Culture Representation: Taking place mostly on New York City’s Staten Island, the comedy/drama “The King of Staten Island” has a predominantly white cast (with some African Americans, Latinos and one Native American) representing the middle-class.
Culture Clash: A 24-year-old ambitionless stoner has conflicts with family members and his widowed mother’s new boyfriend about where his life is headed.
Culture Audience: “The King of Staten Island” will appeal primarily to fans of star Pete Davidson and director Judd Apatow, but the movie follows a lot of predictable tropes that they’ve done before in other films.
Here we go again. Pete Davidson is portraying another irresponsible stoner who doesn’t want to grow up but has to face the reality that eventually he has to figure out what he wants to do with his life. If that plot sounds familiar, it’s because Davidson played the exact same type of character in his starring role in the comedy/drama “Big Time Adolescence,” released in March 2020, just three months before comedy/drama “The King of Staten Island” was released.
Judd Apatow directed and co-wrote “The King of Staten Island,” which in some ways is a better movie than “Big Time Adolescence” and in some ways is not. First, what doesn’t work about “The King of Staten Island”: The total running time for “The King of Staten Island” (two hours and 17 minutes) is too long for this type of movie. Because of this long running time, parts of the movie tend to lose focus and have the rambling quality of some cobbled-together improv sketches. And although Davidson has a few moments where his Scott Carlin character shows some emotional depth (especially toward the end of the film), it’s too little, too late, since Davidson is recycling the same dimwit act that he keeps doing in his movies, whether it’s a leading or supporting role.
What does work well about “The King of Staten Island” is that the movie is elevated by the terrific supporting performances of Marisa Tomei (who plays Scott’s widowed mother Margie, who’s a nurse); Bill Burr (who plays Ray Bishop, Margie’s firefighter boyfriend); Bel Powley (who plays Kelsey, Scott’s “friend with benefits”); and Steve Buscemi (who plays Papa, Ray’s father who works as a firefighter at the same station). Their authentic portrayals make “The King of Staten Island” look like it has real people in it, instead of caricatures.
The movie is called “The King of Staten Island,” but Scott really isn’t the king of anything. He’s a frequently unemployed, 24-year-old high-school dropout who still lives with his mother in the New York City borough of Staten Island, a community that’s more politically conservative and less racially diverse than New York City’s other boroughs. Scott spends his days and nights getting drunk or stoned (mostly on marijuana, sometimes on stronger drugs) with his other unemployed friends Oscar (played by Ricky Velez), Igor (played by Moises Arias) and Richie (played by Lou Wilson).
Also in this group of partiers are Kelsey (who’s known Scott since they were kids) and Kelsey’s friend Tara (played by Carly Aquilino). Scott and his friends are in various ways active participants or complicit in the small-time drug dealing they’re involved with to make extra money. Kelsey is proud to be from Staten Island (unlike the rest of the people in the group), and she’s at least trying to do something with her life by applying for a New York City government job. Oscar is the most reckless out of all of them, since it’s his idea later in the story for the guys to rob a pharmacy.
Scott and Kelsey are secretly having sex with each other. He wants to keep their sexual relationship casual, and he doesn’t want anyone else to know about it because Scott tells Kelsey that if they go public about it, it will ruin their friendship. But Kelsey wants more validation for this relationship, and the secrecy is starting to bother her. She tells Scott that she wants more of a respectful commitment from him and wants him to include her in more of his family activities, but he keeps brushing off her concerns.
Scott’s firefighter father (who’s never seen in the movie) died in a hotel fire when Scott was 7 years old. Viewers are supposed to feel sympathetic for Scott because he uses his father’s death as a trauma that keeps holding him back in life. Why do we know this? Because Scott keeps bringing up his father’s death as an excuse for his emotional arrested development.
Scott also has some health issues that affect his outlook on life, such as Crohn’s disease, depression and attention deficit disorder. Davidson is a Staten Island native whose firefighter father also died in real life when Davidson was a child. Davidson has been open about his struggles with substance abuse and mental illness. The problem is that even with these real-life parallels, Davidson’s performance in “The King of Staten Island” is still fairly shallow and repetitive until near the end of the film.
Meanwhile, Scott’s mother Margie has tolerated Scott’s laziness and his refusal to get his own place, perhaps because she’s lonely and hasn’t had a serious romantic relationship since her husband died. Scott’s younger sister Claire (played by Maude Apatow, Judd Apatow’s real-life elder daughter), who has graduated from high school and is headed to college, has a combination of a loving and resentful attitude toward Scott.
