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the-ventriloquizt · 3 months ago

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Chainsaw Vigilante Circus of the Mighty Entries

This is just so I have it somewhere online, and I don't know really anywhere 'official' to put information like this.

( Circus of the Mighty 1 )

THE CHAINSAW VIGILANTE

Name: Unknown

Secret Identity: Yes

Clever Nicknames: That Bitter Guy With The Chainsaw; The Bad Elvis.

Marital Status: Single

Height: 6'1"

Weight: 180 lbs.

Hair: Flame red; fine.

Arch-Enemy: The Tick (The Tick doesn't know yet, but he'll be thrilled when he finds out.)

Catch Phrase: "Hey, You Bunnies!"

Super-Hero-Ness: Little is known about the enigmatic man who calls himself the Chainsaw Vigilante, except that he has taken a solemn oath to rid the world of super-heroes, and that he uses a chainsaw to accomplish this goal.

The Chainsaw Vigilante is extremely agile and possesses highly refined gymnastics skills. He has developed a very effective "martial art" centered around the use of a chainsaw in battle. He is so skilled that he has never actually killed anyone; just given them nasty rashes, annoying tears in their super-hero costumes (very expensive) and the occasional laceration which may require minor surgery.

Chainsaw Vigilante believes that the chainsaw is the weapon with the most impact - the one with the best chance to snap would-be super-heroes out of their "delusions of public service." His costume is very simple, consisting of a leather motorcycle suit, a cardboard mask, and a smiley-face button turned upside-down (the international symbol for extreme displeasure). He approaches his "victims" with a short interview - a survey designed to establish how deeply entrenched in their "delusions" the subjects are. Here is an excerpt from one such interview, recorded by the minor hero, Memowrecks:

Chainsaw (CV): "How often do you think of wearing tights?" Memowrecks (M): "Sometimes… at work I do." CV: "Do you want to save the world?" M: "I think so. Yes. Don't you?" CV: "Unrealistic goal. Do you subscribe to any so-called super-hero magazines? Men In Spandex Monthly, or Fighting in Lycra, or Wrestle! Wrestle! Wrestle! ?" M: "Uh… Men In Spandex… but it's-it's for my nephew… I-" CV: "LISTEN FOR THE TRUMPETS OF DOOM REPEAT OFFENDER!!!"

At this point we hear the ignition of a chainsaw and Memowrecks; recording is cut short. He is what the Chainsaw Vigilante would call "rehabilitated." The man who was Memowrecks now works at a florist shop in Vermont and is living in a condominium with two cats, his "Precious Moments" figurine collection and a lot of big soft sweaters.

The Chainsaw Vigilante seems sincerely to believe that super-heroes and their methods present a real danger to America and to the world at large. He feels that unrealistic ideals combined with incomprehensible power is bound to lead to trouble. He is criminally over-zealous in the pursuit of what is, ultimately and ironically, an idealist goal in itself: the end of super-heroism. However, it is possible that he means well.

The Chainsaw Vigilante has a long record of conflict with super-heroes; he has only once been defeated. Here is a partial list of his adversaries to date:

Mr. Flavorific

Abilities: Can make any taste appear on the palate of his target. Current Status: Converted; owns a small, very successful restaurant.

The Eagle Scout

Abilities: Can tie a variety of knots and set anything on fire with two sticks. Current Status: Converted.

Memowrecks

Abilities: Had a high-tech sound system built into his uniform. Current Status: Converted.

Radio King, Feral Boy, Mr. Envelope, Oddman & Fernslinger

Abilities: See Civic-Minded Five. Current Status: Recuperating; still active.

Plush Prowler, the Man of Shag

Abilities: Big. Strong. Tacky. No real intellect, just empathetic senses. Current Status: Still active; haunts Persian rug showrooms and factory carpet outlets looking for peace of mind.

The Tick

Abilities: See The Tick. Current Status: Still active. Doesn't really remember his run-in with CV, after all it was several days ago and The Tick is no rocket scientist.

( Circus of the Mighty 1993 Update )

CHAINSAW VIGILANTE

Name: Henry (last name unavailable)

Secret Identity: Yes

Clever Nicknames: Poulan Punisher; The Spandex Wake-Up Call.

Marital Status: Single

Known Relatives: None

Height: 6'1"

Weight: 180 lbs.

Hair: Fine and red.

Arch-Enemy: The Tick; Any super-hero with the nerve to go out on the street.

Catch-Phrase: "Time to prune some capes!"

Super-Hero-Ness: Chainsaw Vigilante is an enigmatic and contradictory fellow. He fervently believes to be serving society when he goes out in search of super-heroes to attack. Anybody in a tight costume is fair game; heroes, villains, cyclists. Chainsaw Vigilante is not interested in killing any super-heroes (well, he may be "interested" in it, but he doesn't do it). He would rather confront them and, by deftly thrashing them with his eclectic chainsaw fighting style, show them the fragility of their world-view. After a battle with him, he expects any hero to go back to their apartment, flop on the sofa, and have a good cry. The next day, coping with the overwhelming sense of despair borne of their defeat the night before, they'll give their costume to the Salvation Army. Then they'll have a second cup of instant coffee and go get a real job.

It isn't that Chainsaw Vigilante likes criminals, he doesn't. He just thinks there are way too many super-heroes in this world. For instance, in the Deertown-Hobleville Bi-Cities area where he resides, there are at least 27 super-heroes for every 1000 residents. (And that includes the county super-hero-resident ratio. If you're just looking at the city, the numbers are much higher.) This is an unnecessary situation. Most of the people who spend their time fighting crime could be leading more productive lives and helping America compete in the new world economy. Chainsaw Vigilante just wants to assist this process, to move more people out of the super-economy and into the private sector.

