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Spider-Man 3

2007 American film directed by Sam Raimi

Spider-Man 3 is a 2007 American superhero film in which a strange black extraterrestrial from another planet bonds with Peter Parker and causes inner turmoil as he contends with new villains, temptations, and revenge.

Directed by Sam Raimi. Written by Sam Raimi, Ivan Raimi, and Alvin Sargent.
How long can any man fight the darkness... before he finds it in himself?taglines

Peter Parker / Spider-Man

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  • You want forgiveness? Get religion.
  • [after seeing Sandman wiped out in the sewer] Good riddance.

Mary Jane Watson

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  • Everybody needs help sometimes, Peter. Even Spider-Man.

Harry Osborn / New Goblin

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  • Tell it to my father. Raise him from the dead.
  • You knew this was coming, Pete.
  • I protected you in high school. Now I'm gonna kick your little ass.
  • [Last words] None of that matters, Peter. You're my friend.

Eddie Brock, Jr. / Venom

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  • Never wound... what you can't kill.
  • I like being bad. It makes me happy.
  • [Last words] Peter! What are you doing?! NO!

Flint Marko / Sandman

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  • End of the line, Spider-Man!

Dialogue

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Mary Jane Watson: Tell me again. Was I really good? I was so nervous, my knees were shaking.
Peter: Your knees were fine.
Mary Jane: The applause wasn't very loud.
Peter: Yes, it was. Well, it's the acoustics. It's all about diffusion. It keeps the sound waves from grouping. You see when the sound waves, they propogate, then it–
M.J.: You are such a nerd.
Emma Marko: You can't hide here, Flint.
Flint Marko: I'm just here to see my daughter.
Emma Marko: You're an escaped convict. The cops are looking for you. You're not getting near her. You're nothing, but a...convict thief. You maybe even killed a man?
Flint Marko: It wasn't like that. Wasn't. I had a good reason for what I was doing. And that's the truth.
Emma Marko: You and the truth, sitting in prison, having three meals a day together. I live in the presence of great truth, and that is the truth that you left behind right there in that bedroom. [Their daughter Penny walks out of her bedroom; Flint walks up to her.]
Flint: Penny, I missed you.
Penny Marko: I miss you too, Daddy.
Flint Marko: I promise I'll make you healthy again. Whatever it takes, I'll get the money.
Emma: You get out of here now.
Flint: [exits through the window] I'm not a bad person. I just had bad luck.
Peter: Harry.
Harry: You knew this was coming, Pete. [tries to punch at Peter, who quickly moves out of the way, and gets his arm stuck in the wall]
Peter: Listen to me! I didn't kill your father! [quickly avoids another punch from Harry] He was trying to kill me! He killed himself!
Harry: [yells] SHUT UP!
[Eddie takes a picture of a dangling Gwen with the zoom on his camera]
Eddie Brock: Oh my gosh. That's Gwen.
Captain Stacy: What? [takes the camera from Eddie, and sees his daughter] What's she doing up there?
Eddie: I don't know. I just saw her last night. She said she had a modeling gig.
Captain Stacy: Who are you?
Brock: It's Brock, sir. Edward Brock Jr. I work at Daily Bugle, and I'm, uh, dating your daughter.
Jameson: [grows impatient with Hoffman proposing a new slogan for the Daily Bugle] Get on with it, you moron! [the buzzer on his intercom blares loudly] What?!
Brant: Your blood pressure, Mr. Jameson. Your wife told me to tell you to watch the anger.
Jameson: [furiously] You tell my wife...! [calmly; pushes his intercom] Thank you.
Jameson: [To Eddie] You want a staff job, [to Peter] you want a staff job. Doesn't anybody care about what I want?
Hoffman: [briefly entering] I do.
Jameson: Shut up. Get out. I want the public to see Spider-Man for the two-bit criminal he really is. He's a fake, he's full of sticcum. Catch him in the act; Spider-Man with his hand in a cookie jar. Whoever brings me that photo gets a job. Well, what are you waiting for? Chinese New Year? Go, go, go!
Eddie: I'm on it, boss!
Peter: [after they both leave Jameson's office] You'll never get that shot.
