Posted on Monday, September 14th, 2009 by Hunter Stephenson
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.