Chainsaw Vigilante has recently defeated most of the super-heroes in the Deertown-Hobleville area. After that debacle, the majority of them decided to throw in the towel and give it up. They all walked; Frogwoman, Hunman, Bunnyman, Busman and Busboy, Heavy Metal Rocker, Trauma Girl, Elf, most of the Civic Minded Five, and even Athena the non-empowered enabler. After that night, Chainsaw Vigilante had a wonderful, warm, fuzzy feeling of accomplishment that blended well with the intoxicating, wafting aroma of two-stroke motor oil.

Still, one failure continues to nag Chainsaw Vigilante, aside from the odd catty comment about his costume, and that is his defeat at the hands of The Tick. The Mighty Azure Avenger was the single hero who not only was not altered morally by his encounter with Chainsaw Vigilante, he barely remembers it. The Tick has a very selective memory and the fight with Chainsaw Vigilante was displaced by the time he stopped at Stuckey's and bought enough pecan logs to build a replica of Fort Apache. One day, Chainsaw Vigilante must face this great void in his being and confront The Tick again. It's well known that The Tick enjoys a little canasta now and then. This might be a good way for Chainsaw Vigilante to get near him.

#Chainsaw Vigilante #The Tick

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c-moved · 3 years ago

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@octaane asks; medical // wattsy! → nonverbal starters

── Everything was foggy when Natalie came too, where was she? Last she remembered was telling the others she was going to go fence, straying a little too far away and getting cornered by prowlers.

Now? Now she was sitting in what was presumably a medical bed, the blinding white LED lights above her making Nat squint. She raised a hand to block the harsh light from her eyes, metallic fingers brushing over a sticky note stuck to her forehead. Nat plucked it from her face, staring at the crudely drawn smiley face with a quizzical expression before lightly chuckling to herself. What on earth was going on? Then, the engineer felt something wiggle in her other hand. She glanced to her side, spotting a familiar gloved hand gripping tightly to her own. Her eyes trailed up the length of the arm, a little shocked to find it belonging to who she assumed. Octane. Fast asleep in a chair beside her, holding her hand tight. Nat felt strange. For one, it was amazing to find Octavio standing still- even sleeping for that matter. But for him to be gripping her so tightly, even in his dreams? She was scared to ask what had happened to her...? She let her gaze wander, eyes catching two figures in the corner of the room. Wraith. Leaning up against the large windows, the dark bags under her eyes even darker than usual.. And, Dr Caustic. Sitting in a chair beside the void walker, seemingly gazing off into space. His brow knotted, tense and terrified. Wattson gulped. It was clear to her now, something awful had happened to her.. And she must had been asleep for a long time. “Octy?.. Wake up mon ami” She squeezed at Octane’s hand, hoping the pressure would wake him. Her voice grabbed the attention of the others, the two legends making haste to rush to Natalie’s bedside. Caustic’s face pale, yet relieved- like a father who’d found a lost child, and Wraith; though still stoic, seemed to have tears welling up in the corners of her eyes.

“Ah.. Coucou, just how long was I asleep?”

#☕ into a world of pure imagination ──── { answered ; }#ϟ my squad is my family ──── { ic feat. wattson ; }#ϟ Your soul ignites the fire that sets me free ──── { ♡ octaane ; }#{ remember broken ghost? }

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meggannn · 5 years ago

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the itsv commentary is so full of great facts and bts info so i wanted to write down all my favorite parts, but i just ended up writing down anything that was interesting, which was honestly most of it. four thousand words later i ended up with their commentary on practically half the movie. i’ve put the interesting or funny bits that i jotted down behind a cut if anyone is interested.

this commentary audio had Phil Lord (co-writer, producer), Chris Miller (producer), Bob Persichetti (co-director), Peter Ramsay (co-director), Rodney Rothman (co-director, co-writer), but it was kind of difficult to tell who was talking most of the time, so i didn’t include names on who said what, unless I knew for certain who was talking.

The first Miles sticker in the film is a “glitch” flashing on the Sony Pictures Animation logo. “Already putting his stamp on the movie.”

RIPeter is meant to be an amalgamation of all the Spider-Man we know, “good and bad” (as the dance happens, someone corrects him:) “Good and GREAT.”

(“I’ve got an excellent theme song, and a... so-so popsicle.”)

“That joke saved the movie.” “The dance move or the popsicle?” “The dance move. I resisted that dance joke and Rodney pushed hard for it (…) It told the audience what movie they were watching.”

“It was Rodney who was really pushing for him to be in this relatable idea of [Miles] not knowing the lyrics to this song but singing along.” “We started animating before the song was finished. It was really easy to not know the words then.”

“There are three very long shots that introduce Miles.” (The shot at home, the shot of him walking past Brooklyn Middle, the shot of him entering Visions.) “That was a deliberate choice, to open with a big crazy Spider-Man montage, and then with Miles, start a different pace, long shots, and just watch him and how he is, and don’t get too fancy with it. Although ironically these shots are really fancy.” The shot of him walking past Brooklyn Middle and the one of him walking into Visions are meant to directly contradict each other: his comfort zone vs him out of place in new surroundings. (Megan’s note: My take is that with these shots they might have been trying to represent his home, his past, and his future.)

