FILM · 2002 · USA
Spider-Man
- Directed by
- Sam Raimi
- Runtime
- 121 min
- Studio
- Marvel Enterprises, Laura Ziskin Productions, Columbia Pictures
158 archived facts 7 topics 2 sources Last reviewed Nov 2026
After being bitten by a genetically altered spider at Oscorp, nerdy but endearing high school student Peter Parker is endowed with amazing powers to become the superhero known as Spider-Man.
158 Interesting Facts About Spider-Man
Interesting Facts (122)
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A camera system called Spydercam was developed to better express Spider-Man's world and point of view. It could drop 50 stories (over 600 ft) and shoot with cable lengths of 2,400 feet, or slightly over 3,200 feet (for shooting in New York City or Los Angeles), and could film at six frames per second to convey a sense of speed. Spydercam was used only in the final scene of this film, but it was made available for greater use in the sequels.
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When James Franco joked about Tobey Maguire's 'frog-like' features on the film set, Maguire was reportedly genuinely upset by Franco's comments. This created friction between the two actors, leading to a rivalry that now exists between them, a rivalry Maguire has also acknowledged in interviews since the Spider-Man series.
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During Norman Osborn's transformation scene (around the 16-minute mark), the smoke in the laboratory was initially white but was later digitally changed to green. Director Sam Raimi wanted to use real green smoke, but when the prop designers could not create a non-toxic colored smoke, he opted for the CG effect.
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In the comics, Peter Parker uses web-shooters that fire synthetic webs. Props for these were built for the film and used in the scene where Peter practices in his room. However, once it was decided that the web fluid should be organic spider silk coming from his own wrists (based on a concept James Cameron developed for his own Spider-Man film, which never went into production), the scene was reshot to accommodate the change. Responding to protests from comic book fans, director Sam Raimi said it was more believable for Peter to shoot webs this way than for a high school kid to produce in his spare time a great adhesive that a major company like 3M cannot make.
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According to visual effects supervisor John Dykstra, bringing Spider-Man to life was the most complex task he had accomplished at that time. Sam Raimi wanted to convey the essence of being Spider-Man ("the transition that occurs, between him being a young man going through puberty and being a superhero"); the real difficulty, however, was that since the character is masked there is no eye/mouth context and he immediately loses most of his characterization, so the animators had to add a great deal of body language to his movements so that there could be some emotional content.
- #013
The scene in which New Yorkers throw trash at the Green Goblin was added in response to September 11 to reflect the city's sense of unity and patriotism. Moreover, the line "You mess with one of us, you mess with all of us" was improvised on the day the scene was shot by the actor who says it.
- #014
At around the 32-minute mark, one of Peter's sketches of possible costume ideas is almost identical to the black-and-white suit Spider-Man wore in the comics from the early to mid-1980s (later adopted by his enemy Venom), the only difference being that the spider emblem is red rather than white. Peter's note on this draft: "Needs more color."
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The film's climax is based on the notorious "The Amazing Spider-Man" #121 comic book story "The Night Gwen Stacy Died." In that comic, the Goblin grabs Stacy and suspends her from a bridge, and Spider-Man tries to save her but fails. In a frenzy of rage and retaliation he beats the Goblin nearly unconscious, and when the Goblin tries to use his glider to impale the wall-crawler, the glider backfires and impales him instead. The key difference in the film is that the person held above the bridge is Mary-Jane and she survives. The Goblin's death is extremely faithful to the story. At Osborn's funeral, a nearby gravestone reads Stacy.
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The film's original trailer depicted a bank robbery in which the robbers escape by helicopter. A close-up of the helicopter was shown until it became clear that it was suspended in the air. When the camera pulled back, the helicopter was revealed to be caught in a spider web strung between the two towers of the World Trade Center. After the attacks on the towers on September 11, 2001, however, the trailer was changed and the scene was removed from the film.
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At around 29 minutes, the scene in which Peter and Mary Jane talk outside at night was shot at 4 a.m. and had to be filmed quickly because sunrise was approaching. Kirsten Dunst also noted that it was a very cool morning weather-wise, pointing out that the waistband of her thermal underwear is briefly visible.
