It’s been two and a half years since principal shooting wrapped on Where the Wild Things Are. While Max Records and his father Shawn haven’t drifted into complete Hollywood radio silence– they flew to Serbia, for instance, so Max could shoot The Brothers Bloom– they’ve remained for the most part sheltered from the PR machine in their hometown of Portland, Oregon. On the morning of the big Warner Brothers presentation at Comic Con, Max was sent on his first whirlwind publicity tour. Shuffling through a series of hotel junkets and convention center green rooms for photo shoots and interviews, the younger Record found himself at the mercy of media outlets instructing him to lounge on piles of pillows bearing the cadaverous visage of Robert Pattinson, hordes of preemptive megafans clamoring for autographs, and busty entertainment journalists leaning in closer than most tween boys are comfortable with.
Overwhelmed by the frenzy, the Records escaped to their hotel room to recover after the panel. Max and his younger brother Sam ate room service grilled cheese sandwiches while they filled me in on the details of the Portland Trailblazers’ dramatic showdown with the Houston Rockets. Since he’d been through the standard behind-the-scenes questions all day, I wanted to give Max a chance to relax and talk a little about himself and his interests outside the movie. Check out our interview below, where Max fills me in on the work of Osamu Tezuka, his favorite Portland bands, and local legends of Matt Groening’s mischievous childhood.
London-based artist Benedict Radcliffe approaches his work through a “love of machines and engineering, commercial branding and familiar logos or graphics,” often shifting their contexts or constituent materials in order to bend our minds.
You might recognize his most recent project for Classic Car Club UK: a wireframe model of a Lamborghini Koenig Countach built over the course of five months with 10mm welded steel tubes. The result looks like a three-dimensional blueprint, or a car viewed through x-ray goggles.
We think its pretty incredible–craftsman wizardry and childplay, both carried to their logical extremes.
This weird little gem of an image was unearthed in a stack of old Interview magazines that were headed for the recycle bin. Part of a 2004 children’s lit-themed spread called “Once Upon a Time in Fashion,” which also pays tribute to Madeline, Eloise and The Hardy Boys, the photo was shot by Cleo Sullivan with set design from rad illustrators Yuko Shimizu and Sam Weber. The caption reads:
Who’d have thought that this season’s fashion wild card would remind one of Maurice Sendak’s wild things? Clothes by Jean Paul Gaultier. Shoes by Cesare Paciotti.
Just another testament to Where the Wild Things Are’s insanely far cultural reach, to say nothing of its tendency to illicit widely varied, incongruous tributes.
And one more thing: this behind the scenes photo from Yuko Shimizu’s site. Posting without comment.
Bryan Derballa is a young freelance photographer based in Brooklyn, traveling New York and the world at large to shoot everything from car dealerships to charity galas to swimming holes in Colombia to chick-lit authors for venerable institutions like the Financial Times and the Wall Street Journal.
As a side project project Bryan maintains Lovebryan, a curated group of blogs by eight young photographers with keen eyes and adventurous spirits. You could spend a pleasant decade or two roaming through the archives, scrolling through photographic investigations into subjects as diverse as holistic Caribbean cruises, abandoned nuclear missile silos in Kansas, street parties in Luxor and little kids biking in Oakland.
Needless to say, the mix is exquisite: you never know what you’ll encounter next. Credit to Bryan for assembling the talent and providing a forum for their projects. This must be what the internet was intended for.
This week’s selection from Lance Bangs archive of Where The Wild Things Are on set photography is “Sonny and EZ burnt out from the heat”. The Sonny pictured is Sonny Geras the mastermind behind making the Wild Things look as amazing as they do. In addition to being an excellent creature creator he is also the subject of Spike’s photo zine published by Nieves. He is also a wizard.
UK-based illustrator Robert Hunter has an eye for gorgeous color and playful subjects: bespectacled men in ski sweaters and onesies, pianos that morph into trees, kids riding giraffes, scuba divers lunging eagerly for shark fins. His work has appeared in the Guardian and TIME, among many others, and he’s also put out two self-published books printed by Doveton Press. If only we could commission a bedroom-wall mural…
Kirk Demarais‘ series of eerie and ingenious paintings portray cinematic family units coming together for traditional portrait sessions, from There Will Be Blood’s loosely bonded Plainviews to the plucky, hapless Griswold family in National Lampoon’s Vacation. Portrait studio photography on its own is already captivating enough as a genre to inspire dense archives of cyber-entertainment, but Demarais takes the obsession a step further, embellishing these “studies in pure affectation” (as he refers to them) with subtle undercurrents of emotion. Because we already share a preternaturally intimate understanding of these fictional families’ delicate dynamics, Demarais makes the viewer a voyeur, allowing us to gaze through each image’s “transparent veneer.” I think my favorite might be Demarais’ spin on The Lost Boys:
I count The Lost Boys among the top five most influential films of my youth. (Incidentally, the others are Pump Up the Volume, The Karate Kid, Footloose, and Ferris Bueller’s Day Off.) I wanted to see what it might look like if mom would have talked to the boys into a photo shoot in an effort to redefine their post-divorce family unit. I could see Sam (Corey Haim) getting into it (he may have had some say in the cheesy curtain backdrop) while Michael (Jason Patrick) would have had to struggle to tolerate such an outing. Keifer Sutherland’s character David might have provided more visual interest, but the notion that he and his dad would ever get together for a photograph was too far fetched.
Check out the whole series through August 8th at Gallery 1988’s current show, a love letter to cult films entitled Crazy 4 Cult.