it was, uh, Jackie Robinson's
- [Miller] This was also the other first scene that we had lit and rendered and also the first scene that we saw in 3-D, uh, which blew all of our minds. [Ramsey] Oh, my gosh. Seeing that Charlie B
- just a lot of the extra funny things in this. [Peter B. Parker] But this was real weird. [Ramsey] Kirby Dots. [Miller] Oh, yeah. [Lord] Kirby Dots, lighting... [Miller] Everything turns into, li
- [Lord] This animation is so fun. [Miller] Mm-hmm.
- - [Persichetti] Pizza. - [Rothman] Hmm. [Ramsey] This background is based on a painting, largely, by Justin Thompson, who, once again, genius. [shouting] [Miller] And it's hard to tell here, bu
- You wanna know what happened next?
- [Persichetti] Here we are, back in the cemetery. That was a really late-breaking sort of comic book page-flipping device that we finally figured out how to do, um, and it now feels, like, seamles
- - He's got places to be. - [Persichetti] Yeah. - [Ramsey] Movie's over. - [Lord] The movie hasn't broken, guys. [Miller] Very long black. That's a very long black. [Lord] We thought you really
- [Lord] Also a little time for the sound team to goof off a little bit. [Rothman] Yeah. - [Lord] Geoff Rubay. - [Miller] Yeah. [Persichetti] This was also another early sequence that... [Miller]
- [Lord] It's a good meeting of two characters, for sure. [Persichetti] Yeah. Oh, for sure. [Ramsey] That was a good meet for Miles, early on in this too. This was one of the ones where he started
- [Miller] We also chose the most challenging possible lighting scenario for that scene. [Rothman] That's the first we really see the glitch effect, which, uh, Danny Dimian and his team achieved
- [Miller] It didn't come out seamlessly the first time. But we finally found the right level for everything, I think. [Lord] That cut to the burger's hilarious. [Persichetti] Right, exactly, and
- - So how do we retrace Peter's steps? - That's a good question. What would I do if I were me?
- Got it. Step One: I infiltrate the lab. Two: Find the head scientist's computer. That lady with the bike is the head scientist. I saw her in this documentary. Cool! Step Three: I reexamine my pe
- [Persichetti] Uh, I kind of miss the unfinished version of this shot where his feet, uh... He had no toes for a really long time for some reason, and I'm not sure why. [laughing] [Rothman] But y
- [Persichetti] Here he comes. [Miller] One of the things about Kingpin is that he just magically appeared outside of the car because there's no way he could actually get through a doorway. [Lord
- [Ramsey] Ah, just great. This animation is so cool. [Miller] The hints of, uh, everything being octagonal...
- from the lighting to all of the science-y stuff. A hint of who's coming up. - [Rothman] Was that a Justin thing? - [Miller] I don't think so, I think... - [Persichetti] I don't remember. - [Mill
- [Miller] We went through probably 70 different versions of what Miles would look like invisible. - [Persichetti] Which sounds ridiculous. - [Lord] Took about a year. [Miller] You're like, "No, th
- [Miller] And it just came together at the end. [Ramsey] It pays off.
- [Lord] It's finally one of the great, like, successes of the movie. And the audience really goes for it. And no one will know that it was, like, really bad for like three months. [Persichetti] No
- [Miller] Look at those octagonal hand braces. [Lord chuckles] [Miller] That is based on Phil Lord's actual desktop. [Lord] Yes, it basically looks like that. [Miller] Phil's a little more messy
- [Rothman] I like that in the glitch we just saw... I'm just remembering all the conversations about that particular glitch that determined that it was funniest if you left Peter's head un-glitche
- - [Miller] Pneumatic. - [Ramsey] Doc Ock. Justin Thompson, production designer, fantastic idea to use soft robotics as the basis for Doc Ock... this version of Doc Ock's tentacles. - And it's so
- [Lord] But it created opportunities for everyone, from animation all the way to the sound team, who, about three months before we were done, would go, "Oh, that's what they look like. We're gon
- And bagel-related comedy also. [Persichetti] A surprising number of bagel jokes. [Miller] It is. And the last-minute bagel text that was added right there. [Rothman] Which was a joke pitch. It
- Yeah, there's so much inventiveness from every level of this, uh, production that everyone felt empowered to, like, pitch crazy ideas. And that's why it feels so rich with, uh... and deep.