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The Green Goblin's original design was closer to his comic-book appearance and was to be filled out with prosthetics, complete with green skin, a pointed chin and ears, teeth, and yellow eyes with no pupils. After a series of screen tests (which can be found on YouTube), the design was scrapped as too disturbing for a film that wanted to be accessible to children as well as adults. It was frustrating enough that Avi Arad canceled it with "We're trying to sell toys here, not scare children" and replaced it with the helmet seen in the film.
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Stan Lee's cameo initially had him asking Peter, "Hey kid, would you like a pair of these glasses? They're the kind they wore in X-Men (2000)." Although Stan appears in the final film, the dialogue scene was removed, but it can still be found in the Outtakes section of both the DVD and Blu-ray.
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Sam Raimi hoped to use more traditional VFX (stunt work and digital mattes) for the film, but John Dykstra explained to him that Spider-Man's flexibility and agility meant such stunts would be nearly impossible to perform physically, so Raimi decided to use computer-generated imagery. Raimi did not want it to be a full animation, however, so none of the VFX shots were 100% computer-generated.
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This was the first film Cliff Robertson had made for Columbia Pictures in 25 years. The studio had blacklisted him after discovering in 1977 that a studio executive had forged his signature on a check and used it to embezzle money from them. Columbia wanted to sweep the scandal under the rug, but Robertson spoke publicly about it.
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The title page of David Koepp's 14 April 2000 script draft carried the following disclaimer: "This material is the exclusive property of Columbia Pictures Entertainment. Unauthorized transfer, photocopying or reading of this material will cause large, yellowish blisters to form on your fingertips and hands, which, given your usual self-abuse (did you think we didn't know?), will soon spread to your genitals as well. Furthermore, sharing, reading or discussing this script on the internet is a sure sign that you have failed to fill your empty life with worthwhile activities of your own, and it may be too late for you. Don't blame us, you were warned."
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The interior of the Columbia University visit was actually shot in the main rotunda of the Natural History Museum in Los Angeles. The large electron microscope at the center of the film set was actually made of plywood, plaster and fiberglass, and concealed three 16-meter bronze centerpieces.
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(At about 1 hour 9 minutes) In the World Unity Festival scene, as MJ falls, Spider-Man catches her first and then fires a web to swing her to safety. This is consistent with the laws of physics, because firing a web line directly at her to catch her would break her neck (which is what happened to Gwen Stacy in the comics).
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(At about 3 minutes) When we first see Mary Jane on the school bus at the beginning of the film, she is dressed in the colors of the Green Goblin (at least in the comics). Her top is purple and her jacket is green. This outfit is also the uniform of Gwen Stacy in the comics, who was killed by the Green Goblin in a battle not unlike the bridge scene in the film.
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(At about the 47th minute) When Uncle Ben's killer crashes the car into the door after Spider-Man jumps, the police car entering the frame from the right has a very distinctive license plate whose only marking is "1927." This is to honor John Buscema, a master illustrator of Marvel Comics and DC Comics, born December 11, 1927 in Brooklyn, New York, and a great friend of Stan Lee. Unfortunately, he passed away on January 10, 2002, shortly before the film was released.
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At one point in production, Spidey was to have mechanical web-shooters. Footage of the scene in which he tries out his webs in his room (even in the shots used in the film and later edited) shows triggers on his wrists. The film's E3 2002 trailer even shows the full design of the shooters from the same scene. (Look carefully at Tobey Maguire's wrists in the final film; you will notice a very slight blur where the triggers should be.)
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The Moondance Diner where Mary Jane Watson works is the same restaurant where "Rent" writer Jonathan Larson and his muse Jesse L. Martin worked before leaving to continue their careers as musical writers. Andrew Garfield, who played Spider-Man in The Amazing Spider-Man series, would go on to play the character Jonathan Larson during this period of his life.
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In an online interview with the website Planet Origo, director Albert Pyun said he was hired in 1988 to direct "Spider-Man" for Cannon Films. He said his film would reflect Spider-Man's origin, would feature Dr. Curt Connors, also known as the Lizard, as the film's main villain, and that much of the film would take place in the sewers of Brooklyn, where Spider-Man would chase and fight the Lizard. His plans to direct "Spider-Man" fell through when Cannon Films went bankrupt. Strangely, his basic story was used in The Amazing Spider-Man (2012) reboot.
