Following up their breathtaking coverage of The Dark Knight Rises, Empire magazine has just premiered their latest look at The Amazing Spider-Man, and some of the photos have us convinced that Peter Parker might have a spot on Empire magazine’s payroll.

Thanks to the folks at LiveForFilm (via CBM) for the scans and pictures from Empire Magazine! Like always, we have a large gallery for the scans (so that you can properly read the text) and a scrolling gallery below that for viewing the pictures. Enjoy![nggallery id=366] [scrollGallery id=365 autoScroll=false thumbsdown=true]
Now, courtesy of CBM, a transcript of the scans above have floated online for your convenience!

On calling The Amazing Spider-Man a reboot:

“I don’t have a problem saying that word,” says director Marc Webb. “It’s not a remake, we’re not making Sam’s movie again. It’s a different universe and a different story with different characters. There are certain mythological obligations people have in any story, but it’s so radically different in terms of tone and what Peter Parker experiences that I’m very comfortable with the movie occupying a different space.”

On the tone of the film and his differences from Sam Raimi’s vision:

“I wanted to start from a place where it felt like, if you walked into the theatre, that it was the same universe you lived in,” says the director. “Which is difficult when you have a giant lizard running down the street…”

“He’s the literal embodiment of the theme of the movie, which is we all have a missing piece,” says Webb. “He has no arm. Peter has no parents, and he fills that void with Spider-Man. Curt is not as strong as Spider-Man on the inside, but he wants to get back his arm and fill that void, and essentially he becomes a big bully.”

Webb describes a few scenes and shows a few minutes from the rough cut:

Enough tell, Webb decides. It’s time for some show, and so he asks Bell to cue up some scenes from his early, very rough, very unfinished cut. “The movie starts off pretty small and gradually merges into something that’s more fantastic and vibrant and filled with scope,” he says, and by way of illustration, runs three scenes in which we see Spider-Man swing. The first is entirely practical, with Garfield – in Parker duds – swinging around inside a disused warehouse, with the giant wired rig to which the swooping actor is attached yet to be deleted via CGI.

The second, from a little later in the film, is the only sequence Empire sees that is even somewhat redolent of Raimi-vision, as Spider-Man swings giddily along a bridge in pursuit of something, even running briefly on the side of a passing truck.

The third one, though, shows that Webb hasn’t abandoned CG. Far from it. The sequence – which is from the third act so we’ll be sure to tread carefully – features Spider-Man in pursuit of The Lizard (here seen just once, in very rough animatic form, from a distance as he scales a building), while being pursued himself by cops. Following an excellently staged fight with the cops, and an emotionally charged confrontation with, erm, A Major Character, the sequence follows a wounded Spider-Man as he tries desperately to swing across New York in order to save the day.

Webb’s response to those that say that this superhero adaptation looks akin to the films in the Twilight saga:

One thing’s for sure – Twilight it ain’t. “I haven’t seen a Twilight movie, so i don’t know how to comment on that,” says Webb. “People may assume because it’s me doing Spider-Man, it’s more intimate. And it is, but one of the reasons I wanted to do it was to [frick]ing blow shit up, swing through the air and kick some ass.”

On how The Amazing Spider-Man will differ from Sam Raimi’s Spider-Man installments:

Webb’s Amazing Spider-Man will plant Peter firmly in his teenage years. He doesn’t have a job (the Daily Bugle is mentioned, but won’t be seen until the inevitable sequel), he likes to skateboard, he has uncontrollable hair, he’s a kid searching for the truth about his parent’s disappearance.

Webb agonises for a second (“I don’t want to blow my wad here”), then concedes and cues up a cute, winsome cladestine encounter between Peter and Gwen that includes some rat-a-tat dialogue that wouldn’t be out of place in a screwball comedy. “You should see the other guy,” sighs Parker. “The other guy in this case being a giant mutant lizard.”

So what do you think? Are you excited to see this different tone become an official installment in the Spider-Man anthology? Are you afraid that the movie will fall into tweeny territory? Do you think that a hip new make-over was exactly what Peter Parker needed?