- Filmmakers wanted to start the sequel with the same scene in the begining of TASM1, but this time from parents point of view.
The goal is to answer the questions left unresolved in the first movie.
- The story of the parents is highly inspired, while different, of Rosenbergs story, Ethel and Julius Rosenberg.
- With this movie, they wanted to do a story about the evolution of a young Peter, a teenager, to a more mature Peter adulthood - a young adult.
- The first shot of the film showing Spider-Man with his new suit, is to make it clear that since the end of TASM1, Peter accepted his alter ego Spider-Man and became a symbol for the entire city.
- The costume change was made ​​"by popular demand".
In other words, its thanks to the fans, who did not appreciate the previous costume.
Producers were concerned of these remarks and wanted the character to please the broadest public.
- Paul Giamatti announced on tv its desire to play Rhino in a Spider-Man film. "We aim to please" say producers. That's why Paul Giamatti was casted.
- Buster Keaton homage, created by Andrew Garfield and Cal
- The dog that is in one of the scenes where Gwen joined his friends is the real dog of Andrew Garfield and Emma Stone.
- "I was cleaning chemeny". That line was an improv by Andrew. His original line was "I was gardening ... I was ... potatoes".
- Alex regrets here :
Is placing Peter's drive to know more about his parents, a little bit more in the foreground of the first act.
Because he feels like right around here, you are starting to king of feel like you're wanting to know what he is doing other than just maintaining. How to show Peter in denial.
- The writers wanted to play on the idea that Tante May "had a strong suspicion that Peter was Spider-Man. Aunt May is in that gray area. She looks at him like she's waiting for him to tell her. But she is also smart enough not to confront him with it."
- Matt : One of the radical idea in the film is to posit that Harry was the Green Goblin, and not Norman.
- They knew that kill Norman Osborn would be a controversial choice.
Alex: "That being said ... Maybe he's not really dead. We're sort of keeping the lights on."
"There may be a scene we didn't show anybody. There might be. There might be a scene...There might be reason to see another one."
Matt: Yeah.
- "The sins of the fathers." :
Harry has a parallel to Peter's story with Mysterious myhtic father figures who ultimately were never there for their sons.
Matt also add that they wanted to put that "sins of the father" title for the last movie. They thought movie would have get attention with that kind of title.
- The electro eels idea comes from the Spectacular Spider-Man animated serie.
- Felicity Jones's character was NOT named Felecia in the script. It was like an on-the-day change. Somebody at the studio made that suggestion to call her Felicia. As a nod to the comic AND an option.
- The audition for Harry Osborn, Dan Dehaan, was based on the scene where Peter visits Harry for the first time, after having learned about Norman's death. They hadn't been friends since they were children together. It's a re-contextualisation of their characters relationship
- Deleted scene ("weird, creepy scene"):
Flashback / Peter parents' funeral scene where, at the wake of Peter's parents.
Peter was sort of this lonely child in this room of adults, and he snuck off to his dad's study and he walked Harry and Harry said ...
They started playing chess and it was kind of a metaphor of these boys connecting and finding each other.
Their relation ship had all been about going to their father's labs. Watching their dads' work, their dads' experiment.
And then in the doorway, you saw Norman at the beginning of his degenerative disease, holding on his cane, watching the boys
Comment of Alex: "Do we really need this to tell the story? Do we really need to tell all that back-story? ..."
- Rock skipping (river) scene was longer in the first cut.
- Max at the Morgue :
This scene has been edited multiple times.
"This was a much longer scene.(...) You get to that place where you need what you need. And so that will be on DVD extras."
- Phosphorent "Zong for Zula" music was added by Marc Webb. This music existed in EVERY single version of the film.
"This is that real (500) Days of Summer Marc Webb" add Matt Tomalch.
That particular scene was about 4 minutes longer in the first cut.
- Harry phones Peter scene :
"that was Marc Webb's idea that Peter nabs up there. He's a spider."
