Stunt coordinator Peng Zhang crafted the action sequences in Spider-Man: Brand New Day, utilizing a Phoenix-inspired formation of twenty Hand assassins and practical physics to anchor the production’s large-scale set pieces, including a record-setting blockbuster.
When Peng Zhang stepped into the role of stunt coordinator and second unit director for the blockbuster, the production faced a distinct physical challenge. Tom Holland’s web-slinger required movement rooted in ground-level physics rather than an over-reliance on computer-generated imagery. Grounding the action meant re-evaluating how a hero who spends his time scaling vertical surfaces operates in close quarters.
Choreographing Evasion and Practical Physics in Tight Spaces
A superhero fight typically relies on direct contact, but Spider-Man operates on a different set of rules. The character rarely blocks, moving instead along a vertical axis where architecture provides necessary leverage and dialogue creates room for humor.
That physical grammar created an intricate staging problem inside the Damage Control facility sequence, which was filmed at Dorchester Prison in Dorset, England. Concrete walls and iron bars presented immediate logistical hurdles for the rigging crew. Cameras were mounted specifically so riggers could monitor their lines through the restrictive architecture. Every wire pull involved tension, friction, and calculated frame delays over a twelve-day shoot for that sequence alone.
“This movie has been one of the best experiences I’ve had,” stunt coordinator and second unit director Peng Zhang tells The Credits about working on Spider-Man: Brand New Day. “The stunt department was very united, and everybody worked together very, very well.”
Peng Zhang, stunt coordinator and second unit director
Practical effects extended beyond wirework into vehicle sequences and creature physics. During a street chase featuring an oncoming tank, the stunt crew executed a maneuver involving two cars striking the front simultaneously and flipping through the air. Although cancellation was considered due to the narrow street dimensions, the driving team executed the landing precisely. Similarly, for a sequence featuring the Hulk at colossal proportions, a physical model was built on set to ensure the weight of each impact registered with realistic visual force.
The Phoenix Formation and the Ninja Swarm
The visual centerpiece of the film involves a confrontation between Spider-Man and The Hand, a clan of high-flying ninjas operating under telepathic control. Rather than staging a chaotic brawl of twenty individual fighters, Zhang drew inspiration from a dance performance featuring twenty artists moving in unison as a peacock.
That concept evolved into a Phoenix-inspired formation where the twenty assassins operated as a single unified entity. The center ninja, played by Fan Xiaoshuang as the character Snow, functioned as the head while the surrounding fighters acted as wings. This synchronized movement served as a visual precursor tied to the telepathic direction of Sadie Sink’s Jean Grey.
“This sequence has some great references behind it. A couple of years ago, I saw a dance show with 20 dancers, and they were all unified as one peacock. I always had it in my mind, maybe I can do an action scene like this, and I never had a chance until Destin brought this up.”
Peng Zhang, stunt coordinator and second unit director
Camera Language and Second Unit Integration
To capture the synchronized movement of the ninja swarm, second unit “A” camera operator Dan Gamble adjusted the camera operating style. Because the stunt performers executed fast, dynamic group maneuvers, the camera work intentionally shifted pacing to emphasize three-dimensional space, varying heights and shifting distances rapidly.
Director Destin Daniel Cretton maintained close communication with the second unit to ensure the action served the narrative progression rather than feeling disconnected. Extensive testing ensured the choreography remained tethered to Peter Parker’s journey, avoiding the trap of action sequences operating entirely independently from the central story.
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