Spider-Man 2

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Spider-Man 2 is a 2004 film based on the eponymous Marvel comic. It stars Tobey Maguire and Alfred Molina, and continues the story of Peter Parker's struggle to balance between his normal life and his life as Spider-Man. This film is released theaters July 2, 2004 in United States.

Written by Alvin Sargent, Directed by Sam Raimi.

Peter Parker / Spider-Man[edit]

  • [drops boxes of pizza on desk] Pizza time!
  • [speaks to MJ through a dead phone line] I wanna tell you the truth... here it is: I'm Spider-Man. Weird, huh? Now you know why I can't be with you. If my enemies found out about you... if you got hurt, I could never forgive myself. I wish I could tell you how I feel about you.
  • [to himself, regarding his life] Am I not supposed to have what I want?
  • [to himself] She (MJ) can never know how much I love her.
  • [end of PS2 game, closing narration] Mary Jane, the girl next door, the girl I love, and now, the girl waiting for me at the end of the day. Fate handed me amazing powers, and with those powers came a burden of responsibility. Somehow though, having her with me makes that burden lighter. Still, in the end, it's mine to bear. After all, there's still only one... Spider-Man!
  • [pleading with MJ to give him a chance] I let things get in the way before, there was something I thought I had to do... I don't have to!
  • [talking to Doc Ock] Sometimes, to do what's right, we have to be steady, and give up the things we want the most. Even our dreams.
  • [Doc Ock throws a heavy bag full of coins at him, Spider-Man catches it by his webbing] Here's your Change! [tosses it back on Ock].
  • I believe there's a hero in all of us that keeps us honest, noble and finally allows us to die with pride. Even though sometimes we have to be steady and give up the things we want the most. Even our dreams."

Otto Octavius / Doctor Octopus[edit]

  • Intelligence is not a privilege, it's a gift. And you use it for the good of mankind.
  • If you keep something as complicated as love stored up inside…gonna make you sick.
  • Has anybody lost a large roll of 20 dollar bills in a rubber band? Because we found the rubber band.
  • The power of the sun…in the palm of my hand.
  • You've stuck your webs into my business for the last time!
  • The true crime would be to not finish what we started.
  • You have a train to catch.
  • Listen... Listen to me now. Listen to ME now!
  • I will not die a monster! [last words, as he brings the fusion device down on top of himself]

May Parker[edit]

  • [sees Doc Ock about to sneak attack Spiderman] Shame on you! [hits him with her umbrella, causing him to miss]
  • [after Spiderman saves her] Have I been wrong about you!

J. Jonah Jameson[edit]

  • [speaking to his wife over the phone] Dear, we agreed to put on a wedding, not go into bankruptcy... Caviar? Who are we inviting, the Czar? Get some cheese and crackers... some of those little cocktail weenies.
  • [discussing his son's wedding with his wife over the phone] Flowers? How much? If you spend any more on this thing, you can pick the daisies off my grave! Get plastic!
  • Guy named Otto Octavius winds up with eight limbs. What are the odds?
  • Lookin' for a raise? Get out!
  • [looking at Spiderman's suit] Spiderman...was a hero. I just couldn't see it. He was a...[looks to see that Spiderman has stolen back the suit]...a thief! A criminal! He stole my suit! He's a menace to the entire city! I want the wall-crawling arachnid prosecuted! I want him strung up by his web! I want Spiderman!!

Other characters[edit]

Peter Parker: Hi.
Mr. Ditkovich: What's hi? Can I spend it?

Mr. Ditkovich: If promises were crackers, my daughter would be fat.

Mr. Ditkovich, at numerous points in the film: Rent?

[Peter is waiting for the bathroom and Mr. Ditkovich pushes in front, closing the bathroom door behind him. He opens it again.]
Mr. Ditkovich: Rent?
[Peter closes the door in Ditkovich's face.]

Norman Osborn: AVENGE ME!

Stan Lee (cameo): Look out!

