Posted on Friday, October 9th, 2009 by Hunter Stephenson
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.