“Everything [in this scene from color to sound] is meant to go from a very heightened experience with Peter to a very naturalistic experience with Miles.”

For the scene in the car, Shameik and Brian sat in chairs to set up in a car, with microphones and a rearview mirror. “Brian might have even been a little annoyed at Shameik a couple of times, and I think you can feel it in here, in a really wonderful way.”

(Talking about the chromatic aberration) “Sometimes it looks like you’re watching a 3D movie without the glasses on.” “That was on purpose.” “Every frame is supposed to feel like a piece of printed art.”

“On the cover of Great Expectations, there’s an image of Magwitch grabbing Pip’s shoulder in a cemetery.” “Foreshadowing!”

A side character named “Smiley Kid” is in several shots of miscellaneous Visions students. “Because he’s not a real person, I think we can say he is our least favorite person.” “I think he comes around. He’s great, then he’s bad, then he’s great again.” “He’s like the extra in every live action who worms his way to the front of every shot.” “He just almost always looks in the camera.”

Miles’s expression when the teacher calls him out at trying to fail was “completely ripped off of President Barack Obama.”

Benson Avenue was meant to call back to where one of their fathers grew up in Bensonhurst, Brooklyn.

(“Hypnotize” by Notorious BIG playing on Aaron’s stereo) “Biggie Smalls in an animated Spider-Man movie. In what universe?” “This is the ideal timeline that we’re living in.”

(This comment is said as Miles presses his face on the glass:) “That changed people’s perceptions of the movie. When we had this in, it really lit people up.” (To be honest, I can’t tell if this comment was made in response to Biggie Smalls, or to Miles pressing his face on the glass.)

They all loved Mahershala Ali. “The shoulder touch would work if your voice sounded like Mahershala’s.” Everyone was in awe every time they recorded with him. “He makes you want to be a better person when you’re around him.” “He’s got a high bar.” “Then he goes away and it kinda wears off.”

The subway Aaron brings Miles to was a place he and Jeff used to paint in when they were young, which adds another layer to him talking about/missing Jeff when he mentions it to Miles. The age difference probably means Aaron was younger than Jeff, and now he’s the older one with Miles here.

There’s a bigger history between Jeff and Aaron that’s only hinted at, and part of it is the reason why Miles has his mother’s last name, not his father’s. It’s implied Jeff was worried his bad history would follow Miles if he took his last name. Also because “then he would be named Miles Davis.”

They were excited to depict a spider-man experiencing spider-sense for the first time.

“We did the most expensive thing. In all choices.”

“People ask, How does Miles with a cop and nurse parents afford Jordans? And the answer is, they were a gift from his uncle.”

(On Kingpin’s animation possibilities.) “We always had this idea that he was the living expression of a black hole. The right for him is this floating head on a body that we could scale up and down depending on the shot with hands at the end of arms.” “While creating a black hole, he is a black hole.”

Someone felt very passionate about including the dimensional map showing the other universes the collider was connecting with. “It felt so important to me.”

(Paraphrasing this one) “Once Phil and Lord gave the MO to push convention, the gauntlet had been thrown, we started getting crazy stuff back. And a lot of the time our art direction would just be like, ‘Yeah! COOL!' ‘Do more of that!’”

(Peter rolls his eyes as the Prowler menacingly steps forward) “I like that [RIPeter] is exhausted at the idea of being killed.”

“The Prowler chase sequence was the first sequence that went through the whole pipeline.” (This and the cemetery scene were the first.)

(The burst card of Miles jumping over the subway tracks) Bob Persichetti: “I had such high hopes to do a lot of burst cards, I think that’s the only one I actually did.”

(as Rio comforts Miles in Spanish) “We never translated on screen (…) The idea being, this is the fabric of Miles’s life.” “This was inspired obviously by Brian Michael Bendis” (co-creator of Miles Morales and his longtime writer) “and Miles’ bicultural background. But also Phil Lord grew up in a bilingual house.” “And I took Spanish in high school.”

(Stan Lee cameo) “[Stan is] the only performer in the movie who we went to. Everyone else came into recording studios, but Stan Lee, we dispatched the microphone to him.” “Everybody wanted to animate Stan.” “If you hit pause any time a train goes by, because everyone wanted to animate Stan, he’s in almost every single train.” “He’s an extra in a lot.”

(Miles reading comics before jumping off the building) “If you notice in that comic book, it’s True Life Tales of Spider-Man, and to keep his cover, his name is not Peter Parker. In the comic book, his name is Billy Barker.” “Great.” “Who could ever figure that out, right?”

A bunch of drawings around the grave of Peter Parker’s tombstone were all done by different kids of people on the show.

They mention the cemetery scenes was one of the first ones finalized. When they were still trying to figure out how to bring Miles to life, “you can see that his performance evolved from this [cemetery] scene.” “It’s super expressive.”

There was lots of debate on how much paunch should be on Peter B’s stomach. There are something like 3-5 different body models used throughout the movie.

They all loved the scenes of Peter B in his apartment: the cut to him crying in the shower, to pinned to the bed with his butt out, to his pose on the futon flipping through channels. Someone really liked “[his] little quivering [spidey] eyes on the seahorse shot.”

The comic book page-flipping device was a “late breaking” realization of how to transition between flashbacks and present day.

Chris Miller did the voice of the cop dispatcher on the radio saying the “Child dressed like Spider-Man dragging a homeless corpse behind a train” line. “The role I was born to play.”

