I love working with actors: It’s nice to be talking with people who have thought about the characters and the scenes at least as much as I have.

“I was surrounded by incredible, award-winning actors every day. Sony-Marvel’s “Spider-Man,” produced by Amy Pascal and Kevin Feige, offers terrific setpieces and memorable small-scale moments. Though Watts had worked a lot in VFX, this level was “definitely a learning curve.” “This one also involved everything you take for granted - and made everything 10 times more difficult.” “You always have challenges when making a VFX-heavy movie,” Watts says. They filmed New York streets, then added principals, then layers of background crowds, since COVID protocol limited how many people could assemble at the same time. Even the most basic shot, of Peter Parker walking down the street, became a multilayered VFX shot.” “Before COVID,” he says, “we planned a big New York location shoot with tons of extras. Watts directed two previous “Spider-Man” films (the 2017 “Homecoming” and the 2019 “Far From Home”) and “No Way Home” picks up immediately after the end of the previous edition, with the public freaking out as Peter Parker is identified as Spider-Man’s alter-ego.

I think everyone else also felt that gratitude and I hope that comes across.” So to be on the set and working, I felt deep gratitude.

“The first day was completely different from the first day of any film I’ll ever be on, because of the situation.

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