Because Scott is the irresponsible sibling, Claire feels like she always has to worry about him. She tells Scott that it’s unfair that she bear this emotional burden, because Scott as the older sibling should be looking out for her. Claire also tells Scott that she resents that Scott’s tendency to get into trouble causes their mother to focus a lot of energy on Scott, while Claire often feels ignored.
The beginning of the movie shows how Claire doesn’t really want Scott to come to the joint graduation party that she’s having with her best friend Joanne (played Pauline Chalamet), because Claire is afraid that Scott might embarrass her. Scott doesn’t really feel like going to the party because he doesn’t want to wear a suit. There’s some back-and-forth arguing, until their mother Margie forces Scott to go to the party and tells him to behave himself while he’s there. This family drama over the party takes up a little too much time in the movie and could have benefited from some tighter editing.
Does Scott have any dreams he wants to fulfill? Yes. He wants to be a tattoo artist. And he has an idea to eventually start his own tattoo parlor restaurant, which he’d like to call Ruby Tattuesdays. Scott thinks it’s a brilliant idea, but the idea is ridiculed by his friends. Colson Baker (also known as rapper Machine Gun Kelly) has a cameo in “The King of Staten Island” as a tattoo artist who basically laughs Scott out of his shop when Scott tries to get an apprenticeship at the shop. (Baker, who’s a close friend of Davidson’s in real life, played one of the stoner buddies in “Big Time Adolescence.”)
To hone his tattooing skills, Scott gives his friends free tattoos. The results are … Well, let’s just say that Scott isn’t ready for the big leagues in the tattoo world. One day, Scott and his male friends are hanging around outside when a 9-year-old boy named Harold (played by Luke David Blumm) randomly comes over and starts talking to them. The guys are amused by this kid, and when Scott asks Harold if he wants Scott to give him a tattoo, Harold eagerly says yes and tells Scott that he wants a tattoo of The Punisher on his arm.
Scott ignores concerns from his friends that it would be illegal to tattoo Harold because Harold is under the age of 18. Within less than a minute of Scott tattooing Harold, the boy reels away in pain and tells Scott to stop, before running away. It isn’t long before Harold’s divorced father Ray angrily shows up with Harold at Margie’s door to demand why Scott was trying to tattoo a 9-year-old boy.
Margie smooths things over by offering to pay for the laser treatment to correct the tattoo scar, and she becomes furious with Scott, who gives some very dumb excuses for why he did this illegal tattooing of a child. Later, Ray comes back to visit Margie to apologize for yelling at her so harshly, and he ends up asking her out on a date. Their romance becomes serious (they end up living together), which doesn’t sit too well with Scott, since Ray and Scott don’t really like each other.
Besides the fact that Ray doesn’t respect Scott and thinks he’s a lazy bum, their relationship is also tense because Scott hates that his mother is dating a firefighter. Scott thinks it’s somewhat disrespectful to the memory of Scott’s father, whom Scott has put on a pedestal in his childhood memories of his dad. Ray knew Scott’s father, but only as a passing acquaintance. In a pivotal scene in the movie, Ray’s father Papa gives Scott some background information on Scott’s father that helps Scott view his dad as more like a human instead of a god.
Even though Scott and Ray don’t really like each other, Ray trusts Scott enough to let Scott sometimes take care of Ray’s children—Harold and 7-year-old daughter Kelly (played by Alexis Rae Forlenza)—who like being around Scott. It’s while babysitting the kids that Scott starts to show some signs that he’s capable of being a responsible adult. Scott also finds an ally with Ray’s ex-wife Gina (played by Pamela Adlon), who also despises Ray.
Judd Apatow and Davidson co-wrote “The King of Staten Island” screenplay with Dave Sirus, who has a background in stand-up comedy. The movie’s dialogue is hit or miss, as some scenes play like a comedy sketch, while other scenes play as if the film is based more in realism. One of the “comedy sketch” scenes that falls flat is when Scott, who’s gotten a waiter job at his cousin’s restaurant, finds out that the restaurant’s waiters have a strange tradition of boxing each other at the end of a shift, and the winner gets everyone else’ waiter tips. Needless to say, Scott doesn’t last long at that job.
An example of the type of “humorous” lines from Scott is a scene when he and his friends talk about how Staten Island compares to other parts of the Tri-State area. Scott says about Staten Island: “We’re the only place New Jersey looks down on. You can see the garbage dump from space. This place is never going to change.”