In the walk-and-talk scene in the alley, they felt inspired to take a lot of crazy shots. “We were passionate that a Spider-Man movie needed to be shot from their point of view, where every surface can be the ground.”

“Because of questions on the internet, we took of one of Miles’s shoes. Just in case anybody wanted to know why he was sticking.” “Another thing that I was passionate about but nobody cared about but me.”

“One of the big tricks of this sequence and of this relationship was to let you believe that Peter was a good guy even though he was being a real… turkey… to Miles.” (Peter saying “No, does it look like it’s working? No! No, it’s not…”) “This was one of the few moments that we added kind of late just to know that he was a sweet pea underneath it all.” “Finding the right level for his not caring about Miles, and then learning to care about Miles, finding the right level from the beginning all the way through to the end, was something that took a lot of nuance.”

The interrogation/alley and burger scenes probably went through the most amount of reworks and rewriting than any others, because there was so much exposition and “you got tired” watching two heavy information scenes in a row. And given how often they said “this scene went through so many iterations” in this commentary, these two scenes must have been a LOT of rewrites. (Some of the alternate burger scenes can be seen in the film’s trailers and alternate universe cut.)

“I still kind of miss the unfinished version of this shot, where his feet… He had no toes for a really long time for some reason.” “You had to say like fifty times, ‘We’re gonna add toes right?’” “‘We’re gonna get his toes on there, right?’”

“One of the things about Kingpin is that he just magically appears outside of the car. Because there’s no way he could get actually get through the doorway.” “Maybe in the future where you guys are watching this ten years from now, someone will have figured out how to animate that. But in 2018 it’s still impossible.”

(Miles finding Peter in the vents) “These moments were really when you started to feel the relationship between the two of them develop.” “I love that Miles has to fight to occupy the same space and become an equal to Peter.”

(Peter mockingly blah-blahing as Doc Ock explains the danger of the collider, then saying afterward “Oh nevermind, that is bad.”) “For the sake of a laugh, we undercut the stakes, and then immediately had to buy the stakes back.”

“We went through probably 70 different version of what Miles would look like while invisible … and I like how how he comes in and out of invisibility was stylized to some degree.”

They say the Doc Ock/Peter scene was “really really bad at one point” and now it’s “one of the most wonderful surprises.”

Ock’s computer is based off of Phil Lord’s actual desktop. Some files are cut off the edges of the screen because they just dragged things off of the internet.

(Peter glitching in the chair) “I’m remembering all of the conversations that determined that it was funniest if you left Peter’s head unglitched.”

It was Justin Thompson’s idea to use soft robotics for this version of Dock Ock’s tentacles.

Everyone, from animation to the sound team, saw Doc Ock’s tentacles about 3 months before completion, went (exasperated) “Oh THAT’S what they look like? We’ll have to redo X Y Z whole thing…”

You can tell they loved the monitor joke. “Very silly things happening around very cool things.”

The Bagel! text was added last minute. “That was a joke pitch by Justin that was taken seriously.”

“Everyone felt empowered to pitch crazy ideas, and that’s why it felt so rich and deep.”

“It’s no understatement to say that this look in the forest is one of the hardest things in a movie like this. To make something look realistic is something we know how to do pretty well. But to make it look graphic and illustrative is almost impossible.” “Especially when you’re close and far to trees within the same shot at times.” “We had so many conversations with Danny, our V Effects supervisor, like, ‘But, you guys, we’re going to be in a forest, you really don’t want the leaves to rustle in the wind?' ‘No, we’ll be okay!’” (Later, when Peter and Miles swing off together, the leaves rustle:) “See, the leaves can move, guys!” “We just CHOSE for them not to.” “It was an absolute creative choice.”

“This is another moment in the story when we really open this beat up to let Peter and Miles have a victory together and cement their bond, that you really were rooting for their relationship. We breezed through this quickly and you didn’t have the same connection with the two of them.” “One of the things in the screenplay that we discovered really late is that you needed to have a lot of smaller, positive accomplishments throughout the center of the movie to have it work right.” “(…) This middle section of the movie is about Peter and Miles learning to fall for each other, basically.”

(During Gwen’s intro) “We give just enough to hopefully tease you guys into being really into each one of these characters’ origin story.”

“One week of days and nights just passed in that one shot.” “She hit a time anomaly on her way to this dimension.”

“She vibes with Miles after he had been bitten by the spider, and she purposefully bumped into him there, in case you didn’t catch that.”

“We were trying to make Ock such an intelligent and socially awkward person that then turns into this really formidable equal to Kingpin.”

(When Peter thwips May’s doorbell and then exhales with his hands on his hips.) “One of my favorite poses in the movie.” “That pose gets a laugh all by itself.”

“‘You look tired’ is a thing my mom says to me every time I see her.” “It’s accurate.”

“I fought hard to have (May) kick that door open.” “I tried to cut that and then you uncut it, correctly.” “Let’s be honest, she’s not treating her house very well.”

(In the Spidey Lair) “Lots of Easter eggs here.” “We should’ve put an actual Easter egg in this shot.”

They debated for a long time putting the B-team spiders in the picture at all, knowing it would be more work, wanting to make their characters worth being in the picture without taking away from Miles. “Nothing worked in the movie until it had something to do with Miles and his story.”

(On the spider team testing Miles:) This angle was “late-breaking, on the backside”: “This made it feel like they all cared about Miles, even though they maybe didn’t believe in him.” “Just Peter going ‘Cool it.’ For the longest time we didn’t have something like that.”