Joseph "Robbie" Robertson: [a garbage man brings the spidey costume at the Bugle] Where the hell did you get that!?

Dialogue[edit]

J. Jonah Jameson: You're fired. ...Parker, hello? You're fired!
Peter Parker: Why?
J. Jonah Jameson: [looks at Peter's latest photos in his photo book] Dogs catching Frisbees? Pigeons in the park? A couple of geezers playin' chess?
Betty Brant: [walks in urgently] Boss!
J. Jonah Jameson: Not now.
[Brant walks out]
Peter Parker: Well, I was thinking maybe the Bugle could show another side of New York for a change.
Robbie Robertson: We got six minutes to deadline, Jonah! We need page one!
J. Jonah Jameson: [looks over at Robbie, ignores him] Parker, I don't pay ya to be a sensitive artiste! I pay you because... [notices Brant heading back for his desk] Still not now! [Brant walks back out] I pay you because for some reason that psycho Spiderman'll pose for you!
Peter Parker: Spider-Man won't let me take any more pictures! You've turned the whole city against him!
J. Jonah Jameson: A fact I'm very proud of! Now, get your pretty little portfolio off my desk before I go into a diabetic coma! [intercom alarm goes off; he presses the intercom button]
Betty Brant: Boss, your wife's on the line! She said she lost your checkbook!
J. Jonah Jameson: Thanks for the good news! [turns off intercom]
Peter Parker: Mr. Jameson, please, isn't there any of these shots you can use? I really need the money.
J. Jonah Jameson: [with faux sympathetic 'puppy-dog' face] Aww... Miss Brant?!?
Betty Brant: [walks in] Yes?
J. Jonah Jameson: Get me a violin!
Robbie Robertson: Five minutes to deadline, Jonah!
J. Jonah Jameson: All right, run a picture of a rancid chicken. Here's the headline: "Food Poisoning Scare Sweeps City!"
Hoffman: [leans in] Some food got poisoned?
J. Jonah Jameson: [glares over] I'm a little nauseous, yah!
Peter Parker: [after a short pause] All right, Mr. Jameson. [hands Jameson a photo of Spider-Man]
J. Jonah Jameson: [briefly analyzes the photo] It stinks. Robbie, there's your Page 1: "Masked Menace Terrorizes Town!"
Robbie Robertson: I told you he's not a menace!
J. Jonah Jameson: And I told you...
Robbie Robertson: I'll take care of it.
J. Jonah Jameson: I'll give you $150.
Peter Parker: $300.
J. Jonah Jameson: That's outrageous! [hands Peter his check] Done. Give this to the girl.

[After Spider-Man saves Aunt May from Doc Ock]

Spider-Man: We sure showed him.
Aunt May: What do you mean, we?

Doc Ock: [grabs Spider-Man] You're getting on my nerves.
Spider-Man: I have an knack for that.
Doc Ock: Not anymore. [squeezes harder]

Spider-Man: Where is she?!
Doc Ock: Oh, she'll be just fine. Let's talk.
[they fight]

[Peter has to get past his landlord who is insistent on collecting rent from him]
Peter Parker: Hi.
Mr. Ditkovich: What's 'hi'? Can I spend it? You're two months behind rent again. Again!
Peter Parker: I'm sorry, I'm promise I'll get it in sooner or later-
Mr. Ditkovich: If promises were crackers, my daughter would be fat!
Peter Parker: All I have is this $20 for the rest of the week and-
Mr. Ditkovich: [snatches the $20 from Peter's hands] Sorry doesn't pay the rent. And don't try to sneak past me. I have ears like a cat, and eyes like a rodent.
Peter Parker: Thanks, Mr. Ditkovich.
Ursula Ditkovich: Hi, Pete! [accidentally knocks over pan, and oven catches on fire. As Ursula is putting out the fire, Mr. Ditkovich slams the door in Peter's face]

Garbage Man: [on bringing in Spider-Man's discarded costume] Now look, uh, I think I deserve a little something for this.
J. Jonah Jameson: Give ya fifty bucks.
Garbage Man: I could get more than that on eBay.
J. Jonah Jameson: All right, a hundred. Miss Brant, give this man his money and throw in a bar of soap!