The funniest scene in the movie doesn’t come from any of the main characters, but from a cameo by Action Bronson, who plays a very stoned man who walks up to a very stoned Scott while Scott is sitting outside. The man, who’s nameless in the film, has a bleeding wound in his abdomen. And what happens next in that scene includes some genuine laugh-out-loud moments.
Judd Apatow’s best-known movies (such as “The 40 Year-Old Virgin,” “Knocked Up” or “Trainwreck”) tend to be about immature adults who eventually have some kind of emotional metamorphosis. Therefore, “The King of Staten Island” is really not doing anything groundbreaking or particularly innovative for Apatow. As for Davidson, if he wants to be considered one of his generation’s greatest comedians who can act, he needs to show audiences that he can do more than the same type of empty-headed “loser” persona that can put him in typecast hell.
Universal Pictures released “The King of Staten Island” on digital and VOD on June 12, 2020.
Culture Representation: Taking place in upstate New York, the dramatic film “Human Capital” has a predominantly white cast of characters (with a few African Americans and Latinos) representing the middle-class and the upper-class.
Culture Clash: A hit-and-run car accident and financial pressures affect the lives of two families from different socioeconomic classes.
Culture Audience: This movie will appeal primarily to people who like suspenseful dramas and who won’t mind that the story is told in a non-chronological manner.
The tightly wound dramatic film “Human Capital” shows what happens when desperate people do desperate things and how they deal with the ethical dilemmas they face in the process. Based on Stephen Amidon’s 2004 novel “Human Capital” (which was adapted into the 2014 Italian film “Il Capitale Umano”), this American movie version begins with the incident that is at the center of the turmoil in the movie, which takes place in an unnamed suburb in upstate New York.
While riding his bicycle home from work one night, a restaurant waiter is suddenly stuck by a speeding Jeep Wrangler in a hit-and-run-accident. The Jeep Wrangler briefly stops and the unseen driver does not get out of the car before speeding off. Observant viewers can immediately notice some clues (including the make and model of the car), but even then it’s best not to assume that these clues are proof of who the perpetrator really is.
The mystery unfolds in layers, as the three acts in the story are each told from the perspective of three of the main characters: financially desperate real-estate broker Drew Hagel (played by Liev Schreiber), rich housewife Carrie Manning (played by Marisa Tomei) and high-school student Shannon Dark (played by Maya Hakwe), who is Drew’s daughter from his first marriage. (Shannon took her mother’s maiden name after her parents got divorced.) All of them are or will be connected to the hit-and-run accident in some way.
Drew’s perspective is told first. He’s first seen on screen with Shannon, as he drives her to the home of her new boyfriend Jamie Manning (played by Fred Hechinger), who is the son of a wealthy hedge-fund mogul named Quint Manning (played by Peter Sarsgaard). While Drew marvels at the Manning family’s large estate, Shannon acts like she’s not impressed by the family’s wealth and she looks like she just hopes that her father doesn’t embarrass her when he drops her off at the home.
Drew first meets Quint’s wife Carrie. In the space of a few minutes, Drew tells Carrie that he owns his own real-estate company, he and his first wife (Shannon’s mother) did not have friendly divorce, and he’s now married to a woman whom Drew calls “his trophy wife.” These are indications that Drew wants to give the impression that he’s a rich and successful businessman.
As Drew is getting ready to leave, he meets Quint, when Quint asks Drew to join him in a game of doubles tennis on the mansion’s tennis court. After the game, Drew asks Quint if he’s taking any more investors in his hedge fund WNV. Quint tells Drew that the only new investors he’ll accept are family and friends. But since they’ve gotten along so well in their short time together, Quint tells Drew that the minimum investment is $300,000.
Drew can get the money, but only through borrowing via home equity at a fairly high interest rate. Drew discusses the matter with his business manager Andy (played by James Waterston), who advises him against the deal. It’s a risky move because Drew’s real-estate business (he’s the only employee) hasn’t been doing well, but he’s too embarrassed to admit his financial problems to anyone other than Andy. Drew seems determined to impress Quint, with the hopes of making a profit from the investment, so Drew ignores Andy’s advice and goes through with the investment deal by doing something illegal.
Drew doesn’t tell his current wife Ronnie (played by Betty Gabriel) about this deal. But she’s got news for him: After having multiple miscarriages in the past, she’s now pregnant with twins. Ronnie is a therapist, but her salary wouldn’t be enough to cover the financial losses if Drew’s investment turns out to be a bad decision. Needless to say, the impending birth of the children puts even more financial pressure on Drew.
