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While in Ireland this week for a set visit, two of the more interesting dinner discussions amongst peers regarded the dismal state of studio poster art and the box office potential for Where the Wild Things Are. It’s my belief that if WTWTA is a hit, it will signal a shot-call for a new era of mainstream films, ones that put creative cred, talent, and integrity ahead of this generational notion that people are generally dumb as shit and desire basking in dumber shit. But before the latest tracking figures for the film arrived, the general sentiment— one I didn’t share–was that the film would not open to boffo numbers; even $20 million was said to be unlikely. Now the inside word has the film tracking surprisingly well, possibly even as high as $40 million. If this becomes a reality, it will partially be due to the same 20somethings and teenagers decried by the olds for not watching and fellating The Hurt Locker.

No “shit.” While many people associated with the film and even staffers at /Film feel the movie strays from the family film norm (omg no!), the connected, youthful branches of WTWTA run deep underneath a dying and blind old media. As a whole, the project represents nothing less than an important pop cultural movement, one that encompasses a generation’s best rock groups (Liars, Yeah Yeah Yeahs), fashion cachet via establishments like Opening Ceremony, and the global new media influence that is the Vice corporation and its video offshoot VBS.tv. Spike Jonze is the hands-on creative director at VBS, and as such, they are releasing privy interviews with the creatives behind Wild Things. Below is a very cool and candid interview with Sonny Gerasimowicz, an art school drop out and graf artist hired by Jonze to envision and help create the look of the creatures (with WTWTA creator Maurice Sendak‘s blessing, also discussed) for the cinema.

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New Images: Where the Wild Things Are

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More images that bottle a sense of “child-like wonder” and “child-like terror” have washed up on the ‘nets courtesy of the New York Times. They nicely compliment a post yesterday on Sonny Gerasimowicz, the unlikely art director on Where the Wild Things Are. Grab a child-like blanket and prepare to curl up in the fetal position inside your man-like cubicle after the jump…

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As viewers and the media gear up for next month’s release of Spike Jonze‘s Where the Wild Things Are, we expect to read more articles and essays waxing on the film’s relevance and meaning in pop culture. To me, the project already represents the ideal and inevitable amalgamation of two of the more important, influential, and cynic-exhausted youth subcultures of the aughts: the geeks (as ushered in by Ain’t It Cool) and the hipsters (as ushered in by Vice magazine). As the pioneers and personalities behind these still-crystallizing cultures enter their 30s and 40s, parenthood awaits and so does the desire to help shape the next generation in style, curated nostalgia, and matters of refined taste.

Realizing that members of ’00s bands like the Yeah Yeah Yeahs and Liars have left art-damaged fingerprints on what is possibly one of the definitive and more magical family films (of all time?) is both a secure and wild sign of the future. Another unlikely, lesser known contributor to WTWTA (and friend of Liars) is Sonny Gerasimowicz, a street artist off Hollywood’s radar who was hired by Jonze to bring Maurice Sendak‘s Things to the screen.

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