Eddie: Oh, we'll see.
Spider-Man: Jig's up, pal.
Sandman: I don't wanna hurt you. Leave, now.
Spider-Man: I guess you haven't heard. I'm the sheriff around these parts.
Sandman: Okay.
[fight ensues, however Sandman easily beats Spider-Man, before saving two man, as Sandman sees and flees]
Spider-Man: Where do all these guys come from?
Peter: Okay, I'm fine. I-I don't need your help.
M.J.: Everybody needs help sometimes, Peter, even Spider-Man.
Peter: What do you think?
Dr. Connors: I've never seen anything like it. I'm a physicist, not a biologist, but I'll look at it in the morning and run some tests.
Peter: Can we do that now?
Connors: [The specimen being looked at escapes and starts moving towards Peter who, surprised, traps it in a glass] Seems to like you. Don't let any of that get on you.
Peter: Why not?
Connors: It has the characteristics of a symbiote, which needs to bond to a host to survive. And sometimes, these things in nature, when they bind, they can be hard to unbind.
Eddie: Whoa. Buddy, love the new outfit. This is exactly what I need to scoop Parker. Give me uh...give me some of that web action. [Spider-Man's web swing crushes Eddie's camera]
Spider-Man: See ya, chump. [jumps into sewers to face Sandman]
Eddie: What the hell?! [gets another camera from his coat, taking photos, as police arrives]
Spider-Man: Flint Marko.
Sandman: What do you want from me?
Spider-Man: [playful to aggressive] Remember Ben Parker? THE OLD MAN YOU SHOT DOWN IN COLD BLOOD?!
Sandman: [visibly upset by the question and responds] WHAT DOES IT MATTER TO YOU, ANYWAY?!
Spider-Man: [going over the passing train and yells] EVERYTHING!!!
[after defeating Sandman in the sewers; Peter enters the apartment, nervous]
Mr. Ditkovich: Rent!
Peter: Not now.
Mr. Ditkovich: This is a free country, not a rent-free country.
Peter: [heads to the door] Leave me alone.
Mr. Ditkovich: Just give me rent.
Peter: [angrily] You'll get your rent when you fix this DAMN DOOR!
[Mr. Ditkovitch feels shocked at Peter's words, Peter manages to get the door open and walks inside.]
Ursula: That wasn't cool.
Mr. Ditkovich: He's a good boy. He must be in some kind of trouble.
[after regaining his memories, Harry meets the spirit of his father, Norman]
Norman Osborn: Harry. Remember me?
Harry Osborn: Yes, Father. I remember.
Norman: I was right about her. About Peter. About everything.
Green Goblin: [offscreen] You know what you must do. Make him suffer. Make him wish he were dead. First, we attack his heart!
Mr. Ditkovich: Having trouble with the phone?
Peter: No, no. I was just trying to figure out what to say.
Mr. Ditkovich: If it is woman you are calling then you say "You are a good woman. I am good man." Hm?
Harry: [when dark Peter arrives at his mansion] Would you like a drink? Tsk, I'm sorry. What was I thinking? Bad for the public image, right, Mr. Key to the City?
Peter: What did you do to her?
Harry: I did what you failed to do. I was there for her. Mary Jane and I, we understand each other.
Peter: She doesn't know what you are.
Harry: Peter, she knows me very well. And when she kissed me, it was just like she used to kiss me. The taste... [sucks in, rolls fingertips over his lips] ...Strawberries.
[Peter punches him, the battle ensues.]
Harry: How ya like that, Spidey?
Peter: That all you got?
Peter: [after kicking Harry through a window] Stings, doesn't it?
Harry: I protected you in high school, now I'm gonna kick your little ass.
Peter: [mockingly] Ooh!
Harry: [after getting hit in the face with his glider and accidentally getting thrown by Peter at a glass shelf full of pumpkin bombs] You gonna kill me like you killed my father?
Peter: I'm done trying to convince you.
Harry: You took him from me. He loved me.
Peter: No. He despised you. You were an embarrassment to him. [sees tears in Harry's eyes] Oh, look at little Goblin Jr. Gonna cry? [Harry roars in fury, and lunges at Peter, but Peter knocks Harry unconscious into the wall shelf and walks away. Harry tries to throw a pumpkin bomb at Peter, but Peter throws it back at Harry's face, disfiguring it.]
Eddie: [to dark Peter, during his promotion party in his staff position] Well, good morning. It's a beautiful day, huh? What was that you said? I'd never get that picture? [points to his picture of Spider-Man robbing a bank] There's your hero.