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The film contains several nods and references to Superman. The first comes when Peter Parker tries out his web-shooting on a rooftop and one of the slogans he uses is "Up, up and away web!" Later, when Peter asks Aunt May if there is anything he can do for her, she replies, "You do too much - college, a job, all this time with me… You're not Superman, you know." In the comics, Spider-Man crossed over with Superman twice, in "Superman vs. The Amazing Spider-Man" published in January 1976 and in issue 28 of the "Marvel Treasury Edition" published in July 1981.
- #088
Making Stan Lee's cameos a tradition was Avi Arad's idea, but Sam Raimi initially rejected it: "I got the job on Spider-Man in 1999. And [Arad] said, 'I want you to put Stan in the movie.' And I said, 'No. I know Stan and he can't act.' Avi said, 'I want him in the movie. We did it for X-Men (2000), we're doing it here.' Now imagine you're a little director doing Macbeth in England and someone tells you, 'Put the author in the play.' It sounds ridiculous. 'Okay, you want Shakespeare in the play, I'll put Shakespeare in the play.' It's now one of my favorite parts of the movie."
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- #090
The Green Goblin's armor, particularly the body and hat, is generally green with purple patterns. In this universe the armor is entirely green, but light reflecting off it tends to take on a purple sheen, especially in the scene where Spider-Man knocks the Goblin off his glider and he lands on a purple tent. The purple from the tent reflects off the top of the helmet mask.
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In the scene where the Green Goblin attacks the World Unity Festival, Harry is hit by piles of debris. The large piece that struck his head was dropped by Bill Hader, who served as a production assistant on the film. He stood on a ladder out of camera range and, on Sam Raimi's instruction, threw the foam brick, hitting James Franco in the head and knocking him out. A few years later, when Franco hosted Saturday Night Live (1975), he remembered Hader from the set and asked him: "Didn't you hit me with a brick?"
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The novelization includes a section in which Mary Jane and Harry discuss the book Interview with the Vampire; MJ says of it, "saw the movie. The little kid in it creeped me out," noting that Kirsten Dunst is of course the little girl in the film adaptation. In another vampire connection, two years before this film's premiere, Willem Dafoe played a vampire version of Max Schreck's Nosferatu in Shadow of the Vampire; when he meets the film's director, F. W. Murnau, he delivers the line "You and I, we're not so different" in almost exactly the same tone the Goblin uses with Spider-Man, a line that is of course mostly remembered from this film.
- #103
Bryan Singer said in 2001, during production, that he was interested in the film and would visit the set if he had the chance. Singer eventually came for a visit and, after walking around, called it "exciting" and avoided giving press; director Sam Raimi also challenged him and put him on the spot by asking, "Spider-Man or Wolverine wins?"
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Sam Raimi said: "Actually my first Stan Lee experience was pretty bad. In the late '70s I was an avid reader of Spider-Man and The Avengers, and by 1980 I was working on my first horror film in New York. At the same time I was working as a counselor at a camp in Algonquin Park. One day they decided to throw a Marvel party and said, 'Can you get Stan Lee to sign some posters?' I was so naive I said okay. I went to Marvel and asked if I could see Stan Lee. And the people there went crazy. 'Are you out of your mind?! You can't see Stan Lee!' On the taxi ride back to the airport I spent the whole trip signing 'Stan Lee' on all those posters. So at 20 years old I was forging his signature."
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Kirsten Dunst recalled filming the famous upside-down kiss: "I remember Sam Raimi gave me a book of famous kisses for inspiration, but he really wanted to make it special, even though doing it was really awful. It was raining, it was freezing, Tobey couldn't breathe, so it was almost like I was resuscitating him."
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The names "Uncle Ben" and "Aunt May" probably originated from another Marvel Comics story, "Goodbye to Linda Brown," in which the title character has an uncle and aunt with the same names; the story was published in Strange Tales #97 (June 1962), shortly before Spider-Man's debut in Amazing Fantasy #15 (August 1962), and was written by Stan Lee and drawn by Spider-Man co-creator Steve Ditko.
