…Can you tell I love alliteration? I also really love art, movies, and art in movies! I recently watched the new animated Spider-Man film, Across the Spider-Verse and let me tell you—the art and animation was as jaw-dropping as the prequel, Spider-Man: Into the Spider-verse.
Just like the prequel, the animation pushed the boundaries of the genre and of the silver-screen, was inextricable linked with the multiverse concept, various story beats, and character development, and visually conveyed the humour that Spider-Man is known for as much as he is for his web-slinging!
Because I’m a nerd, I’ve been eagerly exploring behind-the-scenes factoids on how the art of the film came together. Here are some fun tidbits on this movie:
Ernest is a poor bear down on his luck (and money. And food) and Celestine is a dentist-apprentice/page mouse who doesn’t really like her job all that much and doesn’t care that Bears are supposed to eat Mice and that Mice should be scared of Bears. Once caught by Ernest the hungry bear, she lays out her case for why he shouldn’t be eating her, and – wouldn’t you know it? Ernest puts her down. They become friends. Then they get into trouble rummaging for food and bear teeth (baby bear teeth are used by dentist mice to give rodents a new set of teeth when their own pair gets worn down). Which gets them into trouble with their respective societies, who behave in startlingly similar ways: vociferous rejection of even the consideration of the possibility that a Mouse (because they weren’t really considering Celestine, per se) and a Bear (because they weren’t really considering Ernest personally either, really) could be friends.