Peter: Huh. I never thought he'd really do that!
Eddie: See? Right there. You made a judgment call. You gotta see it as it is.
Peter: It's funny you should say that, because I was looking through some old photos and it looks very, uh... [straightens his collar] similar.
Eddie: [chuckling] Okay. Well, I gotta get back to work.
Peter: You're trash, Brock.
Eddie: Excuse me?
Peter: [hurling original picture with Brock's re-edit] Your picture's a fake.
Eddie: Parker, you are such a boy scout. When are you gonna give a guy a break?
Peter: [angrily shoves him against the picture shattering the glass which attracts the attention of everyone in the room] You want forgiveness? Get religion.
Robbie Robertson: What's going on here?
Betty Brant: Are you guys alright?
Eddie: [fake chuckling] Yeah, we're just horsing around. [quietly to Peter] Look, I'm begging you: if you do this, I will lose everything. There's not a paper in town that will hire me.
Peter: You should've thought of that earlier. [lets go of Eddie and walks towards Robbie]
Robbie: What are you doing, Peter?
Peter: [hands photos to Robbie] Show this to your editor. Tell him to check his source next time.
[As Peter leaves, Robbie and Betty look at the photos and back at Eddie realizing the photo is fake. Later in Jameson's office, Jameson looks at the fake photo Brock made and the original he faked it from]
Robbie: [To Jameson] It's a fake. Empire State Photographic Department confirms it.
Jameson: [Jameson turns to Brock slamming the photos on his desk; angrily] Pack your things. Get out of my building.
Eddie: I was just–
Jameson: You're FIRED!
Robbie: [To Jameson, as Eddie leaves] You know we're gonna have to print a retraction now.
Jameson: I haven't printed a retraction in TWENTY YEARS!
Betty: Your shots are so good.
Peter: I'd love to shoot you sometime.
Brant: [aroused] Peter Parker. Peter...
Jameson: Parker! Miss Brant, that's not the position I hired you for.
Robertson: [drops some Spider-Man photos on the table] Black-suit Spider-Man. Peter, these are incredible! We gotta have these, Jonah.
Jameson: I'll pay you the usual rate.
Peter: If you want the shots, I'll take the staff job. Double the money.
Jazz Club Manager: Are you alright, Mary Jane?
M.J.: I'm fine.
Jazz Club Manager: Okay.
Peter: Hey.
M.J.: What's wrong with you?
Peter Parker: You.
Jazz Club Manager: Can I help you sir?
Peter: No.
Jazz Club Bouncer: Everything okay here Paul?
Peter: Yeah, everything okay here Paul?
Manager: Take him out of here.
Bouncer: [grabbing Peter's shoulder gently] Let's go sir.
Peter: Take your hand off me.
Jazz Club Bouncer: [grabbing Peter's arm tight] Now.
Peter: [angrily fights the Jazz Club Bouncer and punches a few people]
M.J.: Peter, stop it! [Peter thinks she's another bouncer and angrily screams and hits Mary Jane in the face causing her to fall to the ground; Peter's face turns from rageful to shocked and remorseful at what he's just done; tearfully, to Peter] Who are you?
Peter: I don't know. [reveals his black suit in his dress suit to Mary Jane but he covers it and leaves the jazz club out of guilt]
Flint: [grabs Venom in mid-swing, thinking he's Spider-Man] End of the line, Spider-Man. [Venom screeches in his face; Flint sees it's not Spider-Man, tosses him aside]
Venom: I want him dead too, Flint. That's why I've been looking for you. Oh yeah, I know all about you. Like the fact that Spider-Man... [reveals his identity] ...Won't let you help your poor daughter. That just doesn't seem right to me. Look, I want to kill the Spider, you want to kill the Spider... together, he doesn't stand a chance. [turns back into Venom] Interested?
Flint: Yeah.
[MJ gets in the cab and the driver, revealed to be Eddie Brock]
Eddie: So, where to? [uses Venom's arm to place against MJ's face upon kidnapping her]
Spider-Man: Harry, I need your help. I can't take them both, not by myself.
Harry: [shows disfiguration on half of his face] You don't deserve my help.
Spider-Man: Harry, she needs us.
Harry: Get out.
Bernard: [to Harry, upon his refusal to aid Peter] If I may, sir. I've seen things in this house I've never spoke of.
Harry: What are you trying to tell me?