- #117
The first reaction to Tobey Maguire's casting as Spider-Man was negative, because fans expected a bigger star for such a beloved character; to address the fans' disappointment, the producers asked Stan Lee to support the film. Before the film's release, Lee said: "The film will surprise people. Tobey Maguire looks incredibly convincing and completely lovable. The love between Peter and Mary Jane is handled perfectly."
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Steve Krantz, producer of the animated series Spider-Man (1967), was among the first to propose a live-action Spider-Man film and began pitching the project to studios in 1976. According to the book "Stan Lee and the Rise and Fall of the American Comic Book," Krantz initially conceived the film as a fantasy musical and never made up his mind. The plot involved a college-age Spider-Man fighting Nazis and a 30-meter robot, as well as the death of Gwen Stacy, which had occurred in the comics only three years earlier. The project never came to fruition.
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In the original Spider-Man comic, the Green Goblin first appeared in issue #14, but it was not revealed that he was Norman Osborn until issue #39. There are conflicting reports about who created Osborn (the person leaving with issue #37) and who decided that Osborn would be the Goblin. Stan Lee said that, despite the wishes of co-creator Steve Ditko, he wanted Osborn to be the Goblin, explaining: "Steve wanted him to turn out to be somebody we'd never seen before. Because he said, in real life, most of the time the bad guy is somebody you don't know. I felt that would be wrong. I felt it would be, in a way, cheating the reader… if it's somebody you don't know and never saw, then what was the point of following all the clues that disappointed the reader?" Lee, however, admitted that his memory could be wrong. Ditko maintained that he created Osborn and planned for him to be the Goblin before the first Goblin story was published. He left the series with issue #38, and John Romita Sr. took over as artist. Romita confirmed Lee's claim, recalling: "If Ditko had done the story and not revealed that the Green Goblin was Norman Osborn, Stan couldn't have stood for it. I didn't know there was any doubt that Osborn was the Goblin. I didn't know Ditko was making Osborn a straw man. I just accepted the fact that he was going to be Norman Osborn when we did the plan. I was following. It was the last few issues and I didn't think there was that much mystery about it. Looking back, if Ditko had continued, I doubt the Goblin's identity would have been revealed in Amazing #39."
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Production Story (6)
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In 1985, Cannon Films heads Menahem Golan and Yoram Globus bought the rights to make a Spider-Man film. They believed Spider-Man was a monster rather than a superhero, similar to the Wolf Man. They hired Leslie Stevens, creator of The Outer Limits (1963), to write a script based on their misinterpretation of the character. Stevens's script featured a scientist who exposes Peter Parker to radiation and turns him into an eight-armed tarantula-like creature. Stan Lee did not approve of this version and proposed a different story involving Doc Ock, similar to the plot of Spider-Man 2 (2004). Tobe Hooper was considered to direct, and proposed cast members included Tom Cruise as Peter Parker, Bob Hoskins as Doc Ock, Stan Lee as J. Jonah Jameson and Lauren Bacall or Katharine Hepburn as Aunt May. The project was cancelled after the box office failure of Cannon's Superman IV: The Quest for Peace (1987).
- #128
In 1982, Roger Corman began developing a low-budget Spider-Man film based on a treatment by Stan Lee. Orion Pictures was to produce the film, but the project was shelved when Orion did not hold the rights. According to the book "Stan Lee and the Rise and Fall of the American Comic Book," the film had Spider-Man fighting Doctor Octopus and preventing a nuclear war with Russia. It also featured a fight atop the United Nations building and a love triangle between Peter Parker, Mary Jane and a female KGB agent. Corman produced another Marvel film that was never officially released, The Fantastic Four (1994).
Behind the Scenes (10)
- #129
When Peter tests his webbing for the first time, he says several classic slogans belonging to DC Comics characters, most notably "Up, up and away, Web!" (Superman) and "Shazam!" (DC's Captain Marvel; not to be confused with the Marvel Comics character). Tobey Maguire improvised these lines on set.
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Willem Dafoe was never the intended choice to play the Green Goblin. After the script came to him he began lobbying for the role and met with Sam Raimi, who planned to cast Billy Crudup in it. Some time later, while Dafoe was shooting a film in Spain, he was approached and some test footage was shot in his hotel room. This led to his being cast. After getting the role, Dafoe asked to be allowed to do his own stunts so that the character and the movements would feel authentic or so that the audience would notice the difference. He performed about 95% of his stunts himself and, unlike many stunt teams, learned how to use the Goblin Glider in only 15 minutes. The actor, who had a very good time during the shoot, offered to return for Spider-Man 2 (2004) and asked whether they could write him in somewhere, since the character dies in this film. Sam Raimi accepted the offer, and the two set aside a specific day for Dafoe to shoot for Spider-Man 2 so that Norman Osborn could appear in other characters' dreams and memories.