Meanwhile, the movie’s second act focuses on the perspective of Quint’s wife Carrie. Viewers find out that she’s interested in buying a run-down performing-arts theater in the area and turning it into a cultural center for movie screenings, stage performances and other events. But first, she needs her husband Quint’s money, and she convinces him to buy the theater for their nonprofit foundation.
One of the people on the foundation board is a professor (played by Paul Sparks), who recognizes Carrie as a former actress who used to do horror movies. When he’s alone with Carrie, he flirts with her and confesses that he’s a fan of her work. He also mentions that if the theater needs an artistic director, he’d like to be considered for the position.
During a lunch appointment with him, Carrie confesses that her marriage has had some problems, including Quint having “three affairs in 20 years.” When the professor asks Carrie if she’s ever cheated on Quint, her response is that she’s thought about it many times, but never actually did it. When Quint finds out about the lunch, he tells Carrie about a decision he made about the theater. You can see where this is headed, so it comes no surprise at what happens next.
The third and final act of the story is told from Shannon’s perspective. Viewers find out that she’s a lot more angst-ridden than she first appeared in the other parts of the story. She’s desperate for love and attention outside of her family, but hides that desperation behind a façade of appearing emotionally distant and insolent. While visiting her stepmother Ronnie at Ronnie’s job, Shannon is in the waiting area and meets another teenager named Ian, who is one Ronnie’s patients. They exchange some sarcastic banter, but it’s obvious that they’re attracted to one another.
There’s too much spoiler information to talk about what happens during other parts of the movie, but it’s enough to say that there are several flashbacks that revolve around what happened the night of a gala event where Jamie’s elite private school gave a prestigious award to one of its students. Seated at the same table at the event were Quint, Carrie, Jamie, Quint’s obnoxious lawyer Godeep (played by Aasif Mandvi), Godeep’s wife (played by Christiane Seidel), Shannon, Ronnie and Drew.
The American version of “Human Capital” (directed by Marc Meyers) is not as stylishly filmed as director Paolo Virzì’s Italian version. While the Italian version had a sleek, minimalistic look to its production design and cinematography, the American version opts for a grittier, more cluttered look. The American version of the movie is a straightforward mystery thriller, while the Italian version seemed to have more to say about the dark sides of ambitious social climbing.
Oscar-nominated screenwriter Oren Moverman (2009’s “The Messenger”) does a capable job with the American version of the “Human Capital” screenplay, which certainly ramps up the “whodunit” tension throughout the film. However, the film’s middle section that’s shown from Carrie’s perspective really doesn’t add much to the story, compared to the beginning and ending to the film.
One character in particular has a backstory that is mentioned but never seen in the movie. It would have been interesting to explore more of this person’s history. However, enough of this person’s background is revealed to explain why this person does an extreme act toward the end of the film. All of the actors do a very good job with their roles, but Hawke’s Shannon character is probably the hardest one to pull off because her character is the least predictable.
For people who want to know who committed the hit-and-run, the movie does end up showing the entire set of circumstances that led up to the hit-and-run, who was responsible, and what happened afterward. However, the American version of “Human Capital” doesn’t fully address some of the illegal acts that certain characters committed in the movie that might or might nor be related to the hit-and-run crime. In other words, some loose ends are tied up, but not all.
Vertical Entertainment released “Human Capital” on DirecTV on February 20, 2020, and on VOD on March 20, 2020.
The following is a press release from the Tony Awards:
Some of the world’s biggest stars from stage and screen will appear at the 73rd Annual Tony Awards. The list of names announced includes Darren Criss, Tina Fey, Sutton Foster, Samuel L. Jackson, Regina King, Laura Linney, Audra McDonald, Ben Platt, Billy Porter, Andrew Rannells, LaTanya Richardson Jackson and Michael Shannon. More presenters will be announced soon.
The Tony Awards telecast will feature an incredible line up of celebrity presenters and musical performances for Broadway’s biggest night.
James Corden will return to host the American Theatre Wing’s 2019 Tony Awards, which will be broadcast live from Radio City Music Hall in New York City on CBS. The three-hour program will air on Sunday, June 9th 8:00 – 11:00 p.m. (ET/PT time delay). The Tony Awards are presented by The Broadway League and the American Theatre Wing.
You can also watch the Tony Awards online with CBS All Access. More info at cbs.com/all-access.