Peter Parker: [Aunt May is moving, and boxes are outside her house] Hey, where are all my comic books?
May Parker: Oh, those dreadful things? I gave those away.

Peter Parker: (regarding Uncle Ben) Aunt May, you shouldn't blame yourself.
May Parker: Oh, I know I shouldn't. It's just...you wanted to take the subway, and he wanted to drive you. If only I had stopped him, then all three of us would be having tea together.
(There is a brief pause of silence. Finally, Peter speaks)
Peter Parker: I'm responsible.
May Parker: For what?
Peter Parker: For what happened to Uncle Ben.
May Parker: But, you were at the library. You were doing your homework.
Peter Parker: He drove me to the library, but I never went in.
May Parker: What do you mean?
Peter Parker: I went someplace else, someplace where I thought I could win some money, to buy a car, because I wanted to impress Mary Jane. It happened so fast... I won the money, the guy wouldn't pay me, then he got robbed... the thief was running towards me... I could have stopped him, but I wanted...revenge. I let him go, I let him get away. He wanted a car, he tried to take Uncle Ben's. Uncle Ben said no... and then he shot him. Uncle Ben was killed that night for being the only one who did the right thing. I held his hand when he died. I've tried to tell you so many times...

May Parker: You'll never guess who he wants to be... Spider-Man!
Peter Parker: Why?
May Parker: He knows a hero when he sees one. Too few characters out there, flying around like that, saving old girls like me. And Lord knows, kids like Henry need a hero. Courageous, self-sacrificing people. Setting examples for all of us. Everybody loves a hero. People line up for them, cheer them, scream their names. And years later, they'll tell how they stood in the rain for hours just to get a glimpse of the one who taught them how to HOLD ON a second longer. I believe there's a hero in all of us, that keeps us honest, gives us strength, makes us noble, and finally allows us to die with pride, even though sometimes we have to be steady, and give up the thing we want the most. Even our dreams. Spider-Man did that for Henry and he wonders where he's gone. He needs him.

[Peter parks the car of two thieves outside the theater in a red zone]
Officer: Hey, buddy! You park there, I'm towin' it!
Peter: Whatever.
[Peter walks into theater lobby]
Doorman: Ah! Shoelace.
[Peter stops, bends down to tie his shoelace, then moves forward again]
Doorman: Wait, you might want to...[motions for Peter to fix tie]
[Peter fixes tie and moves forward again]
[Doorman stops him entering theater]
Doorman: Can I help you?
Peter: Yeah, I, uh, I've come to see the show.
Doorman: Oh, I'm sorry sir: "No one will be seated after the doors are closed."... It helps maintain the illusion.
Peter: Ah, I understand. Umm... Miss Watson, She's a friend of mine, she asked me to come.
Doorman: But not to come late.
Peter: But, I have to see the show. If you just let me in, I'll stand by the–
Doorman: Shh. (Points his hands to the sign that says, "Quiet please while play is in progress")

J. Jonah Jameson: [talking about Otto Octavius] What are we gonna call this guy?
Hoffman: Doctor Octopus?
J. Jonah Jameson: That's crap.
Hoffman: Science Squid?
J. Jonah Jameson: Crap!
Hoffman: Doctor Strange?
J. Jonah Jameson: That's pretty good... [Hoffman smiles in acceptance] But it's taken! ...Wait, wait! I got it! Doctor Octopus.
Hoffman: I...but... I like it.
J. Jonah Jameson: Of course you do. Doctor Octopus. New villain in town: Doc Ock.
Hoffman: Genius.
J. Jonah Jameson: What, are you lookin' for a raise? Get out!