- [Ramsey] I gotta call out Patrick O'Keefe, our amazing, uh, kinda... - Did he get an art director title? - [Lord] I think he became co-art director. - [Ramsey] Co-art director. - [Rothman] He and
- [Miller] This is another, uh, like... You can see a reverse time-lapse when she was blown into last week. One week of days and nights just passed in that one shot. [Ramsey] She hit a time anomaly
- [Miller] I get to like your haircut though, right? [Lord chuckles] [Miller] Sure, yeah.
- [Persichetti] This was always fun. [Miller] Yeah, it was important to have Doc Ock be formidable, you know, 'cause she was so, like, wacky and silly as a scientist, to have her, when she's in Doc
- [Rothman] This is a scene that gave us a lot of trouble for a long time. And in the end, having these characters just talk to each other in an honest and authentic way, and then having our two
- [Miller] And then the legendary Lily Tomlin... [Ramsey cheers] [Miller] ...coming on the scene. [Lord] You know you needed somebody really groovy to play Aunt May. [Persichetti] Yeah, and I thin
- Brooklyn. Did Peter have a place where we could make another one of these? A goober. [Miller] Everybody calls it a goober.
- Another hint as to what a tough cookie Aunt May is. [Lord] I fought hard to have her kick that door open. [Miller] I tried to cut that, and then you un-cut it correctly. - [Lord] I'm sorry. - [
- [Persichetti] All kinds of suits in the background. [Miller] Mm-hmm. We're not gonna tell you what they all are, but... - [Persichetti] No. - [Miller] But they're all real. - [Persichetti] Yes.
- [Lord] It was first introduced us, to us, by Mike Moon, who was an executive on this movie and also happens to be an Emmy-winning production designer himself. [Miller] We should also call out th
- like they were all... They all cared about Miles, even if they didn't maybe believe in him right here. - [Rothman] Right. - [Ramsey] Right.
- - [Lord] That's right. - [Ramsey] Just Peter going, "Cool it." For the longest time, we didn't have something like that.
- [Rothman] One of the last shots finaled. [Persichetti] We reanimated that note I don't know how many times. [Lord] So many drafts of that letter, for goodness' sakes. - [Miller] It kept changing.
- [Persichetti] This was actually one of the earlier sequences in production too. [Miller] We only did the dark scenes first because they were easier to light. [Lord] Yep, yep.
- [Miller] Hiding us not quite sure how to... integrate everything. But... [Lord] That's very clever to watch Miles disappear in that reflection of the TV. [Ramsey] I'm gonna call out Daniel Pembe
- [Lord] I mean, elephants will mess you up. [Persichetti] Oh, yeah. Absolutely. [Miller] I was on a safari, charged by an elephant, and it was terrifying. Absolutely terrifying. [Lord] Good thing
- [Lord] I'm very impressed with you guys, that you made that reveal work. - People gasp. - [Persichetti] They do! - They love it. They love it. - [Ramsey] They do now. - [Lord] You guys hid the b
- - [Persichetti] Love this track. - [Lord] We tried like 15,000 songs here.
- [Miller] One cool thing about Peni is that she's actually a CG model that has been rendered in an anime style. - [Rothman] Watch Peni. - [Miller chuckles] [Rothman] Watch that. [chuckles]
- [Lord] Which I like, I like that she's so... - [Persichetti] Yeah. She's in it. - [Lord] Such a badass. [Miller] This sequence used to be more of like a slapstick thing about them just messing u
- - [Persichetti] Super fun. - [Lord] Gwen looks so cool. That stuff was added pretty late just to make sure you got to see Gwen doing something cool. [Ramsey] Yep.
- [Miller] No shortage of Gwen Stacy being cool in this movie. [Persichetti] This shot. When we got this back, it blew my mind. I was just like, okay, we're, like, the Prowler is horrifying. - [Ra
- Miles? Uncle Aaron. [Lord] This is a really sweet scene. [Miller] Another great Shameik and Mahershala moment.
- Please, Uncle Aaron. - [Lord] I love that we shut up for this. - [Miller] I know. - Have to be reverent. - [Persichetti] Yeah, absolutely. I mean, I just hope that, those of you listening, you
- [Miller] That little look 'cause he knows what's coming. [Lord] Just a lot of attention to what's going on behind these characters' eyes.
- - [Ramsey] We're all kind of gripped. - [Persichetti] It's crazy. [Lord] I know, it works! [Ramsey] We're supposed to be talking about, giving interesting anecdotes here, you guys, come on. - [
- [Miller] We can... We probably should shout out to Shiyoon Kim, who designed these characters in a way that allowed for a lot of expressiveness and flexibility. They're such appealing-looking cha
- [Lord] One of the things that happened in the mix, first time in Lord and Miller's career, is we started turning things quieter.
