‘Spider-Man’ Director Jon Watts Reveals Why He Dropped Out of ‘The Fantastic Four’

by

As a die-hard movie enthusiast, I’m thrilled to share that Jon Watts, the mastermind behind the sensational Spider-Man trilogy consisting of Homecoming, Far From Home, and No Way Home, created quite a stir in Malta recently. He graced us with his presence at the Mediterranean Film Festival, where he led an engaging storytelling masterclass. This event took place last Thursday afternoon within the historic walls of Fort Ricasoli, a site that has been honored to host prestigious Hollywood productions like Gladiator and Napoleon.

During the session, Watts dished out some scriptwriting advice (write swiftly without being too guarded about the first draft, give extra attention to revising the third act). However, the main focus of the discussion (guided by Steven Weintraub from Collider) was delving into the intriguing aspects of Watts’ remarkable career. Here are some captivating highlights from the 90-minute chat.

Pandemic-Related Fatigue Led Watts to Drop Out of Fantastic Four

The Incredible Four: Initial Journey” debuts on July 25, directed by Matt Shakman. Previously, Jon Watts had been appointed as the director for Marvel Studio’s project, but he stepped down in 2022 following the release of the third Spider-Man film. In his first statement regarding his departure, Watts disclosed that “he was running out of steam” post No Way Home, and needed to take a break due to an exhausting shoot and post-production process during the pandemic. The strain of adhering to COVID protocols while simultaneously ensuring creativity and safety for the cast and crew, as well as the fear that mistakes could have been fatal, added to the difficulty. Additionally, the post-production process was particularly challenging due to the international aspects of visual effects work, which involved vendors from various parts of the world. The interruption in the supply chain caused by COVID made it tough to complete special effects in a traditional manner.

This version maintains the original’s information while using simpler language and rephrasing some sentences for clarity and readability.

Instead, he went on to direct Wolfs for Apple, starring Brad Pitt and George Clooney.

He had agreed to work on “Fantastic Four” during the gap between the second and third “Spider-Man” movies. However, when it was time to concentrate on “First Steps”, he acknowledged, “I’m running out of energy. With the added challenge of creating a masterpiece amidst the COVID-19 pandemic and producing a big-budget movie, I knew I didn’t have the required strength to make it exceptional. I just needed a break to recharge. Marvel fully grasped this situation, as they had been through similar exhaustion themselves, so they were sympathetic and understood.

Speaking of it, Watts is eager to find out what Shakman and the team have created, acknowledging that it will be a completely strange and fascinating experience for him to watch that film.

Is There More Star Wars in Watts’ Future?

Following the success of the Spider-Man series, director Jon Watts ventured to Disney and Lucasfilm to develop Skeleton Crew, featuring Jude Law alongside his writing partner Christopher Ford. The show completed one season, leading Weintraub to inquire if there would be more Star Wars content from Watts. While evasive, Watts expressed affection for the franchise: “I adore Star Wars,” he smiled. “I’d love to do more Star Wars, but I can’t reveal anything more. I usually get into trouble when I talk too much during interviews and end up saying something I shouldn’t.” Weintraub acknowledged the numerous Star Wars projects that start development with directors attached but never materialize, asking if this gave Watts any pause. However, Watts shared his enthusiasm for the universe, claiming he would work for free in his “Star Wars corner” due to the enjoyable creative process. Asked about potential Skeleton Crew sequels, Watts remained coy: “I can’t definitely say what it might be if it exists.

Watts on Final Destination Fandom and Bloodlines Success

The movie “Final Destination: Bloodlines” has been a hit both critically and commercially, a success for Watts who is credited as a producer and contributor to the story. I asked how he got involved, and Watts explained that an executive from New Line contacted his wife, fellow producer Dianne McGunigle, to inquire if she knew anyone interested in working on another installment of the horror franchise. She knew someone who lived at the same address. “I’m a big fan of Final Destination,” he said, and when the studio asked for ideas, he was eager to provide an outline for the story. “I genuinely loved those movies.” Since the film directed by Zach Lipovsky and Adam Stein has been successful, I asked if he’s been approached again to help create another installment. “I’m always on the lookout for new Final Destination ideas,” he joked, although he added that he hasn’t spoken with anyone at New Line yet about what a sequel to that film might entail or be like.

Watts is “Staying Away” From A.I., Prefers “Human Beings That I Work With”

Regarding the application of artificial intelligence in film production, Watts cautioned against delving too deeply into the subject but did express concern over labeling everything produced by machines. He suggested that people should reconsider their tendency to label everything AI-generated, stating, “There are numerous aspects to this discussion. It seems like when people talk about AI, they often ask, ‘How will AI change everything?’ or ‘What impact will artificial intelligence have on politics?’ AI is a highly complex entity that can be utilized in multiple ways. Instead of jumping to conclusions, it would be more beneficial for everyone to educate themselves about the topic before making assumptions.” Watts further clarified his stance by saying, “On a personal level, I don’t engage with AI. I value the human beings I collaborate with, and I have no intention of replacing any of them. I look forward to working alongside human beings. At the moment, I am merely learning about it, but I choose not to work with it.

Hollywood is a “Welcoming Creative Place” for Directors

Weintraub inquired from Watts about something intriguing regarding the role of a Hollywood director. “It’s not a tool that one simply picks up,” Watts clarified. “There seems to be this notion that you arrive as a director, and there are numerous producers and people behind-the-scenes manipulating strings to make you want to do things or force you into decisions. However, I haven’t encountered such an experience personally. Instead, my experience has been one of a warm, creative environment where people look to the director for guidance and have ideas to shape the story and script.

More Original Films, Less Groundhog Day Remakes

After being queried by Weintraub, Watts expressed his desire to see more unique films in cinemas, particularly those of a moderate scale. He believes that the current system has evolved to prioritize large-scale, expensive blockbusters, often based on existing properties, as they’re less risky. This, according to him, has left a gap for fresh, exciting new movies. Instead of continuously remaking films like “Groundhog Day”, he suggested creating new original stories and medium-sized ideas that rekindle the excitement for going to the movies again. Weintraub pointed out how a recent original film like “Elio” from Pixar didn’t perform well at the box office, which may lead to fewer original projects being greenlit.

Another point I believe adds stress in Hollywood today is the lack of room for films to develop in theaters,” Watts explained further. “Previously, movies could begin modestly and gradually build momentum over time. However, if it doesn’t become an instant blockbuster, people tend to label it a major failure, which may not always be accurate.

Watts’ Rule When it Comes to Script Meetings: Start in the Middle

Over the course of his career in Hollywood, Watts discovered a common trend when reviewing scripts with studio executives: they often have to depart for other engagements before finishing the script. “There’s rarely enough time dedicated to readings,” he explained. “Generally, people only read the initial half of the script. ‘But we should make it to the end to ensure everything is working properly.’ This observation led him to establish a rule: they always begin in the middle. “This way, we always reach the end and if we’re satisfied with the ending, then we rewind and start again.

Read More

2025-06-26 23:25