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Brandon Vietti Talks Spider-Man: The New Animated Series
Having served on such series as The Batman, Starship Troopers and the upcoming The Legion Of
Superheroes and Superman: Doomsday, The Marvel Animation Age caught up with Brandon to talk
about his work on the 3D Spider-Man: The New Animated Series.
MAA: How did you come to work on Spider-Man: The New Animated Series?
Vietti: I had been working at Sony for several years doing both storyboarding
and directing duties on shows like Godzilla, Jackie Chan, Roughnecks:
Starship Troopers Chronicles, and Max Steel. Working on the CGI action
shows (Roughnecks and Max) gave me some great experience with the 3D
medium and I think that helped me get the directing job for Spidey.
Audu Paden, a producer on Spider-man and my former boss from
Roughnecks, asked me on board the show.
MAA: What exactly are the duties of the director of an animation feature?
Vietti: Directors help control the translation of the script to the screen by
overseeing the design and storyboard process. It's our job to try to
make sure the on screen visuals are as moving, dynamic, and impactful
as the script if not more so. That's the short answer.
As soon as a script is completed it's given to the director. Ideas are
then exchanged with the producers regarding the mood, design, and
pacing of the story. Preliminary design meetings are held to help
guide designers to create characters, props, and backgrounds that work
with the story and staging needs of the script as well as any
additional ideas the director may have for the story. Directors then
break the script into sections. Each section is assigned to a
storyboard artist along with specific direction on how to translate
the words on the page into shots on a storyboard. Quite often a
director will also take on a section to storyboard when time allows.
Four weeks later, the boards are collected and the director goes over
them to try to make enhancements and revisions that make the action,
story, and visuals even better. The director will continue to watch
over the show for another month as it continues through the final
stages of production which include color design and timing. Then the
board is sent away for animation.
MAA: The series was originally planned to be based upon the Ultimate Spider-Man comic book, but was
quickly revamped as a follow up to the Spider-Man movie following it's phenomenal success. How did this change
the show for you personally, and do you think the show is better off for it?
Vietti: I'm not as familiar with what the series direction was supposed to
have been in it's earliest conception as the writers and producers
would be. But I have to say that having the series follow up the movie
made for a unique series and I think that worked for us.
The thing about classic super hero cartoons is that they will be
relaunched and reinvented over and over again. Personally, I like to
see a slightly different take on a character with each relaunch as
long as that different take stays true to the core of the character
from the original source. I think our series stayed true to the
Spider-man and company we know from the comics but at the same time
they were brought to life in a new and interesting way.
MAA: What was different about working on Spider-Man as opposed to other animation
projects such as The Batman or Superman: Doomsday?
Vietti: One of the cool things about working with Spider-Man as opposed to any
other super hero is getting to play with how he moves. In animation
you always have to think about how a character moves and how you can
make those movements unique. With Spidey, the movements are built in.
Anyone who's ever read a Spider-man comic knows how he moves and no
other character out there moves like him. So it's it's just pure fun
to get to draw cool swing poses and gestures when working with Spidey
in storyboards.
Another fun part of Spider-man stories is the attention given to Peter
Parker's life. With many of the other super hero shows I've worked on,
stories often revolve around the costumed hero and the adventure of
the day as opposed to the person inside the costume. But with
Spider-man, I think the appeal is the fact that the stories are often
just as much about Peter as they are about Spidey.
MAA: The censorship in Spider-Man is rather lax compared to other superhero cartoons. What kind of advantages
id this bring to the table?
Vietti: We definitely benefited from airing on MTV. It allowed us to get a
little edgier and more adult with the stories but we were never
gratuitous with that privilege. Character exploration can be far more
intense and rewarding when you're not constrained by the 6-11 age
bracket or Saturday morning Broadcast Standards and Practices. So I
was happy to get to work with that little extra bit of freedom.
Hopefully some of the fans appreciated it too.
MAA: Was the CGI animation of Spider-Man easier or harder to work with than traditional cel animation? What
are the advantages/disadvantages of each?
Vietti: My favorite part of working on this Spider-Man show was getting to use
3D space. Boarding for CGI is a very different discipline than
boarding for traditional 2D animation. It requires a sharper eye for
drawing characters in real space consistently as well as the ability
to know when and how to move an imaginary camera through 3D space.
Spider-man is a character that's all about motion and having the
ability to track his movements through 3D space really enhances his
character in a way that traditional animation and comic book panels just
can't do.
MAA: Any Spider-Man characters you'd have liked to work with but never got the chance to? Also, what did you think of the show's original characters?
Vietti: I had pitched a story for Mysterio for the second season that would
never come to light. I wish we could have done more with Kraven. Also,
I have to admit I really would have liked to see a Vulture story. As
for our treatment of the core characters, I thought we had a unique
take on them yet they still felt true to the comics.
MAA: Which episodes are your favourite as both a director and a viewer?
Vietti: I liked the Lizard episode, "Law of the Jungle". I thought "Sword of
Shikata" came out well and I had started coming up with ideas on how
to use her character again if we got a second season. So much for
that! I also liked the "Mind Games" episodes.
MAA: Of all the different superhero cartoons you have worked on, which is your favourite and why?
Vietti: That's a tough one. I love super heroes so to be working on any of
these super hero shows is a dream come true for my inner 10 year old.
But my top two favorite comics as a kid were Batman and Spider-man. I
know that's not the most original answer but it's the truth. So it's a
tie between those two.
They both appeal to me because both tell stories that are firmly
rooted to the man behind the mask. Both titles tell deeply human
stories set against fantastic situations. Both characters are driven
by tragedy to become better and stronger human beings. These kinds of
stories appeal to me the most.
MAA: What's your overall opinion of the show and would you have liked to do more?
Vietti: I definitely would have liked to do more episodes! I don't think any
of us were ready to give it up so quickly. We had a really unique show
going and we all knew it. Like most shows, I think it would have just
kept getting better as it progressed. The art direction was eye
catching and unique. I liked how the show kinda looked like a cross
between a comic book and a video game. I thought the animators did an
amazing job bringing our boards to life. It was the best TV CGI
animation I had seen at the time.
As I said before, it was a dream come true to get to work on
Spider-man. Personally, I can't wait to see how the next animated
Spider-man show turns out. He's a character born for animation and I'm
sure we'll see many versions him to come. Thanks for the questions!
The Marvel Animation Age would like to thank Mr. Vietti for his participation in this interview, and his work on the show.
Cheers Brandon!
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