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Peter Ramsey: I was actually working on another project with Into the Spider-Verse producer Avi Arad and got drawn into Spider-Man not too long after Bob, because of the scope of the project and then the schedule, which was pretty tight.
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When the movie comes out December 14th, I will have been working on this project three years almost to the day. Very Interesting.” I read a 40-page treatment, and ended up saying I’d love to be a part of it. Then she said, “Do you like Phil Lord and Chris Miller?” I was like, “Oh, okay.
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Then Kristine Belson, the head of Sony Pictures Animations, said, “Hey, we have this other thing we’d like you to read, you might be right for it… Do you like Spider-Man?”īP: Right? It’s a trick question. How did you all join the film?īob Persichetti: I came on in December 2015, through a separate project that I was working on at Sony. There’s been a bit of shifting in terms of who’s credited for what on the project. This interview has been edited for brevity and clarity. The film’s eclectic, ambitious, constantly shifting visuals - which range from deliberately cartoony to abstract and psychedelic - are likely to help inspire a new wave of animators to start pushing past the Pixar Animation house style that so many animation studios are now rigorously emulating.īack in July, at San Diego Comic-Con, The Verge spoke with Into the Spider-Verse’s three directors - Bob Persichetti ( Puss in Boots, The Little Prince), Peter Ramsey ( A Wrinkle in Time, The Rise of the Guardians), and Rodney Rothman ( Popstar: Never Stop Never Stopping, Forgetting Sarah Marshall) - about what it took to deliver the film’s iconic look, a blend of hand-drawn and digital animation techniques that birthed a whole new kind of cartoon. Maybe that was predictable, since the film was produced by The Lego Movie favorites Phil Lord and Chris Miller, but audiences have raved about the film’s unique aesthetics just as much as the story itself. And the movie didn’t disappoint: currently sitting at a solid 97 percent on Rotten Tomatoes, it’s a critical success as well as a box-office hit. Buzz about this first-ever feature-length animated Spidey film was fevered from the moment its first trailer hit in June the art style felt fresh and thrilling in a way no animated movie had in years. Major projects like Noelle Stevenson’s She-Ra: Princess of Power reboot for Netflix and Disney’s internet-inspired Wreck-It Ralph sequel rounded out the year.īut even with all this going on, the excitement over Spider-Man: Into the Spider-Verse seemed to rule 2018 in animation.
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Fall yielded Netflix’s The Dragon Prince, a new series from the head writer of the beloved Avatar: The Last Airbender, as well as news that the head writer of Rick and Morty would be developing a new Star Trek animated series in conjunction with Discovery producer Alex Kurtzman’s five-year CBS deal. This summer, Cartoon Network and HowStuffWorks released Drawn, a miniseries dedicated to cartoon history meanwhile, as expected, The Incredibles 2 broke records at the box office.
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The second half of 2018 was an eventful few months for animation.