Bernard: The night your father died, I... I cleaned his wound. The blade that pierced his body came from his Glider. I-I know you're trying to defend your father's honor, but there is no question that he died by his own hand. I loved your father, as I've loved you, Harry. As your friends love you.
Mary Jane: Peter! They're gonna kill us both.
Spider-Man: I'm gonna get you out of this.
Mary Jane: Watch out!!
Eddie Brock: Hey, Parker.
Spider-Man: My God, Eddie!
Eddie Brock: Ooh, my Spider-Sense's tingling. [grabbing Mary Jane] If you know what I'm talking about. [knocks Spider-Man down into a black web and binds his wrists to it]
Peter Parker: We can find a way to settle this.
Eddie Brock: You're so right. I'm thinking humiliation. Kinda like how you humiliated me. Do you remember? Do you remember what you did to me? You made me lose my girl. Now I'm gonna make you lose yours. How's that sound, tiger?
Spider-Man: You came.
Harry Osborn: Looks like just in the nick of time.
Spider-Man: A couple minutes ago wouldn't have been so bad either.
Harry Osborn: What're you gonna do?
[Venom screeches as both Spider-Man and Harry turning around at Venom and Sandman, respectively]
Spider-Man: I may need some help over here!
Harry Osborn: I'm a little busy right now! Give me your hand!
Jameson: [witnessing the battle between Spider-Man, Venom, Sandman and Goblin; searching for Parker] Parker! Parker, where–? I need a photographer. [notices a little girl with a camera beside him] Hey kid, want a job?
Little Girl: Why would I want a job? I'm just a kid.
Jameson: Alright, how much for the camera?
Little Girl: $100!
Jameson: $100?! Alright, you little crook, here. [buys the little girl's camera, gives his money to her and clicks the camera, but it doesn't seem to work] What the–? [opens the camera to find that there's no film in it, and looks back at the little girl]
Little Girl: The film's extra. [Jameson reaches for his wallet and snarls at her.]
Eddie Brock: Never wound... [Eddie's face revealed] what you can't kill.
Peter: Eddie, the suit! You gotta take it off!
Eddie Brock: Oh, you'd like that, wouldn't you?
Peter: I know what it feels like. It feels good, the power, everything, but you'll lose yourself. Let it go.
[The suit slowly grasps Venom's face, as if holding onto him]
Eddie Brock: I like being bad. It makes me happy. [The suit covers his face at once, as he prepares to deliver a fatal blow]
[He activates a pumpkin grenade from Harry's glider to finish the symbiote]
Eddie Brock: Peter! What are you doing?! [Peter hurls the pumpkin grenade at the symbiote, much to Eddie's horror] NO! [Eddie jumps in to save the symbiote]
Peter Parker: Eddie!!! [Runs to stop Eddie, but the pumpkin grenade explodes, killing Eddie and destroying the symbiote]
[Sandman was too late to aid Venom after Spider-Man kills him]
Mary Jane: Harry.
Harry: Mary Jane.
Mary Jane: I'm gonna get help.
Harry: No. Stay.
Sandman: [To Peter, after discovering he's Spider-Man] I didn't want this. But I had no choice.
Peter Parker: [glares] We always have a choice. You had a choice when you killed my uncle.
Sandman: My daughter was dying. I needed money. I was scared. I told your uncle all I wanted was the car. And he said to me, "Why don't you just put down the gun and go home?" I realize now he was just trying to help me. Then I saw my partner running over with the cash, and the gun was in my hand. Did a terrible thing to you. I spent a lot of nights wishing I could take it back. I'm not asking you to forgive me. I just want you to understand.
Peter Parker: I've done terrible things too.
Sandman: [looking down at the police cars and people cheering below] I didn't choose to be this. [looks at his locket] The only thing left in me now... is my daughter.
Peter Parker: I forgive you.
[Touched, Sandman turns into sand and peacefully flies away through the city; Peter approaches MJ and injured Harry.]
Peter Parker: Hi, pal. How you doing?
Harry: Been better.
Peter Parker: We'll get you through this.
Harry: No.
Peter Parker: I should never have hurt you. Said those things.
Harry: None of that matters, Peter. You're my friend.
Peter Parker: Best friend. [Harry then succumbs]
Peter Parker: [narrating] Whatever comes our way... whatever battle is raging inside us, we always have a choice. My friend Harry taught me that. He chose to be the best of himself. It's the choices that make us what we are... and we can always choose to do what's right.