- #132
The moment when Peter catches Mary Jane and her tray in the cafeteria was nearly cut due to time and budget; filming that had initially taken two days on set was reduced to one, but Sam Raimi and Laura Ziskin were determined to capture the moment on screen. The scene was shot 156 times for Tobey Maguire to get it right.
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One of the original designs for the Green Goblin mask closely resembled the one in the comics. It was an articulated animatronic mask with a realistic green face, large pointed ears, large yellow eyes and the Green Goblin's typical purple hood. It looked so convincing that some crew members were frightened by it. However, Sam Raimi decided not to use the mask because the actor playing the Green Goblin had not yet been cast. This led the designers to create a new mask that would eventually become the one seen in the film.
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Eighteen years passed between the first concept for bringing the film to the screen and its actual release. Laura Ziskin says this was a good thing, because visual effects were not advanced enough to bring the character to life the way Sam Raimi needed for this film. Some might even say the visual effects were not advanced enough until the sequel.
- #137
Sam Raimi wanted Bill Pope, with whom he had previously worked on Darkman (1990) and Army of Darkness (1992), to be the film's cinematographer. However, Pope was busy working on The Matrix Reloaded (2003) and The Matrix Revolutions (2003). Raimi's second choice was Peter Deming, but he was working on Austin Powers in Goldmember (2002). Don Burgess ultimately got the job, but Pope eventually shot Spider-Man 2 (2004) and Spider-Man 3 (2007).
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Characters & Cast (12)
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Actors considered for the role of J. Jonah Jameson before J. K. Simmons was cast included R. Lee Ermey, Hugh Laurie, Harve Presnell, Dennis Farina, Michael Keaton, Fred Ward and Bill Paxton. Stan Lee said he always wanted to play J. Jonah Jameson because the character was inspired by him; he even auditioned for the part but was deemed unsuitable for it, and Lee would go on to praise Simmons's portrayal highly. Keaton would later play Adrian Toomes/The Vulture in Spider-Man: Homecoming (2017).
- #141
In real life J. K. Simmons is bald and clean-shaven, which led him to wear a wig and a fake mustache for the role of J. Jonah Jameson Jr. Despite the difference in appearance, Simmons said that after the film's release, complete strangers on the street would immediately identify him as J. Jonah Jameson Jr. Ironically, Simmons's later Marvel Cinematic Universe portrayal of the character, beginning with Spider-Man: Far From Home (2019), left him bald.
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When Willem Dafoe took on the role of Norman Osbourne, he had to wear prosthetic teeth. The producers thought that someone as wealthy as Norman Osbourne could afford to have his teeth fixed. In the scene where Norman Osbourne talks to himself in the mirror, Dafoe's real teeth are visible.
- #144
Before Willem Dafoe was cast as the Green Goblin, the role had been offered to Nicolas Cage, John Malkovich, Bill Paxton, Mel Gibson, John Travolta, Brad Dourif and Robert De Niro. The part was initially planned to be played by Billy Crudup, who left other projects to appear in this film, but he turned it down because he was considered too young to play Norman Osborn. Many actors declined the role, including Cage, De Niro, Gibson and Travolta. De Niro was also considered for Otto Octavius/Doctor Octopus, another villain, in Spider-Man 2 (2004). The last actor to play Norman was Paxton, but after several meetings Sam Raimi was finally convinced that Dafoe was right for the role. Paxton's father, John Paxton, still appears in the film as Osborn's elderly butler Bernard. Cage would go on to voice Spider-Man Noir in Spider-Man: Into the Spider-Verse (2018).