- Harry and Peter at Oscorp:
Matt: "This was another scene that was reams longer that it ended up being."
Alex: "Yes, there was a lot of information."
Matt: "Not only was it this scene, but there was a thread in the script that started way back at the water, not the High Line, about how, after Richard disappeared Norman had continued to spy on Peter and Aunt May ... Thinking that perhaps
-- Because they hadn't found evidence of Richard's death in the water -- that maybe Richard would have tried to reach out to Peter. And it sort of kept alive this idea of the intrigue of the Osborns and of Oscopr, that ultimately we found, and I think correctly, wasn't really necessary to the telling of the story."
"We did a bunch of different takes of the final beat here [Don't turn your back on me! line].
And in some of them it was a menacing moment that we ended the scene on where Harry was threatening him (Peter) and saying like, you know, "Find him for me.".
And there was something off-putting about it.
You felt like it didn't motivate Peter to do what he was about to do. And so we used this take where he sort of reaches out to him [...]."
- Peter and Gwen in the Oscorp closet :
In the first version of the movie, that scene wasn't there. It was out of the movie.
It was out just as a matter of length and it's not necessary to tell the story, but emotionally, the two of them together is the heart of the movie, and without this scene you really felt that loss."
- Scene with Peter and Aunt May in Peters' room :
There was several versions of that scene as well.
And ultimately, what led to the scene you're watching was Sally. [...]
At different times, this scene was in and out of the movie, in different sort of length."
"Marc Webb fought for this, he really did."
- Oxford acceptance scene:
Alex: Originally he (Peter) had a whole sort of -- He came clean with her and said, "I love you."
It was a whole thing ... And Matt ... At some point in the process, somebody-- You said (Matt) "What if he just doesn't say it?". And the what was great about that was ...
Matt: We got to hold it back for later.
Alex: You hold it back, so he says it on the bridge and then it's more meaningful.
"He (Andrew) did 30 different improvs of that moment. All of which were great."
- Peter angry in his room:
You realize in the process in this moment here, the --
There's a version of this scene which was cut against --
Which was much angrier and cut against more angry, aggressive music.
And played completely differently, and it really played against what was happening here."
- The train thing was Marc Webbs' idea.
- Train scene:
There was a longer section we cut, I think correctly about the nature of the science...
The nature of the virus that Richard had, you know, basically locked the blood work to his DNA and that some of the tests that he had done enhanced the disease cells in people who had the disease.
But it also enhanced healthy cells in people who were healthy...Which explained one of them was gonna become a goblin, and one of them was gonna become Spider-Man.
And ultimately it was just one of those things that we didnt really need to tell the story.
"But it was interesting because we went back and forth and back and forth... about how much information for plot's sake you needed ...
and what the scene really needed to be about. And what the scene really needed to be about for Peter Parker was the revelation "My father loved me." and that he wasn't a spy."
- The battery on Electro's head was Marc Webb's idea to set up the fact that he could be overloaded
- Goblin transformation:
Alex: There was a whole sequence that we ended up cutting out of the movie... again, for the momentum of it all where the Goblin, like, blew up the base, first the basement and then the ground floor of Oscorp.
And it was an awesome sequence. It was super cool. And it was one of those things that you have to measure out.
There is sot much happening in the third act ... And there is so much action in it, that a certain point, I think we all are sensitive to when does the audience begin to turn off to too much happening ?
And so we ended up cutting, but it was a great sequence."
"There's a shot coming up here"
Matt " It was actually the first appearance of him on the glider, and the truth is , it slightly stepped on the reveal of him later.
And we felt very strongly that you didn't wanna telegraph that. You know what I mean ?
"This was also one of those scenes that had to be modulated a lot.
When we first saw it, it was really pretty horrific...And terrifying, and beautiful the way Marc had designed it. But it was, you know, the stuff of nightmares.
And so we had to dial it back to -- You know, and experiment with it."
- Electro's head on building was something Marc Webb designed himself, way before the shooting of the movie.
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