[In Peter's mind sitting in Uncle Ben’s car]

Uncle Ben: All the things you've been thinking about, Peter, make me sad.
Peter: Can’t you understand? I’m in love with Mary Jane.
Uncle Ben': Peter all the times we talked about honesty fairness justice all those times I counted on you to have the courage to take those dreams out into the world.
Peter: I can’t live your dreams anymore. I want a life of my own.
Uncle Ben: You’ve been given a gift Peter, with great power comes great responsibility. Take my hand son.
Peter: No, Uncle Ben. I’m just Peter Parker. I’m Spider-Man no more. No more.

About Spider-Man 2 [edit]

  • Now this is what a superhero movie should be. "Spider-Man 2" believes in its story in the same way serious comic readers believe, when the adventures on the page express their own dreams and wishes. It's not camp and it's not nostalgia, it's not wall-to-wall special effects and it's not pickled in angst. It's simply and poignantly a realization that being Spider-Man is a burden that Peter Parker is not entirely willing to bear.
  • "Spider-Man 2" is the best superhero movie since the modern genre was launched with "Superman" (1978). It succeeds by being true to the insight that allowed Marvel Comics to upturn decades of comic-book tradition: Readers could identify more completely with heroes like themselves than with remote godlike paragons. Peter Parker was an insecure high school student, in grade trouble, inarticulate in love, unready to assume the responsibilities that came with his unexpected superpowers. It wasn't that Spider-Man could swing from skyscrapers that won over his readers; it was that he fretted about personal problems in the thought balloons above his Spidey face mask.
  • I was disappointed by the original "Spider-Man" (2002), and surprised to find this film working from the first frame. Sam Raimi, the director of both pictures, this time seems to know exactly what he should do, and never steps wrong in a film that effortlessly combines special effects and a human story, keeping its parallel plots alive and moving. One of the keys to the movie's success must be the contribution of novelist Michael Chabon to the screenplay; Chabon understands in his bones what comic books are, and why. His inspired 2000 novel The Amazing Adventures of Kavalier and Clay chronicles the birth of a 1940s comic book superhero and the young men who created him; he worked on the screen story that fed into Alvin Sargent's screenplay.
  • The current status quo in the genre makes the absurdist, irreverent tone of 2004’s Spider-Man 2 seem all the more astonishing today. Most humour in the film draws on Peter Parker’s permanent status as a nerd – an awkward, nebbish presence outside of the famous costume. A naive man-child, Parker reacts to the series of brutal challenges he faces with a melancholic pout and a half-smile. His response to being repeatedly jostled in the street is an amused, embarrassed chuckle. The total lack of realism in Tobey Maguire’s career-defining performance places Raimi’s trilogy firmly in the realm of fantasy. There is no Actor’s Studio work being done here. Contrasted with more recent comic book fare, the thrill of a big action sequence is now perpetually dampened by an insistent awareness of disastrous consequences as embodied by the brooding of an Oscar winner, a shake of their head and an existential monologue.
  • Nowadays, Superhero sequels are, for the most part, aimed at hardcore fans who have the pre-awareness and commitment to follow confused storylines across past, present and future. Fan theories crudely engulf the screen as characters form alliances and separate out as they would in a soap opera. And this is not down to narrative necessity, but to create new thrills that are often as ephemeral as they are nonsensical.
    In that sense, Spider-Man 2 belongs to a bygone era of franchise blockbusters. But this also comes down to ideology. Perpetually jolly, the film refuses to adopt the de rigueur misanthropy and pessimistic view on humanity articulated by the Ayn Rand-infused opera stylings of Batman V Superman. While Parker and Octopus are portrayed as similar but on different sides of the law, the latter is by no means the ‘dark side’ of the former. There is no sense of true, straightforward evil in the world of Spider-Man 2. Rather, we are presented with misguided, heartbroken and desperate people who have lost all sense of scale and responsibility.