June 5, 2019 UPDATE: A second round of artists has been added to appear at THE 73rd ANNUAL TONY AWARDS(R), live from the historic Radio City Music Hall in New York City, Sunday, June 9 (8:00-11:00 PM, live ET/delayed PT) on the CBS Television Network. The star-studded lineup includes Sara Bareilles, Laura Benanti, Abigail Breslin, Danny Burstein, Kristin Chenoweth, Jesse Tyler Ferguson, Josh Groban, Danai Gurira, Jake Gyllenhaal, Chris Jackson, Shirley Jones, Jane Krakowski, Judith Light, Lucy Liu, Aasif Mandvi, Sienna Miller, Brian Stokes Mitchell, Catherine O’Hara, Kelli O’Hara, Karen Olivo, Anthony Ramos, Marisa Tomei, Aaron Tveit, Samira Wiley and BeBe Winans.
Emmy and Tony Award winner James Corden will host the 2019 Tony Awards for the second time. As previously announced, Darren Criss, Tina Fey, Sutton Foster, Samuel L. Jackson, LaTanya Richardson Jackson, Regina King, Laura Linney, Audra McDonald, Ben Platt, Billy Porter, Andrew Rannells and Michael Shannon will also take part in Broadway’s biggest night.
The TONY Awards, which honors theater professionals for distinguished achievement on Broadway, has been broadcast on CBS since 1978. This year marks the 73rd anniversary of the TONY Awards, which were first held on April 6, 1947 at the Waldorf Astoria’s Grand Ballroom. The ceremony is presented by Tony Award Productions, which is a joint venture of the Broadway League and the American Theatre Wing, which founded the Tonys.
Ricky Kirshner and Glenn Weiss of White Cherry Entertainment will return as executive producers. Weiss will also serve as director for the 20th consecutive year. Ben Winston is a producer.
June 6, 2019 UPDATE:
The Tony Awards telecast will feature performances by the casts of “Ain’t Too Proud – The Life and Times of the Temptations”; “Beetlejuice”; “The Cher Show”; “Choir Boy”; “Hadestown”; “Kiss Me, Kate”; “Oklahoma!”; “The Prom” and “Tootsie.” The evening will also feature a special performance by Tony Award winning-actress Cynthia Erivo.
The “Spider-Man” movie franchise is now in its third incarnation. And when it comes incorporating other major characters from the Marvel Cinematic Universe (MCU), the third time is the charm, because “Spider-Man: Homecoming” (directed by Jon Watts) is the first time that Marvel Studios has teamed up with Sony Pictures to bring other MCU characters such as Iron Man to a “Spider-Man” movie.
The “Spider-Man” franchise started with the original 2002 “Spider-Man” movie (starring Tobey Maguire as the web-slinging superhero), which spawned two sequels. In 2012, Andrew Garfield took over as Spider-Man (whose real identity is nerdy high-school student Peter Parker) for two “Amazing Spider-Man” movies. Now, in 2017, Tom Holland stars as Spider-Man, a role that Holland also played in Marvel Studios’ 2016 blockbuster “Captain America: Civil War.”
In “Spider-Man: Homecoming,” Spider-Man is being mentored by Iron Man/Tony Stark (played by Robert Downey Jr.), who often grows impatient with the over-eager Peter, who’s ready to rejoin the Avengers in their mission to fight crime worldwide. For now, Peter is stuck in high school in New York City’s Queens, where his social life revolves around his best friend, Ned Leeds (played by Jacob Batalon), and fellow members of the school’s debate team, which includes the sarcastic Michelle (played by Zendaya), competitive Flash Thompson (played by Tony Revolori) and “cool kid” Liz (played by Laura Harrier), who is Peter’s secret crush. “Spider-Man: Homecoming” also stars Michael Keaton as Adrian Toomes/Vulture (the movie’s chief villain) and Marisa Tomei as Peter Parker’s Aunt May.
At the New York City press junket for “Spider-Man: Homecoming,” Holland, Downey, Keaton, Harrier, Batalon, Zendaya, Revolori, Watts and producers Amy Pascal and Kevin Feige (who is also president of Marvel Studios) gathered for a press conference. This is what they said.
How excited are you to finally bring Spider-Man into the Marvel Cinematic Universe?
Feige: It was one of a handful of, “Well, this will never be possible but let’s dream about it moments” at Marvel studios … Having made the movie, it’s unbelievable. It’s incredible.
Pascal: It is incredible. It started with a lunch with me and Kevin, and I can’t believe we’re here now. It’s pretty exciting,
Jon, the biggest challenge was to not only make a fresh standalone movie but to make one that does fit into the MCU and does capture a unique tone that is delightful and hilarious. What were some of the challenges of capturing all those thins while staying true to the legacy of Spider-Man?