(Pretty sure this is Peter Ramsay) “When you’re making a movie it’s like you’re building an emotion machine. You’ve gotta have all the parts calibrated the right way, make sure it’s properly oiled, cause if it isn’t, the gears are gonna stick, and you’re not gonna feel right.”

The Prowler Sound™ is not a jaguar or cat, but an elephant. “We only did the dark scenes first cause they were easier to light.” (Some of those scenes they mention are Miles running from the Prowler, the cemetery scene, Miles writing the note in Aaron’s apartment.)

They tried about a million songs for Peni while she makes a new goober. (The song used is not in the soundtrack, but it’s “Want It Here” by Xenia Pax.)

(On Peni’s Heelies) “This shot’s not long enough to get her from the kitchen to the couch.” “Is that why?!” “That’s one hundred percent why. Just put those little wheelies on here!”

In the first draft, there was an idea there RIPeter was a grad student under tutelage of male Doc Ock so that’s how Liv and Ock knew each other.

“The table pushing into Miles. That was something my older brother, when we would fight when we were kids, he would do that to me.”

(When Aaron closes his eyes, refusing to kill Miles:) “That little look. ‘Cause he knows what’s coming.”

(They’re all quiet as Miles carries Aaron to safety, caught up in the scene.) “We’re all kind of gripped.” “We’re supposed to be giving interesting anecdotes here, guys, come on.” “It was so cold that day…”

Prowler’s death was the first session they did with Mahershala. “He’s a method actor, and his death scene, it was like he was really dying.”

“We gave animators the freedom. You can make Miles unattractive. He can ugly cry, because this is raw and it feels so emotional.”

(When Miles throws his sketchbook out the window, only for it to immediately come flying back in:) “It’s a one-shot transition from deep emotion and regret and pain. We said, ‘He’s gonna throw the one thing out that really represents his uncle, yet it’s gonna come flying back in.’ It was hard to make that shot work.” “It’s a great story statement that you can’t lose the things that make up your past.”

When everyone is talking about someone they’ve lost, an alternate line has Ham saying “I lost my uncle. He was electrocuted, and it smelled so good.” It got a lot of laughs, but the team says that from then on, the audience “resisted” Ham because he killed the mood, and it was hard for people to see him as anything other than a goofy cartoon, so they changed the line to “Miles, the hardest part about this job is you can’t always save everyone.” (Megan’s note: I think they probably didn’t bother to re-animate the others’ facial reactions after changing Ham’s line, because judging by the reactions from Peter and Miles in this shot it feels like Ham just said something annoying/out of place lol.)

When Peter says “It wasn’t their decision” (for Miles to stay behind), Miles has a very quick reaction shot where he turns away, bites his lip, and shakes his head. Someone mentions it’s one of their favorite shots of Miles.

(On the scene with Miles and his dad at the door) “When Brian Tyree Henry saw this scene [with a rough performance, just animation], he got the movie. It made such an impression on him. He was very happy to come in and pick any lines up for us and just keep working.” “We were working on the shots on layup for this. The idea of having them be on thirds to start, then coming closer, and finally ending with the final split-screen shot at the end.” “And Jefferson crosses the scene, which I think is really interesting. They start off on opposite sides of the screen. He makes the first move.” “It’s amazing to me to see Miles transformed by his father.” “It feels earned.”

“In an earlier version of that scene, Aunt May gave him a version of that speech, which was nice, but it needed to be Dad.”

(Later on, someone mentions:) “Tom was the first one to say ‘It shouldn’t be Aunt May at the door, it should be Dad.’ And we all sort of slapped our foreheads going ‘That’s absolutely right.’”

“After our premiere, my 9yo son [Luca? Luka?] asked me this. ‘So Papa, you know Miles spray-paints one of those suits and it becomes his suit. Super cool, Papa, but it shouldn’t fit him. It’s way bigger.’” (Laughter) “Did he have to wait a few hours for it to dry?” "We cut out the sequence where Aunt May sewed it tighter and altered it.” “And they had the hair-dryer express drying it. ‘Your friends are in danger.’ ‘Well just let me let it dry first!” “I tell you, spray paint, five minutes and you’re dry.” “She pre-altered it. She knew he was coming. She said, ‘It took you long enough.’ It all happened in advance.”

“The scene of Miles falling and everything slowing down and I always appreciated that Phil called out he was ‘falling and rising’ and the same time.” “It made the movie. A rare thing that goes from the stage directions all the way through production and onto the screen.”

“This sequence used to end with him getting hit by a truck. But really felt like it was time for Miles to get a big victory.” (Megan’s note: This scene is shown in draft stage in the alternate universe cut. Miles makes his leap, free-runs over some trucks and buildings, and his scene is interrupted when he gets hit by a truck and crashes to the ground. There’s a moment where he collects himself, the pushes himself to his feet and runs off into the city to join the others at the collider. I interpret this idea to be their showing how Miles fully embraces the “Get back up” lesson, since Miles’s pose in the sketches imitates the same one in the basement when the spiders are hazing him and he’s on the ground.) “And now people applaud.” “There’s a general attitude with this movie that was like, ‘How can we do things differently?’ That was a case of when we were like, ‘What if we didn’t have the audience feel really good in this moment?” (Laughter) “What if we had them feel really bad? Right at the moment they want to feel good, what if we made them feel terrible?” (Joking) “Let’s poke THEM in the eye.” “I think in early drafts, we just were like, Miles is losing and falling short the whole movie until the very end. And when we put that up, we realized that you needed to see him slowly winning and winning and winning until he won even bigger at the end.”

