And though the alley wasn’t exactly Fifth Avenue’s beatific perch (which would eventually be used for a different scene), the change in location-and body position-enabled Raimi to shoot in a more controllable, backlot environment. Raimi loved Lefler’s sketch-especially after producer Laura Ziskin suggested Mary Jane remove part of Spider-Man’s mask to kiss him. “It was very much a Spider-Man thing to hang upside down.” “It seemed like an opportunity to do something that was visually strong but belonged to this story,” Lefler says. “It struck me as cool.” Copying from his own work, Lefler began storyboarding a scene in which Spider-Man lowered himself upside down into a rainy alley to meet the level of Mary Jane’s waiting lips. “I just liked the silhouette profile to profile,” he says. He found one in his past: Throughout the 1990s, the television director had frequently staged various characters falling into frame upside down, first in an episode of Hercules: The Legendary Journeys and then again in a scene from F/X: The Series. Upon returning to their Los Angeles production office, Lefler started looking for a workaround. “Nobody was really happy with the compromises.” “We really wouldn’t have had enough time to do the scene,” says Doug Lefler, Raimi’s second-unit director and storyboard artist. Though MJ was originally scripted to kiss Spider-Man over his mask after tending to his chest wound, Raimi grew concerned with the web slinger’s stilted positioning and realized that bathing an intimate moment in sunset would be a logistical nightmare. On the hunt for Spider-Man shooting locations, the director had targeted the building’s rooftop gardens for a golden-hour romantic encounter between the titular superhero and Mary Jane Watson. In the summer of 2000, Sam Raimi took a team to Rockefeller Center for a kiss.
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