Watts: Well, I just tried to approach it as the biggest fan possible and the opportunity to finally put Spider-Man where he belongs in the Marvel universe, really just opened so many doors to all of the new kinds of stories we could tell. So if anything I felt like we were being as true as possible as anyone has ever been able to be about Spider-<an and how he fits into this world.
Tom, with great power comes great responsibility. What kind of responsibility did you feel playing a character that so many people love?
Holland: I think the thing that I had to remind myself most when I took on this character was that Tobey Maguire’s Spider-Man had such a huge impact on me as a kid. He was my role model growing up; he was my favorite character. So I had to remind myself that I’m going to have that same impact on kids of the younger generation. So I really wanted to do them proud, and be a solid role model for them to make a young, fresh version of the character we know and love so well.
The question that Jon and I asked ourselves was, “If you gave a 15-year-old superpowers, he would have the time of his life. And when I made this movie, I had the time of my life, so it really comes across on screen.
Robert, you’re like the godfather of the MCU. How do you feel about the way the MCU has evolved but expanded to now include the likes of Spider-Man?
Downey: Well firstly, I’m stoked that they got my memo to design the screening room like an old Miami Dolphins jersey. So that worked out. But Amy and them had done these iterations of Spider-Man previous. They really should do one of those breakdown, kind-of-boring-to-read-but-somewhat-important books about all the miracles that had to had to happen for us to be sitting here today … This turned out so well. It really comes down to, as Kevin says, “You’ve got to see the movie and love it. “This turned out so well. I saw it, I was in it for a little bit, but I loved it. I think that’s what’s exciting is that they’re still really working.
Michael, the thing about Adrian Toomes/Vulture in this film is that his motives are grounded because he’s motivated by wanting to help his family. What were your impressions when you signed on to this film, in terms of Vulture’s motives?
Keaton: I thought it was inventive and an interesting way to go. I’m not really familiar with a lot of the lore, so for me, I was trying to catch up. I just thought the simplicity of making this person approachable, it’s timely. Let’s not talk about why it’s timely, ’cause I want to blow my brains out.
Downey: He’s only threatening his own life right now.
Keaton: I thought it was a really unique approach and kind of obvious to make this person approachable and has a legitimate gripe and a legitimate argument. I thought it was really well-written. It was a fun gig.
Marisa, it seems like a fun gig for you as well. What was your take on playing Aunt May as completely different from what we know about the character?
Tomei: I didn’t really know what Aunt May looked like until after I signed up. I couldn’t understand why my agents kept saying to me “They’re going to make her sexy.” “Ugh, stop trying to coddle me. Oh, in contrast of another way to go.” These guys had this vision of how it would be revamped and everyone was going to be younger and she’s his aunt by marriage, so she can be any age at all.
Jacob, how do you feel about people reacting so well to your Ned character and his friendship with Peter?
Batalon: I’m not going to lie. I knew this was going to happen. Tom and really enjoy each other, and the cast and I enjoy each other, so it was easy to translate that into what you saw. I love them. I love all of them so much. It’s easy to be around them, and it’s easy to make the best things with them.
Zendaya, what was it like to make a big film like this one?
Zendaya: It was incredible. I’ve done a lot of things in my little career so far, but this is my first big movie, so I was terrified, but I suppressed it very well. It’s amazing to be here. I think all of us feel like it’s a bit of a dream. I don’t know when it’s going to feel real, but it definitely doesn’t feel real right now. I don’t mind living in this dream. I enjoy it here, so I think I’m going to keep doing it.
Downey: When the opening numbers come in, it gets real.
Laura, why do you think out of all the superheroes, Spider-Man means the most to people?
Harrier: Because I think he’s the most relatable. We all know what it’s like to grow up and go to high school and go through growing pains and have awkward moments of talking to someone you have a crush on. It’s harder to connect with superheroes who are completely outside of our world, I think. Spider-Man is first and foremost Peter Parker, whom everyone can relate to.
Jon, Spider-Man’s costume is the most high-tech we’ve ever seen. What were the challenges of keeping true to the Spider-Man mythology while evolving things in a way that it makes sense for 2017?
