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Spider-Man film series
File:SpidermanDVDtrilogy.jpg
Upcoming Spider-Man complete trilogy box set
Directed bySam Raimi
Written byDavid Koepp (Spider-Man)
Alvin Sargent (Spider-Man 2 & 3)
Ivan Raimi (Spider-Man 3)
Sam Raimi (Spider-Man 3)
James Vanderbilt (Spider-Man 4)
StarringTobey Maguire as Spider-Man
Kirsten Dunst as Mary Jane Watson
CinematographyDon Burgess (Spider-Man)
Bill Pope (Spider-Man 2 & 3)
Edited byArthur Coburn (Spider-Man)
Bob Murawski (Spider-Man 1-3)
Music byDanny Elfman (Spider-Man 1 & 2)
Christopher Young (Spider-Man 2 & 3)
Distributed bySony Pictures Entertainment
Release date
2002 – 2007
Running time
388 min.
Country United States
LanguageEnglish
BudgetUS$597 million
Box office$2,496,458,191

The Spider-Man film series currently consists of three superhero films based on the fictional Marvel Comics character of the same name, portrayed by Tobey Maguire. The rights to a motion picture based on Spider-Man were purchased in 1985 and moved through various production companies and studios, at one point having James Cameron to direct, before being secured by Sony Pictures Entertainment.

Sony hired comic book fan Sam Raimi to direct the films, and the series began with Spider-Man in 2002, continued with Spider-Man 2 in 2004, and became a trilogy with the release of Spider-Man 3 in 2007. Throughout the films, Spider-Man developed a relationship with his school crush Mary Jane Watson, portrayed by Kirsten Dunst. To date, he has battled the villains Green Goblin, Doctor Octopus, New Goblin, Sandman, and Venom throughout the series. While the films' storylines have been concluded, the studio plans to develop more films, continuing Spider-Man's adventures.

Development

Cannon Films Development period

The disappointing performance of Superman 3 made comic book adaptations low priority in Hollywood, though the comic industry itself thrived.[1] In 1985, after a brief option on ‘’Spider-Man’’ by Roger Corman expired[2], Marvel Comics optioned the property to Cannon Films. Cannon chiefs Menahem Golan and his cousin Yoram Globus agreed to pay Marvel Comics $225,000 over the five-year option period plus a percentage of the film’s revenues. [3] The rights would revert to Marvel if a film was not made by April 1990. [4]

Tobe Hooper, then preparing both Invaders From Mars and Texas Chainsaw Massacre 2, was mooted as director. Golan and Globus misunderstood the concept of the character (“They thought it was like The Wolf Man,” said director Joseph Zito) [5] and instructed writer Leslie Stevens, creator of The Outer Limits, to write a treatment reflecting their misconception. In Stevens’s story, a corporate scientist intentionally subjects ID-badge photographer Peter Parker to radioactive bombardment, transforming him into a hairy, suicidal, eight-armed monster. The human tarantula refuses to join the scientist’s new master-race of mutants (a sort of malignant X-MEN), battling a succession of mutations kept in a basement laboratory.[6][5]

Unhappy with the debasement of his comic book creation, Marvel’s Stan Lee pushed for a new story and screenplay, written for Cannon by Ted Newsom and John Brancato. [7] The variation on the origin story had Otto Octavius as a teacher and mentor to a college-age Peter Parker. The cyclotron accident which “creates” Spider-Man also deforms the scientist into Doctor Octopus and results in his mad pursuit of proof of the Fifth Force. Ock reconstructs his cyclotron and causes electromagnetic abnormalities, anti-gravity effects and bilocation which threatens to engulf New York and the world. Joseph Zito, who had directed Cannon’s successful Chuck Norris film Invasion USA, replaced Tobe Hooper. The new director hired Barney Cohen to rewrite the script. Cohen, creator of TV's Sabrina the Teenage Witch, and Forever Knight, added action scenes, a non-canonical comic sidekick for the villain, gave Doc Ock the catch phrase, "Okey-dokey," and altered his goal from the Fifth Force to a quest for anti-gravity. Producer Golan then made a minor polish to Cohen's rewrite, using his pen name "Joseph Goldman.” Zito scouted locations and studio facilities in both the US and Europe, and oversaw storyboard breakdowns supervised by Harper Goff. Cannon planned to make the film on then then-substantial budget of between $15 and $20 million. [3]

