When "Venom: The Last Dance" rolls into theaters, it will conclude a trilogy of films that kicked off what seems to be a trend at Sony Pictures: Movies and stories set in a universe that’s adjacent to Spider-Man action, and focusing on Spider-Man villains, but they don’t include Spider-Man. This has allowed some of these films to take chances. Dakota Johnson’s "Madame Web," for example, told a bit of a prequel story that featured a newborn Peter Parker. Strange. And "Morbius…" well, Morbius did its own thing.
And so, too, did the Venom franchise, once it found its footing. These movies largely have been driven by Tom Hardy’s sensibilities. They lean into a physical comedy that Hardy seems to appreciate, and Venom: The Last Dance includes more of the unexpected than even its immediate predecessors. But when I got the chance to interview Hardy and his director Kelly Marcel about Venom: The Last Dance, I found out that their biggest challenge was more of a technical one, and it involved the visual effects used to bring the symbiote to life.
And so, too, did the Venom franchise, once it found its footing. These movies largely have been driven by Tom Hardy’s sensibilities. They lean into a physical comedy that Hardy seems to appreciate, and Venom: The Last Dance includes more of the unexpected than even its immediate predecessors. But when I got the chance to interview Hardy and his director Kelly Marcel about Venom: The Last Dance, I found out that their biggest challenge was more of a technical one, and it involved the visual effects used to bring the symbiote to life.
Category
🎥
Short filmTranscript
00:00Tom, what do you remember about seeing the symbiote for the very first time,
00:03versus how the effects have evolved to now where you can do almost anything?
00:06Do you know what's incredible is that this is the visual effects getting better and better,
00:12but one of the challenges in this movie was that we wanted to see Venom during the daylight.
00:16At nighttime, you can technically hide a multitude of sins because, you know, he's dark,
00:21the night is dark, you can get probably, you know, more bang for your buck in some aspect
00:27from that. So taking him and bringing him into the daylight was a huge
00:31technical shift for the team.
00:33Yeah, and John Moffat and Aaron Borland spent a long time making sure that he looked
00:41great in the daylight, and that's all on them, that they're an incredible, incredible team.