Watts: I got kicked off rather nicely by what the Russo brothers did in “[Captain America:] Civil War.” They had this really great premise that Peter Parker is going to get plucked out of obscurity by Tony Stark, given this really high-tech suit, and then get taken on a crazy adventure, and then dropped back into his regular life without another thought. So, to me, the challenge was an opportunity. If Tony Stark built a Spider-Man suit, what could it do that would be so amazing? There’s a little bit of precedent in the comics with the Iron Spider suit that gets built, so we used that as inspiration for all the bells and whistles that Tony would put into this thing.
Tom, can you talk about your experience going from the movie “The Impossible,” when most people first discovered you, to how you got to this place in your life?
Holland: I’ve been so lucky in my career. I felt like I’ve been in the right place at the right time at every turn. I’ve been so lucky I’ve got to work with I would consider the best of the best and learn from people. Every movie has been a different experience for me. I’ve been able to play different characters without having to go too far. Now I’ve now finding myself to go a little bit further. This job since day one has been a rollercoaster. It has never ceased to amaze me.It’s the job that keeps on giving.
The fact that I’m here with these guys promoting this movie is insane. Like Zendaya said, it does not feel real in any way possible. I read a comic yesterday that is based off my face. I mean, what the hell! Nothing has sunk in. Nothing has sunk in. It feels like I’m about to wake up and be very disappointed. But I’m very happy here, and I can’t wait for you guys to see the movie.
Robert, when we we asked Tom and Jacob if they could take anything from the set, Tom said he would take your Audi and Jacob said he would take your watch. How do you feel about that and what would you take from the set?
Downey: I’m sorry, which Audi and which watch? You know why I think this works? There’s something about the initial breaking the story and the concept. Whatever the mood board was for this movie, with all those different tones, it was creatively inspired. It’s really an inspired re-invention.
And what I would take is that moment where the creatives actually broke this story and said, “That’s it.” If it’s executed correctly, that’s what you see on the screen. And that’s why I love movies. I’m a huge fan of movies, and I always wondered, “How did they figure it out to entertain me this well?” The mood board!
Robert and Michael, since you know what it’s like to star as superheroes in blockbuster movies, what advice would you give o the younger members of the cast on how to deal with all the media scrutiny and fan love that comes with being in these types of films?
Downey: Every day you wake up, everybody’s even. All of this status or experience is all kind of a projection … It really comes down to, “Does [the director] like us? Does he think we know what we’re doing?” It’s all about having your feet on the ground, and realizing that you always start at zero MPH every day.
Keaton: I don’t have anything to say [to the younger cast members]. I’m listening to what these people are saying, and so far it’s impressive. Let’s keep an eye on them, but so far, they sound like pretty sane folks.
Tony, what was it like to work on this movie with a character that is so well-known to fans around the world? And can you compare it to working on a movie like Wes Anderson’s “The Grand Budapest Hotel”?
Revolori: It’s wonderful working with someone like Wes. He’s amazing and fantastic. But working on a project like [“Spider-Man: Homecoming”] is on a different level because you have so many fans and so many people who work so hard and put so much effort into it, you can’t help but want to do a good job. I’m very fortunate to be a part of it with a great cast. Thank you to Jon, Amy and Kevin for casting a 5’8″ brown guy to play a 6’2″ blonde, blue-eyed guy. Thank you.
Tony, how does it feel to represent the Latino community in this comic-book franchise?
Revolori: It’s wonderful. I think when you see the film, there’s not a single line of exposition to explain why I look the way I look. I think that’s wonderful. I just am in the movie. It’s not about being a certain race or doing anything. That’s the kind of diversity we need in Hollywood right now.
“Spider-Man: Homecoming” has one of the most racially diverse casts in a superhero movie. What was the inspiration for having such diversity?
Pascal: The inspiration was reality.
Downey: Our last resort!
Tom and Jon, what challenges would you like to see Spider-Man overcome in any future MCU movies?
Holland: I’m still getting over the first one.
Watts: I honestly try to think about this stuff one movie at a time, but I do feel like now that Spider-Man is part of this big, crazy universe, we can definitely tell some new stories, that’s for sure.
Tom and Robert, how would you say Peter Parker/Spider-Man’s relationship with Tony Stark/Iron Man has evolved since “Captain America: Civil War”?
Holland: I think the relationship between the two of us is more important from [Iron Man’s] point of view because he suddenly has someone to think about other than Tony Stark. He really cares about Peter, and one of the reasons why he doesn’t want Peter to become an Avenger is because he really doesn’t want the responsibility of something happening to Peter on his conscience. It’s a nice back-and-forth of [Spider-Man] saying, “Look, I’m powerful enough to be an Avenger,” and [Iron Man] saying, “But you’re not ready to be an Avenger.” It’s like a big brother/little brother. dad/son type of situation.