While no casting was finalized, Zito expressed interest in actor/stunt man Scott Leva, who had posed for Cannon's promotional photos and ads, and made public appearances for Marvel as Spidey. An up-and-coming Tom Cruise was also discussed. Zito considered Bob Hoskins as Doc Ock. Stan Lee expressed his desire to play Daily Bugle editor J. Jonah Jameson. [8] Lauren Bacall and Katherine Hepburn were considered for Aunt May, Peter Cushing as a sympathetic scientist, and Adolph Caesar as a police detective. [7] With Cannon finances syphoned by the expensive Superman IV: The Quest for Peace (1987) and Masters of the Universe, the company slashed the proposed Spider-Man budget to under $10 million. Director Zito opted out, unwilling to make a compromised Spider-Man. The company commissioned low-budget rewrites from writers Shepard Goldman, Don Michael Paul, and finally Ethan Wiley, and penciled in company workhorse Albert Pyun as director, who also made script alterations.[6]

Scott Leva was still associated with the character through Marvel (he had appeared in photo covers of the comic), and read each draft. Leva commented, “Ted Newsom and John Brancato had written the script. It was good but it needed a little work. Unfortunately, with every subsequent rewrite by other writers, it went from good to bad to terrible."[8] Due to Cannon's assorted financial crises, the project shut down after spending about $1.5 million on the project.</ref>[5]

In 1989, Pathé, owned by corrupt Italian financier Giancarlo Parretti, acquired the overextended Cannon. The filmmaking cousins parted, Globus remaining associated with Pathé, Golan leaving to create 21st Century Film Corporation, keeping a number of properties (including Spider-Man) in lieu of a cash buy-out. He also extended his Spider-Man option with Marvel to January 1992.[4]

Golan shelved the low-budget rewrites and attempted to finance an independent production from the original big-budget script, already budgeted, storyboarded and laid out. [9] At Cannes in Msy, 1989, 21st Century announced a September start date, with ads touting the script by "Barney Cohen, Ted Newsom & John Brancato and Joseph Goldman."[10] As standard practice, Golan pre-sold the unmade film to raise production funds, with TV rights bought by Viacom, home video rights by Columbia Pictures, which wanted to establish a studio franchise. Golan submitted this "new" screenplay to Columbia in late 1989 (actually the 1985 script with an adjusted "1989" date) and the studio requested yet another rewrite. Golan hired Frank La Loggia, who turned in his draft but grew disenchanted with 21st Century. Neil Ruttenberg was hired for one more draft, which was also “covered” by script readers at Columbia. [11] Columbia’s script analysts considered all three submissions “essentially the same story.” A tentative production deal was set. Said Stan Lee in 1990, "21st Century [is] supposed to do Spider-Man and now they're talking to Columbia and the way it looks now, Columbia may end up buying Spider-Man from 21st Century." [12]

Carolco Pictures Development period

Golan returned to Cannes Film Festival in 1990 to raise more funds, now taking out trade ads crediting "Neil Ruttenberg and Joseph Goldman" as writers (with a "Credits not contractual" caveat in fine print). [13] However, in Cannes, Carolco outbid Columbia's offer to back the film and acquired all existing Spider-Man material and rights from Golan (Carolco released its films through Columbia's Tri-Star subsidiary.). Carolco agreed to the proviso that Golan would still be considered the producer. Carolco announced that James Cameron would write, direct and produce the film, but aware of cost overruns on Terminator 2, insisted that Cameron would not be paid his $3 million writer's fee unless he provided a completed screenplay which could be budgeted (in their estimation) for $60 million or less.[3]