A set-up that never fully made it in the movie is that Fisk runs charities for Spider-Man and that’s why the dinner was set up like it was.

The bread scene was on the chopping block for a long time. “By adding this interaction, and making it about Peter and MJ and something real, all of a sudden this scene was worth it.” “It’s necessary to know what Peter’s giving up by sacrificing himself.” “It lasts just long enough because we learned that if you stay way from Miles too long--” (They interrupt here to point out two cameo people at dinner, “Danny and Josh,” who I couldn’t get a cap of) “--We lose our connection to the movie in a way. But at this point we care enough about Peter to want him to get back to MJ too.”

“The servers that were holding the movie were moving slow by the end of this shoot. And we had the best computers.” “At a certain point I think we overloaded Imageworks’ server. There was a moment they were afraid the movie was going to break their machine.” “Which was our whole idea. Our whole approach was, how do we break these pipes that make the movie?”

(During the final collider fight sequence, but they don’t specify what idea this was about specifically:) Chris Miller: “One of the only times I can ever remember saying ‘Okay you’ve gone too far.’ There was one brand where I was like, ‘I don’t get this.’ A few of the drawings that were somehow even more insane than this.” “What you’re saying, Chris, is that there’s a version of this scene that’s even crazier than this?” “Literally the only time I can remember going, ‘Okay guys, you’ve done it. You’ve broken it.’”

“I’m sure there’s are filmmakers watching this, so I think this is a learnable lesson from this sequence. Which is if you want to put something super crazy in your movie, wait until the very end when a lot of movie has been spent on your movie and your release date is 3 to 4 months away and they literally cannot stop you or else they have no movie.”

One of them points out Miles webs a turntable to propel himself upward. (Megan’s note: Miles also does this just as his own theme starts playing, which starts off with a record-scratch. I thought that was cool.)

(The moment when Gwen calls Miles “Spider-Man”:) “That choice went through a lot of iterations like “What’s the end of their relationship?” That she calls him Spider-Man instead of giving him a kiss on the cheek? It makes me well up just thinking about it.”

Kingpin breaks the glass of a building and the pieces fly toward Miles. Bob Persichetti calls these “Dorito chips.”

After the train enters a collider steam, there are versions of the interior of the train that flash from all five dimensions. There’s a futuristic Peni version, an old-timey Noir version, there’s a Gwen version… “As it passes through the beam, you get to see five versions of the train existing at once.”

(Vanessa and Richard seeing Kingpin) “This idea of repeating mistakes (for Kingpin). No matter what, he was gong to keep repeating these mistakes.” “He’s still who he is.”

“It was my dream to have Kingpin headbutt Miles and it finally came true.”

Each one of these character is in a black costume, and black surrounds them, and yet you can still see what’s happening.

“I remember people wanting to cut the shoulder-touch at the end.” “Who wanted to cut this?!” (Overlapping chatter) “No names in the screen.” “I remember feeling, oh my god. You’re LUCKY you got the shoulder touch in.” “The fact that you could pay off a set up that wasn’t even a set up…”

(On Miles seeing inside the universe as the collider explodes) “And then this. How long can it be? Let’s make it way too long!”

“The Anvil (that clanks at the end) was in Ham’s pocket?” “In the hammer space.”

(Miles hugs Jefferson) “This was the moment everybody went ‘Oh, YES.’ No matter what, we have to get to the hug, and the disguised voice, and the ‘I love you.’”

Someone describes the ending soundtrack as “Miles’ playlist meets Aaron’s playlist meets a superhero movie.”

They indirectly confirm Peter B and MJ do get back together. “Peter B gets his happy ending.” Another bit someone mentions was a late addition.

“I like that the movie starts and ends with Miles in his bedroom by himself.”

“We could do a whole other commentary saying completely different things.” “Probably four.” “We should do an alternate universe commentary.”

“You’re your own champion, I think that’s the idea. This is a story of empowerment. A champion is not coming from outside of you to come and save you. It’s your job.”

(As the credits roll) “Every name you see right now, we’ve seen them cry.” “We’ve made them cry.” “Every name you see right now has yelled at us.”

(On the post-credits scene) “We thought of this (post-credits scene) two months ago.” (They recorded this commentary in Dec 2018.) “We wanted to get Miguel in there and show the opportunities of where the multiverse could go.”

“I looked this up. This IS the most expensive dumb joke of all time.”

“We didn’t finish cleaning the cell on that close-up of Spider-Man.”

#into the spiderverse #miles morales #peter b parker #spiderverse stuff

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littleharpethcrossfit · 4 years ago

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Labor Day Monday, Sept. 7........ “FIELD DAY”

A gorgeous Labor Day morning at the Barn. A large turnout came for the announced “Field Day”. It was all Robert’s idea.

Admiral Armando led our mobility/flexibility warmup.

Robert explained all the events in “Field Day”, including easy ways to share/scale all things. There were only 4 rounds assigned, although I argued for 5 rounds. The clock started, and away we went.

10 Parallel Bar Dips

Sled Drag 100yds ~100 lbs

Log Carry 100yds Size and weight varied, but all over 50 lbs

Farmers Walk 100yds 30′s each hand, some 50′s, some 80′s.

Prowler Push 50yds All were over 150lbs. One was 200lbs.