Editor's Cut

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[Alternate cut of Harry's Mansion scene.]
Harry: What took you so long? [turns to find Peter just casually chilling on the couch]
Peter: That was quite a performance today.
Harry: [chuckles] Well, it wasn't all a show. She did come to me.
Peter: [rises up from the couch] Oh, yeah, I got the story. I'm really gonna enjoy this.
Harry: Not as much as I enjoyed it when Mary Jane kissed me.
Sandman: [watches his daughter walk away with her mother from a park] I promise you. He won't stop me again.
Peter: Ursula, hey, listen, about earlier...
Ursula: Don't worry about it, you're a good boy.
Peter: Thanks.

Taglines

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  • How long can any man fight the darkness... before he finds it in himself?
  • The battle within.
  • Every hero has a choice, to face the darkness... or be consumed by it.

About Spider-Man 3

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  • Spider-Man 3 took a lot of flack - it was a bigger, more convoluted story with maybe one too many villains, and it went a bit dark for some. Still, for me, it's hard to put in words how delighted I was to watch Sam (Raimi), my boyhood buddy and filmmaking fraternal brother, direct one of the most successful movie franchises in history. There were superhero movies before Spider-Man, but Sam's series truly set that particular genre in motion for decades to come. I'm not a film historian, but I sense that Spider-Man also represents a turning of the tide, or taste, where even A-list movies are now B-movies conceptually. Believe me, if your hero is bitten by a radioactive spider and starts webslinging from buildings, that's not only a B-movie - that's a 1950s B-movie. I'm just happy that genre fare is no longer frowned upon in the world of entertainment, and that we're finally seeing how popular fantasy, horror and sci-fi stories really are.
    • Bruce Campbell, from his memoir Hail to the Chin: Further Confessions of a B-Movie Actor.
  • I think that Topher’s character is ultimately a very tragic character because when he hurls himself back just before the explosion I loved the way that he did that. It just gave me goose bumps. Topher just manages to capture in that one kind of flash of performance that this guy has nothing else. He’s only existed in the movie by superficiality and duplicity and then of course embraces the black suit and turns into Venom, but whenever he’s torn apart that’s all he has. He has no other choice, but to really commit himself suicidally because he just has nothing else. He has no other path. I find that to be resolute in it’s tragedy with it’s character. I think that my character certainly starts off in a place emotionally which addresses the worst fear of any parent, the possibility that you’ll lose your greatest gift which is your child. I’m a father and Sam is a father and Laura and Alvin are parents, Avi is a parent, everyone involved – early on that’s what we wanted the anchoring of the character to be. It was that kind of impending tragedy with the character. You’re right though, he’s sympathetic and certainly some clicks beyond Eddie Brock and Venom, but I think that as Avi has said before there are no bad guys in these movies. They’re just people that this far into the series, I think, come into these movies with a value system in tact that’s corrupted by ambition or lust. In the case of Sandman he’s really corrupted by the ferocity of his own good intentions. You’ve got to pretty much figure that whenever I become a sand tornado and I’m spinning through the streets of Manhattan and flipping over cars some people probably got f**ked up. That’s probably a drag and they don’t care if my daughter is dying because their car got turned upside down, their Hyundai Excel. They don’t even see the hidden benefit that insurance pays and they get another car.
  • The great failing of "Spider-Man 3" is that it failed to distract me from what a sap Peter Parker is. It lingers so long over the dopey romance between Peter and the long-suffering Mary Jane that I found myself asking the question: Could a whole movie about the relationship between these two twentysomethings be made? And my answer was: No, because today's audiences would never accept a hero so clueless and a heroine so docile. And isn't it a little unusual to propose marriage after sharing only one kiss, and that one in the previous movie, and upside-down?
  • And what's with Mary Jane? Here's a beautiful, (somewhat) talented actress good enough to star in a Broadway musical, and she has to put up with being trapped in a taxi suspended 80 stories in the air by alien spider webs. The unique quality of the classic comic books was that their teenagers had ordinary adolescent angst and insecurity. But if you are still dangling in taxicabs at age 20, you're a slow learner. If there is a "Spider-Man 4" (and there will be), how about giving Peter and Mary Jane at least the emotional complexity of soap opera characters? If "Juno" (opening Dec. 14) met Peter Parker, she'd have him for breakfast.
    Superhero movies and Bond movies live and die by their villains. Spidey No. 2 had the superb Doc Ock (Alfred Molina), who is right up there with Goldfinger and the Joker in the Supervillain Hall of Infamy. He had a personality. In Spidey No. 3 we have too many villains, too little infamy. Take the Sandman (Thomas Haden Church). As an escaped con and the murderer of Uncle Ben, he has marginal interest at best. As the Sandman, he is absurd. Recall Doc Ock climbing buildings with his fearsome mechanical tentacles and now look at this dust storm. He forms from heaps of sand into a creature that looks like a snowman left standing too late in the season. He can have holes blown into him with handguns, but then somehow regains the bodily integrity to hammer buildings. And how does he feel in there? Molina always let you know precisely how Doc Ock felt, with a vengeance.