In the meantime, 21st Century’s Menahem Golan still actively immersed himself mounting “his” Spider-Man, sending the original “Doc Ock” script for production bids. In 1990, he contacted Canadian effects company Light and Motion Corporation regarding the visual effects, which in turn offered the stop-motion chores to Steven Archer (Krull, Clash of the Titans) [14]

Toward the end of shooting True Lies, Variety carried the announcement that Carolco had received a completed screenplay from Cameron.[15] This script bore the names of James Cameron, John Brancato, Ted Newsom, Barry [sic] Cohen and "Joseph Goldmari," a typographical scrambling of Golan's pen name ("Joseph Goldman”) with Marvel executive Joseph Calimari. [16] The script text was identical to the one Golan submitted to Columbia the previous year, with the addition of a new 1993 date. Cameron stalwart Arnold Schwarzenegger was frequently linked to the project as the director’s choice for Dr. Octopus.[17] [18] [19] As late as 1995, internet industry sources such as Baseline Hollywood still listed both Neil Ruttenberg, (author of one of the 1990 “Doc Ock” variations submitted to Columbia) and James Cameron as co-writers.[20]

Cameron “Scriptment”

Months later, James Cameron submitted an undated 47 page “scriptment” with an alternate story [the copyright registration was dated 1991], part screenplay, part narrative story outline. [21]

The “scriptment” told the Spider-Man origin, but used variations on the comic book characters Electro and Sandman as villains. This “Electro” was a megalomaniacal parody of corrupt capitalists; Cameron’s “Sandman” is mutated by an accident involving Philadelphia Experiment-style bilocation and atom-mixing. The story climaxes with a battle atop the World Trade Center and had Peter Parker revealing his identity to Mary Jane Watson. The treatment was also heavy on profanity, and had Spider-Man and Mary Jane having sex.[22]

This treatment reflected elements in previous scripts: from the Stevens treatment, organic web-shooters, and a villain who tempts Spider-Man to join a coming “master race” of mutants; from the original screenplay & rewrite, weird electrical storms causing blackouts, freak magnetic events and bi-location; from the Ethan Wiley draft, a villain addicted to toxic super-powers and multiple experimental spiders, one of which escapes and bites Peter, causing an hallucinatory nightmare invoking Franz Kafka’s ‘’Metamorphosis’’; from the Frank LaLoggia script, a blizzard of stolen cash fluttering down onto surprised New Yorkers; and from the Neil Ruttenberg screenplay, a criminal assault on the NYC Stock Exchange. [6]

In 1991, Carolco Pictures extended Golan’s option agreement with Marvel through May 1996 [4], but in April 1992, Carolco ceased active production on Spider-Man due to continued financial and legal problems.[23]

Tangled Web of Litigation

When James Cameron agreed to make ‘’Spider-Man,’’ Carolco lawyers simply used his previous ‘’Terminator 2’’ contract as a template. A clause in this agreement gave Cameron the right to decide on movie and advertising credits. Show business trade articles and advertisements made no mention of Golan, who was still actively assembling the elements for the film. .[4]

In 1993, Golan complained publicly and finally instigated legal action against Carolco for disavowing his contractual guarantee credit as producer. On the other hand, Cameron had the contractual right to decide on credits. [6]

Eventually, Carolco sued Viacom and Columbia to recover broadcast and home video rights, and the two studios countersued.[3] 20th Century Fox, though not part of the litigation, contested Cameron’s participation, claiming exclusivity on his services as a director under yet another contract.[21] In 1996, Carolco, 21st Century, and Marvel went bankrupt.

