Every confirmed filming location for Spider-Man: Brand New Day stretches from the streets that pretend to be New York City all the way to the deserts of Morocco. The production hopped across continents with the kind of ambition only a Marvel-Sony team-up can fund. Tom Holland's latest outing as Peter Parker did not just web-sling through one city; it borrowed scenery from an entire map.

As the cast and crew prepared for one of the most geographically ambitious Spider-Man shoots yet, the journey began in a place audiences would least expect to play Manhattan.

Glasgow's grid layout and grand architecture made it the perfect body double for Manhattan in Spider-Man: Brand New Day. Streets such as Bothwell Street, St Vincent Street, Hutcheson Street, and George Square were dressed up with NYPD vehicles, yellow taxis, and American signage. The transformation worked so well that several trailer frames left Glasgow locals doing a double-take at their own city.

Destin Daniel Cretton leaned into practical filming rather than excessive CGI for these sequences, giving the action a grounded, tactile texture. Streets including Pitt Street, Wellington Street, Merchant City, and Trongate hosted stunts, web-slinging choreography, and street-level confrontations throughout late July 2025. Tom Holland reportedly spent breaks between takes greeting onlookers, adding a feel-good footnote to an otherwise chaotic shoot.

As Glasgow soaked up its Manhattan makeover, the genuine New York City was left making only the smallest of cameo appearances.

New York City itself reportedly held a very limited role in the production of Spider-Man: Brand New Day. IMDb lists the city under studio work, a tag that typically points toward interior setups or controlled environments rather than full outdoor filming. Any authentic New York footage that made the final cut likely came from second-unit work rather than the primary unit.

Establishing aerial views, skyline glimpses, or shots of specific landmarks were probably the extent of New York's direct contribution. Large-scale street sequences filmed in the actual city would have demanded extensive permits, traffic control, and crowd management on a scale most productions try to avoid. Glasgow's grid layout gave Cretton a far cheaper, far more flexible alternative without sacrificing visual believability.

While Glasgow handled the chaos of city streets, two of its most serene landmarks were quietly preparing for their own close-up.

St Mungo's Cathedral lent its Gothic stillness to scenes requiring something far more reflective than a car chase. The cathedral's spiritual atmosphere suited pivotal, quieter beats in Parker's arc, offering a tonal break from the city's noise. Crews worked carefully around the historic site, balancing reverence with the demands of a major production.

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The Gallery of Modern Art, meanwhile, stepped in as a striking architectural stand-in elsewhere in the story. Its columned exterior captured both daytime energy and evening polish across multiple sequences. Together, these two Glasgow landmarks proved the city had range well beyond taxis and traffic cones.

As Glasgow's landmarks wrapped their contribution, the production packed up its grandest sets and headed somewhere built entirely for spectacle.

Pinewood Studios in Buckinghamshire became the operational heart of Spider-Man: Brand New Day, housing the bulk of its interior builds. Detailed sets, including apartments, laboratories, and villain lairs, were constructed here, away from prying eyes and unpredictable weather. The soundstages allowed for elaborate wire work and effects integration that location shooting simply could not support.

Tom Holland and the rest of the cast reportedly spent extensive hours here refining fight choreography and emotionally heavier scenes. Cretton used Pinewood's scale to balance practical stunts with enhanced effects, keeping the production flexible for reshoots. The studio's reputation for blockbuster filmmaking made it an obvious anchor for a project this size.

While Pinewood handled the glossy interiors, another English location was busy lending the story something far more haunting.

Brookwood Cemetery in Surrey, one of the largest burial grounds in the country, hosted some of the film's most atmospheric sequences. Its Victorian gravestones and tree-lined paths offered a visual stillness that suited themes of loss and renewal. The location required minimal set dressing since its natural gothic beauty did most of the work.

Crews used the cemetery's scale to experiment with dynamic camera angles across multiple sequences. The eerie yet serene setting will add unexpected emotional texture to a film otherwise built on rooftop chases. Brookwood's inclusion signaled that this Spider-Man outing wanted weight alongside its spectacle.

As the production drifted from the solemn to the suburban, Basingstoke offered a very different kind of energy altogether.

Basingstoke in Hampshire stood in for several urban action beats, with areas around Fanum House hosting vehicle work and street-level heroics. Local roads saw temporary closures as the unit set up for stunt-heavy sequences. The town's modern layout gave the production a practical, real-world canvas for chaos.

Residents reportedly watched Spider-Man perform daring maneuvers as blue screens blended seamlessly with the footage. This stop added welcome variety to an otherwise London-and-Glasgow-heavy UK schedule. Basingstoke's contribution, while smaller in scale, kept the grounded tone consistent across the shoot.

While Basingstoke kept things close to home, the production soon packed its bags for a considerably sunnier setting.

Italy brought picturesque streets and historic architecture into the mix, likely serving sequences tied to travel or pursuit. The country's scenic backdrops offered a sharp visual contrast to the grey tones of Glasgow's New York doubling, while aerial shots across Italian locations reportedly added a breathtaking, postcard quality to several sequences. The Mediterranean light gave Parker's storyline a fresh, adventurous tone, continuing a tradition this franchise has leaned on before by sending its hero well beyond home turf.

As the European leg wrapped, the production circled back to a city already deeply tied to this franchise.

London served as both a studio and a location hub, contributing controlled urban environments for several important sequences, while reports suggested certain stunt sequences here led to brief production pauses. The city's infrastructure supported the crew's heavier logistical needs, and access to top talent made London a natural complement to the Glasgow and Pinewood schedules. From busy streets to private sets, the capital added versatile footage that rounded out an already packed British leg.

While London tied up the domestic schedule, one final stop awaited that promised an entirely different climate and color palette.

Morocco brought sun-drenched deserts and vibrant souks into Spider-Man: Brand New Day, likely powering high-stakes or culturally rich sequences. The country's unique architecture and dramatic landscapes offered something unlike anything seen in earlier Spider-Man entries. Production here reportedly leaned into authentic textures and colors rather than recreating them elsewhere.

With promotion already in full swing, the outfits hitting press tours are making headlines of their own, and with a lineup of villains reportedly assembling ahead of release, it feels only right that a journey spanning this many countries ends right back where the excitement began.

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