- All units... [Miller] Yeah, it's like there's so much, uh, difference between the big, loud spectacle action stuff and the really, really intimate moments here. And it makes a nice push-pull f
- [Persichetti] Just, you know, your average tantrum from an emotional 13-, 14-year-old. [Miller] Convenient page it turned open to. - This moment cracks me up. - [Lord] Always. It's like right w
- Then venom-strike me right now. Or turn invisible on command so you can get past me.
- [Lord] This is just such a... I don't know. I'm so impressed with this scene and the ideas underneath all of it. You know? That they're putting this guy on the bench. [Ramsey] Yeah. [Lord] And
- I just... I can call it out 'cause I had nothing to do with those ideas. [laughs]
- You won't. It's a leap of faith. That's all it is, Miles. A leap of faith. [Miller] That's a line that used to be... It used to be in another scene on a billboard earlier in the movie. [Ramsey]
- [Miller] But it was such an important line that we needed to put it in this scene when we cut the other scene.
- - More time-lapse, guys. - [Persichetti] Yep. Sorry, Imageworks.
- [all laughing] [Rothman] I'm about to pitch Time-Lapse: The Movie. - Should I not pitch it to Imageworks? - [all laughing] [Lord] No, pitch it, for sure. It's just going to be really short.
- [Miller] And now this scene coming up here feels like the emotional crux of the whole film.
- Miles, it's your dad. Please open the door. - [Ramsey] Just gorgeous. - [Miller] Lucky to get to... Yeah. Tell you what, that Brian Tyree Henry, there's a reason why he's in every movie. - Legal
- having them be on the thirds to start, and then them coming closer, and finally ending with the one split-screen shot at the end. [Lord] And Jefferson crosses the center, which I think is just re
- [Miller] Now Miles gets to be in the center.
- - Anyway, nice job, guys! - [Persichetti] Yeah, good stuff. [Lord] Watch how the color escalates. This happened in the DI suite over the course of this shot. He goes from being in this naturalis
- - Oh, Ganke. - [all laughing] [Miller] There was a version of this movie where there was a lot more Ganke. - [Ramsey] That was a journey in itself. - [Miller] Unfortunately. - [Rothman] Yeah. -
- [Rothman] It's kinda connected to a setup that's not in the movie anymore, you know, a setup where Fisk is a little more... [Miller] Running for mayor. [Rothman] Yeah, that Fisk, uh, runs charit
- [Rothman] This is a good example of, Phil, what you're talking about, where this is a scene that was on the chopping block and wasn't quite working for a long time. And then by adding this intera
- But there was a whole kitchen scene that happened in there, that was actually animated, with Tombstone and the pig under... - I mean, it was very funny. - [Miller] It was great. And I guess that
- [Lord] One of the things that we noticed is that, by having all that material, when you got deeper into this sequence, you just were so tired. - [Ramsey] Yeah. - [Miller] Mm-hmm.
- [Miller] Just, pace required it to go, even though we loved it. [Lord] And I think being away from Miles for that long was too much to ask. [Persichetti] And we're about to ask the audience a lot
- [Rothman] There was a little sitting on one another. - [all laughing] - [Miller] Like, literally, yes.
- [Ramsey] And it's just... It's so damn Marvel Comics. Look at this stuff, man, it's... [Miller] It's insane. [Lord] Also I love [stammers] that it gets so quiet there, even though crazy things a
- [Ramsey] I'm going to shout out Daniel Pemberton again. - I love this part of the score. - [Miller] Yeah, the hero score. [Lord] That's great. [Miller] One cool thing about this train is that, i
- You're not stopping this. Not today. I am stopping this. Right now!
- [Persichetti] Yeah, I mean, we've been to a lot of really, you know, big places in this movie. And this was just an intimate thing between two people, and it was... Again, what you're seeing visu
- [Persichetti] I'm about to call out Irina Cuadra because she actually was the first person to say, - "What if he shoulder touched him?" - [Lord] Oh, really? No way! - [Ramsey] It was Irina. - [
- [Miller] The fact that you could be able pay off a setup that wasn't even intended as a setup. [Persichetti] Yeah, it's just a wonderful character comedic moment that just, you know... - [Miller
- [Rothman] So the anvil was in Ham's pocket. - Is that the idea? - [Miller] Yes. - [Lord] In hammer space. - [Rothman] Hammer space. [Miller] Yeah, it's in hammer space. But it was sticking out
- [Lord] Yeah, it's crazy, in a movie where you think that the killer apps are all these cool action moments, ultimately, the thing that makes it work are the relationships, the small stuff. [Rams
- [Rothman] I like this, uh, music cue Daniel did. [Persichetti] Pemberton just...