  • We know that Spider-Man's powers do not reside in his red suit, which lies in a suitcase under his bed. So how do fake Spideys like Venom gain their powers when they are covered with the black substance? And how does a microorganism from outer space know how to replicate the intricate patternwork of the Spidey costume, right down to the chest decoration? And to what purpose from an evolutionary point of view? And what good luck that the microorganism gets Peter's rival photographer, Eddie Grace, to infect, so that he becomes Venom! And how does Eddie know who he has become?
  • "Spider-Man 3" is, in short, a mess. Too many villains, too many pale plot strands, too many romantic misunderstandings, too many conversations, too many street crowds looking high into the air and shouting "oooh!" this way, then swiveling and shouting "aaah!" that way. And saints deliver us from another dinner date like the one where Peter plans to propose to Mary Jane. You know a movie is in trouble when the climactic romantic scene of the entire series is stolen by the waiter (Bruce Campbell).
  • Yeah, I think there are 2 kinds of origins to Eddie Brock. There’s one where he’s more of Peter’s peer which is ultimate Spiderman and there’s one that’s a little muddled it’s kind of told in the flashback which is the original origin. So I guess what I really brought to it was kind of a fear at the beginning that I shared with Sam which is I don’t think I’m the right guy to really play this role. In the original comic book he’s like 40 and really muscle-bound and I had to work out for 6 months. I could never get to where he was in the comic book but then what Sam described to me is he wanted to take the best of both worlds approach and kind of make him this evil twin brother of Peter Parker who’s basically a case study and if someone similar, you know if they have the same job and they’re after the same girl. Even Eddie kind of has the edge even though they’re similar. He’s a better dresser and clearly has more money and kind of a better flirt. If they both received the same power and one of those 2 people didn’t have someone like Uncle Ben like a mentor to say you have to take responsibility for this power how would that turn out? Even Peter used it for personal gain originally. What’s great about Eddie is that even though he’s really slick he kind of hides a really hollow interior. Like he’s got a really great exterior, he’s got nothing inside, whereas Peter’s just the opposite. He might not have his whole act together but his core is very strong and that’s why he’s able to kind of shed this power but Eddie totally embraces it.
  • SHH!: Sam said Spidey needed to learn he was a sinner, did you appreciate those spiritual characteristics coming out in this film?
  • Maguire: Well I guess if you are talking about the imagery you should talk to Sam or Bill Pope, the cinematographer. For me, in my department, I wasn’t thinking of it in those terms really. There is definitely deep remorse from Peter’s part. I think he feels like he lost his way and he’s really remorseful and wants to…and feels really humbled and wants to stop behaving in that way. It’s difficult for him, it’s emotional. I think about it from the character’s perspective and not really in religious terms. It’s more about psychological and emotional terms that I’m think.
  • Wild About Movies: So how did you get to the two villains?
Raimi: So we decided that’s the journey Peter Parker has to go on. Then we said, what villain will best represent the conflict that can dramatize his journey? If the hero runs into this conflict, how can he learn forgiveness? We’ll make the villain piece someone who is absolutely unforgivable in Peter’s eyes to really take him to a place where the audience understands his desire for vengeance and they feel it so that the kids will think ‘Yes, bring the Sandman down, Spider-Man.’ And then by the end of the piece, you want the kids to go on this journey with Spider-Man so that they’d say, ‘No, actually as my hero, the best thing that you could do right now, the thing I’d rather have you do is forgive this man.’ We thought that would be a worthwhile summer picture and a good story for the kids if we could incorporate that.
  • Wild About Movies: You seemed to have a lot of fun with Peter Parker embracing his darker side. Can you talk about creating that aspect of the movie?
Sam Raimi: Well, in this story, Peter Parker falls victim to his own pride. He starts to believe all the press clippings about himself, that he’s really this hero and somebody great. He starts to be afraid that he isn’t that person and doesn’t want to act any other way than the person that’s right. That pride manifests itself in a much darker way. Working on those sequences with Tobey Maguire and the dark Spider-Man, that was a difficult thing for me actually. It wasn’t fun for me because I didn’t like those sequences.
I don’t like watching Spider-Man go bad. It was unpleasant and I kept worrying, ‘Gee, do I really have to do this to show how rageful and vengeful he is? Do we really have to show how pride can destroy you?’ But, my brother kept telling me, ‘Yes, because he’s going to find himself again after he loses himself.’

Cast

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  • Stan Lee and many others have made cameos in this film.
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