    The moment when Doc Ock finally comes to his senses is all the more moving precisely because of how badly he has acted previously. That Parker/Spider-Man would give him a chance to act like the kind human being he once knew makes for a heartbreakingly beautiful moment. It exposes the film’s sincere belief in humanity, the spirit of community and forgiveness. It is not because people are weak that Spider-Man must fight crime (see: The Dark Knight), but because he is the single individual given the (super) power to stop those who have strayed too far to be saved by a simple act of kindness. He is here when the empathy of people such as the doomed Uncle Ben of the first film, and the second’s moral arbiter, the lovely Aunt May, fail to bring desperate people to their senses.
  • Peter Parker is just in a different place in his life. It's wearing on him, being Spider-Man and not having a life of his own. I always thought it was peculiar to me how this kid couldn't see how he could just have a little balance in his life and things would be a little better for him. But there are complications to that, which I understand. He doesn't want to put his loved ones in danger and also, just being honest with people at first causes him pain. Just being around Aunt May at first is a painful experience because he's constantly wracked with guilt and feelings of responsibility for all the bad things that happened. He faced that situation and it helped their relationship. It helped set him free in their relationship. So I think that stuff is just wearing on him. He wants a life of his own. He wants to have some kind of balance in his life, but he also has these gifts and wants to use them responsibly.
  • It was a mixture of practical puppeteered arms, CG and animation. We had a fantastic team of puppeteers. 15 guys and one woman. And a wonderful choreographer, a guy called Eric Hayden, who essentially designed the movement in a way. The puppeteers and myself worked together very closely over a series of weeks to try develop a vocabulary of movement, a language if you like, so we could do great big things like push a hole through a building, but at the same time do delicate things like taking off a pair of glasses or like lighting a cigar. Even one shot we did, I don't think we ever used it, but one of the tentacles actually came out and wiped away a tear. So we had a really wide range of possibilities. What they did, which I thought was brilliant really, they managed to infuse these lumps of resin and fiberglass and metal and plastic with real life. They gave them character and personality. There's a wonderful moment where Flo, the female tentacle (Yes, Molina has named them), comes in and I say something, I mumble something, and she does this wonderful thing where she just tilts, as if she's cocking an ear because she can't understand what I said. Puppies kind of do that, and I thought it was so brilliant, that kind of detail makes them so completely full of life... That's a great tribute to [the puppeteers]. They were really clever."
  • In my mind, I was working on the story and I knew how I wanted it to end. The story of a life out of balance, first lopsided in one way as he tries to be this responsible young man and then lopsided in another way as he decides the hell with it, I’m living my life, damn anybody else. And then that road leads to such moral decay that he finally has to say to himself I will go back to my lopsided life of being Spider-Man and just down this road of responsibility. Unfortunately it’s like a prison sentence to him. What he doesn’t know is that by the end of the piece, he learns, through Mary Jane Watson that he cannot go down that road alone. And so I found that he found a sense of balance by the end. So it seemed to me, complete, as a complete story. Also the story of some young man who is on the road to responsibility, learns the sacrifices that are necessary to be responsible. I felt that he had learned a lesson, so it seemed complete in a few different ways. I didn’t really think of it as a franchise movie.
  • I was thinking about a great issue of Stan Lee’s Spider-Man comic book where he gets the flu. And he, for a time, is really weak. It was so human to me, I thought it was great. This superhero’s got the bug that affects all of us, and just like we all have to go to work when we’re sick and we really don’t know why we’re doing this and how we’re gonna do our job, he had to fight criminals when he had the flu. I thought that was incredibly human, a humanizing thing to have happened to a super hero. It was a combination of that and a desire to put that into the picture so we could identify with him. I thought that was a unique thing that happened in Stan Lee’s comics, But also there was another issue of Stan Lee’s comics that I loved where he decided to throw the suit away. It was issue number 50, perhaps, his life problems had just become too great, so I think what happened was there was a synthesis of those two ideas, along with other elements I was interested in telling in this story. That’s where the genesis of the loss of powers came from.

Cast[edit]

External links[edit]

Wikipedia
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