Via a quitclaim from Carolco dated March 28, 1995, MGM acquired 21st Century's film library, assets, and received "...all rights in and to all drafts and versions of the screenplay(s) for Spiderman written by James Cameron, Ted Newsom & John Brancato, Menahem Golan, Jon [sic] Michael Paul, Ethan Wiley, Leslie Stevens, Frank Laloggia, Neil Ruttenberg, Barney Cohen, Shepard Goldman and any and all other writers."[24] MGM also sued 21st Century, Viacom, and Marvel Comics, alleging fraud in the original deal between Cannon and Marvel. In 1998, Marvel emerged from bankruptcy with a new reorganization plan that merged the company with Toy Biz.[4] The courts determined that the original contract of Marvel's rights to Golan had expired, returning the rights to Marvel, but the matter was still not completely resolved. In 1999 Marvel licensed Spider-Man rights to Columbia (by then absorbed by Sony) for a reported $7 million. MGM disputed the legality, claiming it had the Spider-Man rights via Cannon, 21st Century, and Carolco, and threatened to make a competing film.[citation needed]

007 vs. Spidey

In the meantime, MGM/UA chief executive John Calley moved to Columbia. Intimately familiar with the legal history of producer Kevin McClory’s claim to the rights to both Thunderball and other related James Bond characters and elements, Calley announced that Columbia would produce an alternate 007 series, based on the “McClory material,” which Calley acquired for Columbia.[25] (Columbia had also made the only non-UA 007 adaptation, the original Casino Royale.)

Both studios now faced rival projects, which could undercut their own long-term financial stability and plans. Columbia had no consistent movie franchise, and had sought Spider-Man since 1989; MGM/UA’s only reliable source of theatrical income was a new James Bond movie every two or three years. An alternate 007 series could diminish or even eliminate the power of MGM/UA’s long-running Bond series. Likewise, an MGM/UA “Spider-Man” movie could negate Columbia’s plans to create an exclusive cash cow. Both sides seemed to have strong arguments for the rights to do such films.[26]

The two studios made a complex trade-off in March, 1999. Columbia relinquished its rights to create a new 007 series in exchange for MGM's giving up its claim to Spider-Man.[27] Columbia acquired the rights to all previous scripts in 2000 [11], but exercised options only on the "Cameron Material," i.e., both the completed multi-author screenplay and the subsequent “Scriptment.” [5] After more than a decade of attempts, Spider-Man truly went into production.[3]

Further information: Spider-Man (film) § Development

Film series

After this long development history, all of the Spider-Man films were produced by Laura Ziskin and distributed by Columbia Pictures, the primary film production holding of Sony. They were all directed by Evil Dead director Sam Raimi.

Spider-Man (2002)

Main article: Spider-Man (film)

Spider-Man follows Peter Parker as he is bitten by a genetically engineered "super-spider", which causes him to take on the traits of a spider. Following the murder of his uncle, Peter devotes his life to fighting crime. Norman Osborn, in an attempt to save his company, experiments with human performance-enhancing drugs. The drugs cause Norman to go insane, and he dons the mantle of the Green Goblin. When Spider-Man refuses to join the Green Goblin, the two face off against each other in an epic battle.

Spider-Man 2 (2004)

Main article: Spider-Man 2

Spider-Man 2 picks up two years after the events of the first film. Peter is struggling with being Spider-Man and keeping the rest of his life in order. Peter's best friend, Harry Osborn, is out for revenge against Spider-Man, and the woman he loves, Mary Jane Watson, is about to marry someone else. Dr. Otto Octavius develops four mechanical, artificially intelligent arms to handle a fusion reactor he's creating. The reactor malfunctions, and the mechanical arms are melded to his body. With the arms giving him direction, Octavius sets out to build a bigger, stronger fusion reactor.

Spider-Man 3 (2007)

Main article: Spider-Man 3

Spider-Man 3 finds Peter basking in the spotlight as Spider-Man, and finding a balance between being a superhero and being with his love, Mary Jane Watson. Harry finally decides to take his revenge, and Peter learns the truth about who really killed his uncle. Flint Marko, an escaped convict, falls into a particle accelerator and becomes a shape-shifting sand monster later known as Sandman. A rival photographer, Eddie Brock Jr., threatens to take Peter's place at the Daily Bugle. All this happens while an alien substance crashes to earth on a meteor, and laches on to Spidey's suit, turning it black and manipulating him. The substance (called a symbiote by Dr. Curtis Connors) eventually possesses Eddie Brock, creating one of Spider-Man's deadliest foes, Venom.