What do you hope teenagers will learn from watching “Spider-Man: Homecomng”?
Batalon: Our message is that you don’t have to be the jock, you don’t have to be the cool person in high school to be yourself. The coolest version of yourself is yourself. We’re nerds, and we love to be smart, and that’s okay. There’s nothing wrong with being yourself.
Harrier: You don’t have to apologize for who you are. Everyone in this movie is so different, but genuinely themselves, especially Zendaya’s [Michelle] character, who is very different but not ashamed of it. If teenagers could take that away, it would be great.
Zendaya, how much was your portrayal of Michelle inspired by Ally Sheedy’s character in “The Breakfast Club”?
Zendaya: Definitely inspired. I didn’t know what kind of character I was playing until I showed up. Everything is kind of top-secret. So I read the script, and I was like, “Okay, she’s interesting.This is going to be fun.” Then i met with Jon, and he had so many different references, and [Ally Sheedy in “The Breakfast Club”] was definitely one of them.
Just kind of making that distinct character, making somebody that I think is different, and embracing the weird. Like what we were talking about: Young people, it’s okay to be weird. It’s okay to be exactly who you are. I love that [Michelle] is outspoken, I love that she says what everybody’s thinking, but she just doesn’t care. I think a lot of young people should have that a little bit more. It was fun playing that dry version of myself.
Who was the biggest clown off set?
Batalon: I don’t think this is a good interview right now.
Holland: The amazing thing about Jacob is that he wrapped on the movie, he finished filming his part in the film, and he just moved in with me. It’s like, “Jacob, go home!” He lived with me and my best mate for six weeks.
Batalon: You’re talking as if you didn’t want me there.
Holland: We did want you there. [He says jokingly] And then we fell in love.
Batalon: It’s been great ever since. Don’t worry about it.
Robert, how does it feel playing Tony Stark as the connective tissue across so many Marvel films?
Downey: What happens is that things are presented to me that are really well-thought-out by folks who have been doing this correctly for a really long time. And I just go “check,” and then I attempt to take the credit at press conferences. [He says jokingly] I’m holding this whole thing together. It’s obvious!
Tom, how did you gymnastic and dance background help you in doing your stunts?
Holland: You can’t really master hanging upside down. It’s not something I really prepared for. But my dancing and gymnastic background was so helpful to the project because we were able to do things as Peter Parker that they probably hadn’t been able to do in the past. But with that said, sometime they would over-estimate my skill set. Jon would be like, “Can you back-flip off of that wall and land on that beam?” I’m like, “No, Jon. I can’t do that. I’m not that good, dude.”
Watts: You forget that you’re not actually Spider-Man sometimes.
Robert, did it feel like you were passing the torch to Tom Holland? And how long do you think you’ll keep doing Marvel movies?
Downey: I’ve been semi-retired since “Iron Man” opened in its first weekend. Speaking for myself, good things happen, and then you get inflated and you think, “Oh my God, I’ve created everything that’s going my way.” And then things happen, where you’re like, “Okay, there’s a little evidence to the contrary.” At this point, you go back and say, “It’s nice to be on this call sheet.” So as you can see, I’ve changed dramatically, and I’m an extremely humble individual.
Can you consider doing more “Spider-Man” movie scenes on location in Queens?
Watts: As much Queens as possible. For sure.
Keaton: In terms of getting action in Queens … Robert, you and I have gotten action in Queens in 2001, I think.
Downey: Yeah, we kept a flat there for a while. Dirty deeds done dirt cheap.
Michael, you’ve played both the hero (Batman} and a villain (Vulture) in a superhero movie. Which one do you prefer?
Keaton: They’re both fun. I think actors tend to drawn to villainous characters. It’s a cliche, but it tends to be often true that you want to delve into the dark side. It gets interesting. The reality is the lead [actor] or hero by very nature of the piece has to be not one-dimensional but has to represent a thing very strongly, whereas the supporting characters are more dimensional, without going into bullshit actor talk. It tends to be true.
Most of us have had experiences where you’re playing one role, and you’re looking at some of those minor roles, and you think, “Oh, man, I’d like to have a bite of that,” because it’s just so much fun. I’ve been fortunate. I’ve been able to play a lot of different things: little tiny parts, big parts. They’re both fun. They’re both different. It’s more iconic, and you make a hell of a lot more dough being the big lead guy, but they’re both fun.