“Spider-Man was different from other shows I worked on primarily because of the birthing pains. There were lots of people who had a say in what the show would be like, and none of them seemed to agree at the start. A draft of a script might please one of the producers, but then the network would hate it, and vice versa. There would be seemingly endless re-writes. Most shows have problems like this at the beginning, but this was the most extreme instance I've seen. And it was a bit of a surprise, too, because the comic was so explicit; you'd think that everybody would know exactly what the show should be, down to the smallest detail, based on the template that Stan Lee had laid out years earlier in the comics. But if it hadn't been John Semper's considerable diplomatic skills, the show might still be in pre-production.”
“When he’s in Peter mode, I wanted to emphasize the youth and insecurity and wonder. When I was in Spider-Man mode, I wanted to emphasize the push back of the heroic nature and the will asserting itsel...”
Spider-Man (1994 TV series)
“The character that stood out most to me was Jameson. His hatred for Peter and Spidey was so pathological; I eventually came to the conclusion that Stan was trying to say something about anti-Semitism ...”
Spider-Man (1994 TV series)
“Everybody - producers, network, writers, artists had a different conception of the Venom story; it took a half-day-long meeting with everyone - Avi, Stan, the network rep, the supervising producer (Bo...”
Spider-Man (1994 TV series)
“I remember on Kraven that first season that Avi and Sidney really wanted some advanced stuff in there quoting of Russian poets and things and I think that ended up staying in. I just wondered why the ...”
Spider-Man (1994 TV series)
“BS & P, as they're affectionately known to writers, can make some things literally impossible. And most people outside the industry don't know what power they have. For example, I get some fans who as...”
Spider-Man (1994 TV series)