Nicolas Cage

And it became a kind of Seurat pointillism, but it was a Lichtenstein taking irreverence and reverence in a comic graphic and making it...

fine art and almost being irreverent about fine art while doing it.

So what am I doing with noir or spider noir is I'm taking the reverence I have

for the actors that I cherish like Bogart or Cagner or Edward G. Robinson or Peter Lorre from those old movies, and I'm taking the mass utility of the television, or the tube, if you will, and I'm trying to mash that reverence I have up with a pop icon, a Marvel icon in Spider-Man, if you will, and make a collision in such a way that I'm taking

television, which is a mass tool that many people imbibe on and ingest.

And I'm saying, look at this.

So that maybe the hope is that a young person in their teens would go, oh, wow, what is that?

That's black and white.

I'm not too familiar with black and white.

Well, I can watch it in color, but I can also watch it in black and white.

What is black and white?

Oh, my gosh, there's this immense...

volume of beautiful art that all these early actors were in.

Let me check that out.

Let's go look at that.

And oh, and by the way, he's Spider-Man.

So it's like this boom, this crazy Lichtenstein collision.

So that is metatextual or my art synthesis concept again.

Now, the fact that Amy Pascal at Sony, Jen Salke at Amazon, Ora Newzeal and Stephen Lightfoot at

let me, I'm still amazed by.