- [Miller] He did a really amazing job, how it seamlessly goes through the whole soundtrack with a bunch of songs...
- with Republic Records, and made it have its own vibe, feeling like Miles's playlist meets Aaron's playlist, uh, meets a superhero movie all woven together. [Persichetti] Yeah, I mean, [stammers]
- [Miller] Yeah, I mean, this movie had a record number of animators on it because, as discussed earlier, it takes four times as long to animate a second of animation on this thing.
- So the crew was larger than any other crew that I believe has ever been assembled for a movie.
- Everybody worked so hard. [Persichetti] Yeah, and there's some... I was just gonna, like, do one... I mentioned Josh earlier, who was our head of animation. But there was another guy, Humberto Ro
- [Lord] Unbelievable. [Miller] And this shot was the very last thing to be animated in the movie. And we actually looked it up. This is the world's most expensive dumb joke. [all chuckling] [Lord
Movie Cast
Miles Morales - Shameik Moore
Peter B. Parker - Jake Johnson
Gwen Stacy - Hailee Steinfeld
Uncle Aaron - Mahershala Ali
Jefferson Davis - Brian Tyree Henry
Aunt May - Lily Tomlin
Rio Morales - Luna Lauren Velez
Mary Jane - Zoë Kravitz
Spider-Ham - John Mulaney
Peni Parker - Kimiko Glenn
Spider-Man Noir - Nicolas Cage
Doc Ock - Kathryn Hahn
Wilson Fisk - Liev Schreiber
Peter Parker - Chris Pine
Miss Calleros - Natalie Morales
Brooklyn Visions Security Guard - Edwin H. Bravo
Interesting Person #1 - Oscar Isaac
Interesting Person #2 - Greta Lee
Stan - Stan Lee
Green Goblin - Jorma Taccone
Scorpion - Joaquín Cosio
Tombstone - Marvin 'Krondon' Jones III
Scientist In Cafeteria (voice) - Kim Yarbrough
Vanessa Fisk (voice) - Lake Bell
Brooklyn Friend (voice) - Jessica Mikayla Adams
Brooklyn Friend (voice) (as Gredel Berrios-Calladine) - Gredel Berrios Calladine
Brooklyn Friend (voice) - Sarah D. Cole
Brooklyn Friend (voice) (as Kelby Alex Joseph) - Kelby Joseph
Brooklyn Visions Student (voice) - Mimi Davila
Brooklyn Visions Teacher (voice) - Claudia Choi
Brooklyn Visions Teacher (voice) - Melanie Haynes
Brooklyn Visions Teacher (voice) - Joseph Izzo
Brooklyn Visions Teacher (voice) - Nick Jaine
Brooklyn Visions Teacher (voice) - Muneeb Rehman
Brooklyn Visions Teacher (voice) - Carlos Zaragoza
Brooklyn Bystander - Post Malone
(voice) - David Applebee
(voice) - Juan Carlos Arvelo
Metaphor Man - Adam Brown
(voice) - Jon Bruno
(voice) - Darcy Rose Byrnes
(voice) - Oscar Camacho
(voice) - June Christopher
(voice) (as Alycia L. Cooper) - Alycia Cooper
(voice) - Michelle Jubilee Gonzalez
(voice) - Terrence Hardy Jr.
(voice) - Bridget Hoffman
(voice) - Rif Hutton
(voice) (as Miguel B. Jiron) - Miguel Jiron
(voice) - Harrison Knight
(voice) - Lex Lang
(voice) - Donna Lynn Leavy
Police Officer (Earth-67) - Andrew Leviton
(voice) - Caitlin McKenna
(voice) - Scott Menville
(voice) - Christopher Miller
(voice) - Arthur Ortiz
(voice) - Juan Pacheco
(voice) - Devika Parikh
(voice) - Shakira Ja'nai Paye
(voice) - Courtney Peldon
(voice) - Chrystee Pharris
(voice) - Jacqueline Pinol
(voice) - Juan Pope
(voice) - Al Rodrigo
(voice) - Joseph Sanfelippo
(voice) - Justin Shenkarow
(voice) - Dennis Singletary
(voice) - Warren Sroka
(voice) - Melissa Sturm
(voice) - Holly Walker
(voice) (as Jason Linere White) - Jason Linere-White
(voice) - Ruby Zalduondo
(voice) - Ruth Zalduondo