Overhead Barrel Carry 150yds Mostly empty 55 gal drums, some balls

10 Tire Flips From 150 to 600lb tires.

Robert=23:33 Larry=24:56 Brendan=25:15 Armando=28:00 Chad=29:29 Rodney=30:12 Luke=30:15 Forrest=30:47 Dex=31:30 Timmy=36:00 Ed=37:00 Angela=39:58 Paul=45:30 Leigh Ann/Katie/Britt/Ben all posted smiley faces. Linda/Ruth Ann/Shannon G/Mason/Ryan/Carolyn/Warren A/Tom/Shane and a host of others failed to make it to the whiteboard.

There was an impromptu wine tasting and beer swilling afterwards. Even though the hour was early, several participated.

Notes:

Brendan brought high school buddy Forrest, and Tom brought his neighbor Dex. Forrest appeared to be fit enough to play with this crowd, and he did OK. Dex is a retired NFL running back who now runs a personal training company. Yes, he did very OK with our little “Field Day”. We hope both guys return.

Tuesday at 4 PM.

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ecotone99 · 5 years ago

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[HR] [SF] Spence - Chapter 2

‘Fore we got rid of Dr. McFuckknuckle and The Three Stooges, went through all their things and vehicles. No identification at all.

That tablet thing ‘Curly’ had was, along with bein’ a tracker for Spence, a maintenance console kinda thing. Get back to that here in a minute.

The doc’s car had some real interestin’ toys inside. Was a laptop, set up on a stand like in a police vehicle. Opened it up, and it lit up fine, but wanted a password, or a fingerprint. Lucky for me, once I pried open ol’ doc’s torn off hand and cleaned it up a mite, the thumbprint from that did the trick. Couple minutes of tinkerin’ got me my thumbprint authorized jest fine. Tossed that hand back over by its former owner. Spence followed the toss with his head, and chuffed. ‘Good riddance to bad rubbish, right?’ He cocked his head at me, like he was thinkin’ that over.

Was a leather folder which had some papers, a small black nylon toolbag, and a power cord/adapter for keeping the laptop charged.

Plugged the laptop up in the shack, ‘fore we headed out to get rid of the trash.

Loaded the dead weight into the back of that SUV, jerry-rigged a tow for the doc’s car, got ready to haul out into the back-country. Plenty of room for Spence in the back seat. Opened the door and said ‘C’mon bud. It’s garbage day.’ Spence kinda ‘chuffed’, would not get in.

‘You gonna stay here, slick?’

<chuff>

Goddamn, he was sayin’ no.

‘Fair enough, you plenty fast, bud. Follow me.’

Headed out, and Spence was a joy to see in motion. He’d rocket out ahead, swoop around and jet right back. He was playin’ with his lil ol’ slow human. Such a cat, that guy. Wiseass.

Got to where we was gonna dump this sack o’ assholes, and made sure to kick Dr. MFK in the ribs until my leg was tired. Not that it bothered him much, made me feel better.

Not gonna get too detailed on where/how all that was dealt with. Some things are best left unsaid ... but no one is ever gonna find them, or their vehicles ... and there are a couple-three less incendiary grenades left.

Was a long walk back, but Spence had a time. He’d spot a jack-rabbit, start up that chittery thing he does, and off he’d go. Chase the poor lil bugger for a while, and then he’d stop, let that jack run off, look back at me, and speed on back. Keepin’ an eye on his human. Saw a buzzard off on high, ridin’ the thermals. Guess we wasn’t the only ones takin’ care of dead meat today.

Just managed to beat the rain, and nightfall when we got back home.

Was time to get back to those ‘stay tuned’ things, so made up some coffee, and started snoopin’.

That laptop and those papers had some info, but the rest here is some wild-ass-guessin’:

Spence is a ‘prototype weapons system.’ Was the only one that ‘was successful’. Seems ‘they’ (not clear on who ‘they’ really is, but ‘they’ had some deep pockets, as Dr. MFK didn’t seem to have much problem keepin’ the lights on) had built some kinda ’AI’. Too bad for ‘they’, this AI? That dog won’t hunt. Couldn’t manage to ‘code a hunting instinct.’ Some bright-boy lab rat fella decided to ‘look into the feline mind’ to get that ‘hunter/killer’ code.

Dr. MFK was that lab rat. Pretty sure the process died with him. Small favors.

Seems the idea that he come up with was what he called a ‘matrix’ that this AI thing could run in, and the cat ‘code’ part could be copied in there, to give them that missin’ piece. There warn’t no ‘organic’ Spence left in that shiny body, from what I could figger. Just that matrix thing, swaddled up in Spence’s metal and silicon innards, with Spence and that AI all mixed up together.

He also figgered out that ferals and cats not raised ... whaddyacallit ... underfoot? Well, not bonded to humans, they wasn’t gonna work either.

Bastard slaughtered a lot of cats. ‘Spence, Ima thinkin’ the Doc here got off light.’ Spence chuffed again. Ima guessin’ this time he was agreein’ with me.

Spence was a smart fella before, but now he’s scary smarter. Still good company. Conversation is nice, just too damn big for lap-sittin’.

—-

[SIGNAL SCAN IN PROGRESS]

[SIGNAL DETECTED]

[SIGNAL TRIANGULATION ENGAGED]

—-

Also figgered out that the tools in that bag were for openin’ up maintenance ports and the like on Spence’s chrome carcass. One of them had a port for connectin’ that little maintenance console up. Told ya I’d get back to that. Was able to find the tracker tag they had plugged into Spence. Pulled that sumbitch out and unhooked its battery. Put that all away in the toolbag. Oh yeah, Spence is stealth. I can’t claim to understand how it works, but I read that, and tried to take a picture with my old digital camera, and all I could see was a kinda washed out blur, like the lens was smudged. Does the same kinda thing to radar signals and the like, but I ain’t got no way to test that. The black magic don’t extend to regular optical cameras, but that’s ok. Hell, I wanna be able to see him.