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In 1993, James Cameron was hired to rewrite an existing draft for "Spider-Man" for Carolco Pictures. The script was going to feature Liz Allen as Peter Parker's love interest instead of Mary Jane Watson, and the villain was Doctor Otto Octavius/Doctor Octopus. Unlike the comics, Octavius was a professor who would be a mentor to college senior Peter Parker, and Otto called himself Professor Octopus after his four mechanical arms become accidentally fused to his body. During an accident, Octavius turns into Professor Ock when he is bitten in the back of the neck by the same radioactive spider that turns Peter into Spider-Man. To make the film more kid-friendly, the company had Doc Ock constantly use the phrase "Okey! Dokey!" and Ock had an assistant named Weiner that later kills Peter's Uncle Ben Parker instead of a burglar that Spider-Man lets escape. Arnold Schwarzenegger was Cameron's first choice for Doctor Octopus and Edward Furlong was considered for Peter Parker. Cameron wrote a new draft several years later that featured Peter Parker as a high school senior in love with Mary Jane Watson, and Spider-Man would fight two villains, Electro and Sandman. However, Electro was changed from electrical lineman Max Dillon to billionaire businessman Carlton Strand (who could absorb data from computers), while Sandman was changed from crook Flint Marko to Strand's hired henchman, Boyd. In this version, the spider bite gave Peter organic web-shooters in his wrists, instead of him having to make them himself. The script was much less family-friendly, containing R-rated profanity and even a sex scene between Peter and Mary-Jane on the Brooklyn Bridge, but it had the blessing of Spider-Man creator Stan Lee. Cameron had intended to cast Lance Henriksen as Strand, and Michael Biehn as Peter Parker (foreshadowed in earlier Cameron movies The Terminator (1984), Aliens (1986), and The Abyss (1989) where Biehn's character always gets bitten in the hand, like Peter Parker is by the spider), but later considered Leonardo DiCaprio as Peter, and Biehn as Boyd. However, the director couldn't make his Spider-Man movie when it turned out that Carolco never had the sole movie adaptation rights (they were shared by several companies). Carolco went bankrupt soon afterwards, leading to a long battle over the legal rights that caused the project to go into limbo for several years. When Sony finally got the rights, the screenplay was heavily re-written by several authors, and despite retaining many elements from Cameron's treatment, only David Koepp was credited. Cameron later commented that this lack of acknowledgment made him feel "slighted, but not injured".
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On June 6, 2002, Steven Spielberg revealed that he had been offered the chance to direct the film and that it would later have a sequel. However, he declined the offer because, although he loved Spider-Man, he wanted to make a film that went beyond his previous work and was more important than the film itself.
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Kate Bosworth auditioned for the role of Mary Jane Watson but admitted: "I failed really, really badly. Auditions are literally hell. It's a horrible thing no matter what, and I was really nervous… I wasn't good at it. I knew it. I kind of froze up. And I was really young!" She was eventually cast as Lois Lane, another superhero love interest, in Superman Returns (2006).
Easter Eggs & References (5)
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(at around 56 mins) When Jameson's subordinates are trying to tell him about Spider-Man, one of them says, "Eddie's been trying to get a picture of him for weeks." This is a reference to Eddie Brock, a comic book character who would later be featured in Spider-Man 3 (2007) and the "Venom"-films.
- #152
The World Trade Center towers can be seen in the background of some scenes and once in the reflection in Spider-Man's eye; in the closing scene, as he swings around the American trade building, the towers are faintly visible in the distant background. The filmmakers chose not to remove them digitally.
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There was not enough money in the budget to execute Peter's dream scene as written in the script, and the entire sequence was almost completely scrapped. Bob Murawski, one of the two editors, assembled the sequence using frames from the opening titles, stock footage from Sam Raimi's earlier film Darkman (1990) and even a frame from the Lucio Fulci film The Beyond (1981).
Deeper Meaning (2)
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Timothy Holcombe, a welder building sets for the film, died on March 6, 2001, when an improperly modified forklift being used as a camera crane fell onto the construction basket he was in and struck him in the head. He was part of the crew working on the construction of the New York City street facade for the film.
Career & Awards (1)
Related pages
- Colm Feore — Spider-Man comes up in the facts on that page
- Spirit: Stallion of the Cimarron — Spider-Man comes up in the facts on that page
- Spider-Man: Across the Spider-Verse — Spider-Man comes up in the facts on that page
Sources & editorial notes
Reference databases
- Wikipedia
- IMDb
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