Cast and characters

List indicator(s)

  • Italics indicate a transition to a minor role, such as an extended flashback, after the initial appearance.
  • A dark grey cell indicates the character was not in the film.
Character Film
Spider-Man Spider-Man 2 Spider-Man 3
Peter Parker / Spider-Man Tobey Maguire
Mary Jane Watson Kirsten Dunst
Harry Osborn / New Goblin James Franco
J. Jonah Jameson J.K. Simmons
May Parker Rosemary Harris
Ben Parker Cliff Robertson Cliff Robertson
Norman Osborn / Green Goblin Willem Dafoe Willem Dafoe
Otto Octavius / Doctor Octopus   Alfred Molina  
Dr. Curt Connors   Dylan Baker
John Jameson   Daniel Gillies  
Eddie Brock Jr. / Venom   Topher Grace
Flint Marko / Sandman   Thomas Haden Church
Joseph "Robbie" Robertson Bill Nunn
Betty Brant Elizabeth Banks
Hoffman Ted Raimi
Gwen Stacy   Bryce Dallas Howard
Captain George Stacy   James Cromwell
Dennis Carradine Michael Papajohn   Michael Papajohn
Flash Thompson Joe Manganiello   Joe Manganiello
Bone Saw McGraw Randy Savage  
Rosalie Octavius   Donna Murphy  
Mr. Ditkovich   Elya Baskin
Ursula Ditkovich   Mageina Tovah
Bernard John Paxton
Emma Marko   Theresa Russell
Penny Marko   Perla Haney-Jardine
Mr. Aziz   Aasif Mandvi  

Reception

Box office performance

Film Release date Box office revenue Box office ranking Reference
Worldwide United States United States Outside US Worldwide All time US All time worldwide
Spider-Man May 3 2002 May 3 2002 $403,706,375 $418,002,176 $821,708,551 #7 #17 [28]
Spider-Man 2 June 30 2004 June 30 2004 $373,585,825 $410,180,516 $783,766,341 #10 #23 [29]
Spider-Man 3 May 1 2007 May 4 2007 $336,530,303 $554,452,996 $890,983,299 #15 #12 [30]
Spider-Man film series $1,113,822,503 $1,382,635,688 $2,496,458,191

The three Spider-Man films set new opening day records in the United States in their theatrical debuts.[31] The films are at the top of the domestic rankings of films based on Marvel comics, with Spider-Man ranking first, Spider-Man 2 ranking second, and Spider-Man 3 ranking third.[32] Spider-Man, Spider-Man 2, and Spider-Man 3 are also domestically ranked first, second, and third for all superhero films.[33] In the United States, Spider-Man, Spider-Man 2, and Spider-Man 3 are respectively the most successful films produced by Sony / Columbia.[34]

Critical reaction

Film Rotten Tomatoes Metacritic Yahoo! Movies
Overall Cream of the Crop
Spider-Man 90% (203 reviews)[35] 84% (31 reviews)[36] 73% (37 reviews)[37] B+ (12 reviews)[38]
Spider-Man 2 93% (229 reviews)[39] 95% (39 reviews)[40] 83% (41 reviews)[41] A- (13 reviews)[42]
Spider-Man 3 62% (219 reviews)[43] 45% (39 reviews)[44] 59% (40 reviews)[45] B- (15 reviews)[46]

David Ansen of Newsweek enjoyed Spider-Man as a fun film to watch, though he considered Spider-Man 2 to be "a little too self-important for its own good". Ansen saw Spider-Man 3 as a return to form, finding it "the most grandiose chapter and the nuttiest".[47] Tom Charity of CNN appreciated the films' "solidly redemptive moral convictions", also noting the vast improvement of the visual effects from the first film to the third. While he saw the second film's Doc Ock as the "most engaging" villain, he applauded the third film's Sandman as "a triumph of CGI wizardry".[48] Richard Corliss of Time enjoyed the action of the films and thought that they did better than most action movies by "rethinking the characters, the franchise and the genre".[49]