—-

[TRIANGULATION INCOMPLETE]

[SIGNAL LOST]

—-

Feelin’ kinda proud of myself at this point, so I closed Spence back up, grabbed a beer, and hit my chair. Spence sat on my left, and leaned his head on my leg. Put my hand on his ear, and he buzzed that purr of his, and lightly thumped his tail. We listened to the rain, until it faded out.

That was pretty close to the last time we felt peaceful.

Thinkin’ that ‘they’ might want to collect on their spendin’, and scoop up Spence. Yeah, well, fellas. Gonna have to go thru me first. Ima thinkin’ we two gonna hit the road. Dunno where to yet, but ‘they’ probably got the shack already nailed down. Also thinkin’ about that buzzard.

Next day, shit to do. Told Spence to guard the shack, and I’d be back. He chuffed and ima sure that was his version of an eye-roll. Walked down to the highway. Waved down the bus. Took that to the city (the other direction from town), and bought a new-to-me truck, with a camper shell on the back. Figgered that would give Spence some cover from all the lookie-loos.

Once I was back home, towed the trusty old truck out to the back-country, for a hero’s funeral. Couple less incendiaries. At least this time, didn’t need to walk back. Yep, could still see that circlin’ bird. Like that paintin’ ... this is not a pipe, and that ain’t no buzzard. Spence was chasin’ jack-rabbits again. I stopped the truck.

‘Spence!’ He spun around and come runnin’ back. ‘Hey bud. Ima thinkin’ you understand me a lot more than you used to. See that?’ I kinda pointed up the bird’s way. Spence’s head tracked the lazy circles for a bit, and then he looked back at me, head cocked. ‘Yep. Ima thinkin’ we on borrowed time. Those ‘they’ fellas are watchin’.’ He thought on that, and gave me a chuff. ‘Time to go, old fella’.’ He didn’t make a sound this time. Just cocked his head, like he does... and then walking over and givin’ me a head bump on my leg. Understood that perfect. I opened up the door, and he jumped in the back of the double-cab.

Got back home, and started packin’ up.

Got my back-country hikin’ gear. Packed some boxes with non-perishables. Loaded up the jugs of water I already had. Wrapped up our little armory in some tarps. Stowed that laptop and the other gear in my pack. Made sure my scatter-gun was loaded and handy. Was just finishing securing ever’thin’ down, when Spence made his chitter sound, looking back towards the road to the highway.

‘Goddammit, guess we outta time, bud. You stay here, in the truck. Let’s see what these assholes are up to.’

<chuff>

It looked to be one of the staties’ prowlers. I got no problem with the real authorities, but I made sure my sawed-off was in easy, hidden reach.

Prowler pulled to a stop. Could see two folks inside. In my experience with the staties, there’s usually only one per car. Somethin’ is not right here.

They both got out. ‘Good afternoon, sir.’

‘Afternoon officers, can I help you fellas?’

‘Yessir. We are out here, working with the rangers, letting people know that there is a very dangerous wild animal in the area. Have you noticed any signs? Any lost livestock? Pets? Anything like that?’

The one talkin’ was bein’ real calm and reassurin’ and walkin’ over easy like, with a nice, friendly grin. The other one was kinda off to the side, movin’ slow and steady, kinda like he was tryin’ to flank me... lookin’ everywhere but at me. Noticed that their sidearms were not the standard statie issue, but more like smaller versions of the Stooges’ weapons, with extended magazines. This is not a pipe, and these ain’t staties.

From where they was at, they couldn’t get a clear view of Spence, but he saw them. I could see him trackin’ their progress from the corner of my eye.

‘Well sir, don’t have any livestock to speak of. Was out hikin’ some today. Didn’t see no varmints bigger than a jack-rabbit.’ Was edgin’ my hand over to the sawed-off.

The chatty one smiled bigger, and started to reply, when the sneaky one finally got to where he saw Spence. He grabbed at his shoulder mike, and they both reached down for their weapons, but they never had a chance. I was spinning behind the truck, grabbin’ my scatter-gun, but I never even got it pulled.

I knew Spence was fast, but the last time he did this, I didn’t see the details. My buddy Spence is a beautiful goddamn chrome murder machine.

Spence went right through the side window of the camper shell. He tore into Sneaky, snipped both hands off clean, and slashed his throat deep, all in one move. Sneaky dropped, no sound but wet chokin’. Never even keyed the mike. Spence was over on Smiley in less than a heartbeat, before he could even get turned. Spence took that gunhand clean, and dropped ol’ Smiley on his back, and held him there, front paws on his shoulders, with the claws slid in for purchase, pressin’ down. Spence smiled, if you can call a mouthful of steely razors smilin’.

It was quiet, ‘cept for Spence’s metallic chirr, and Smiley’s sobs, as he clutched the stub with his remaining hand, ghost white face locked on Spence.

I walked over with my scatter-gun on my shoulder. Put a hand on Spence’s head and rubbed that ear. He thumped my leg once with his tail, not moving anything else.

Knelt down a little off to the side, up by Smiley’s head.

‘Son, meet Spence. Now, you and me? We gonna have us a little come-to-Jesus meetin’.’

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