Colin Covert of the Star Tribune praised Spider-Man as a "superb debut" of the superhero as well as Spider-Man 2 as a "superior sequel" for filmgoers who are fans "of spectacle and of story". Covert expressed disappointment in Spider-Man 3 as too ambitious with the multiple storylines leaving one "feeling overstuffed yet shortchanged".[50] Manohla Dargis of The New York Times enjoyed the humor of the first two films, but found it missing in the third installment. Dargis also noted, "The bittersweet paradox of this franchise is that while the stories have grown progressively less interesting the special effects have improved tremendously."[51] Robert Denerstein of the Rocky Mountain News ranked the films from his favorite to his least favorite: Spider-Man 2, Spider-Man, and Spider-Man 3. While Denerstein missed the presence of Alfred Molina as Doc Ock from the second film, he found the third film -- despite being "bigger, though not necessarily better" -- to have a "satisfying conclusion".[52]

Future

In an August 2006 interview, Marvel producer Kevin Feige said he anticipated more sequels to the Spider-Man films "because of the wealth of stories in the comics".[53] Producer Avi Arad felt that some issues come to an end, but due to the character's age and his complex love life, the story is still continuous.[54] Although Tobey Maguire has not signed on for another sequel, the actor has denied reports that he will not return, stating, "I feel like the stories all deserve to be told, and, you know, if... the whole team wants to get back together, and we feel like we can make a good movie that's worth making, then I'm up for it."[55] Maguire later said in May 2007 that it may take years to develop a script.[56] Actress Kirsten Dunst has also expressed openness to return if director Sam Raimi and Maguire do.[57] Raimi told Premiere magazine that he "couldn't imagine" doing more sequels to the Spider-Man films without Tobey Maguire in the title role, but refused to completely rule out directing any future installments.[58]

Raimi confirmed that Sony would be making at least three more sequels, though he didn't know whether he would be required to direct.[59] Even if he does not direct, he may stay on as producer,[60] or co-writer.[61] In January 2007, Columbia Pictures entered negotiations with screenwriter David Koepp, who is credited with the first Spider-Man screenplay, to pen the script for a fourth film, which would be released in 2009 or 2010.[62] The following April, the studio said that the sequel was in the early stages of development, with no official word on casting, start date, and release.[63] Later that month, Raimi expressed interest in directing New Line's The Hobbit. Entertainment Weekly suggested if he pursued the new project, the production schedule for Spider-Man 4 would be delayed, or a new director would replace Raimi.[64] Sony co-chairwoman Amy Pascal said that if Raimi, Maguire, and Dunst did not return, the studio would make more Spider-Man films without them.[65] Negotiations with Koepp eventually fell through.[61]

In January 2007, Dylan Baker, who portrays Dr. Curt Connors, expressed interest in portraying the character's villainous alter-ego, the Lizard, as has Raimi.[66] Producer Grant Curtis is also a fan of the character, and has also expressed interest in Kraven the Hunter.[67] The Lizard was in an early draft of the second film's script.[68] Raimi said that if he returned to direct, he would take advantage of the established character of Dr. Curt Connors to introduce the Lizard. Raimi also expressed interest in setting up the Sinister Six with introductions to the Vulture and Electro.[60] Sony plans to release Spider-Man 4 in the summer of 2010.[69] In addition, Avi Arad confirmed that a spin-off film about Venom was in the works in a one-on-one interview.[70]

In October 2007, Raimi said that he and the studio were looking for a new writer that would have a brand new take on the Spider-Man series. Raimi would relinquish creative control of the sequel's story and focus on either directing or producing the script.[71] James Vanderbilt was soon announced as screenwriter, impressing the studio with his focus on characterization. The studio also decided to limit the scope of the film to two villains.[72]

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  67. ^ Greg Dean Schmitz. "Greg's Preview - Spider-Man 2". Yahoo!. Retrieved 2007-04-15.
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External links


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