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Where The Wild Things Are

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Lex Kimbrough

on 2 November 2013

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Transcript of Where The Wild Things Are


Where The Wild Things Are
The beauty in these pictures is
in their simplicity...
Kids don't sit still and neither should the camera...
Favorite Children's book

Only film adaptation of a book I have ever truly loved

It makes me smile
A nine year old boy, Max, feels neglected by his mother and sister and decides to run away. He sets sail in a little boat which leads him to and island where the wild things are. Max is named king of a group of monstrous creatures and during his rambunctious rule goes through a time of self discovery. After coming to the realization of how much he misses he family, Max sets sail again back home where he is met with a hug and a hot meal.
Self discovery

Yearning and empowerment

How a child comes to terms with his place in the world

Spike Jonze explores how Max processes all the complexity of emotions in his relationships with his family and the wild things.
Lance Acord
Studied Photography and film making at San Francisco Art Institute
Starting out shooting commercials, music videos, & documetaries
Worked with REM on a regular basis
Won MTV Video Music Award for Best cinematography in Fat Boy Slim's Weapon of Choice
Buffalo '66 (1998)
Being John Malkovich (1999)
The Dangerous Lives of Alter Boys (2002)
Adaptation (2002)
Lost In Translation (2003)
Marie Antoinette (2006)
Gentle hand held style

Available light

Simplistic and dream like imagery

Shot on Film
shot in both full-frame and 3-perf Super 35, using a 2.35:1 aspect ratio.
Mostly natural light
Night shots lit by lamps run through a series of dimmers that kept them at levels ranging from 25 to 80 percent
Around the camera, Par bars provide the firelight effect
For moonlight, six Ruby Sevens are directed straight up into a 20x20 Ultrabounce, which provides an ambience for the foreground.
Camera Movement
“Achieving that energy onscreen all comes down to establishing the best combination of lenses, framing, camera movement, staging and blocking. Getting those elements right is a constant learning curve. When the creatures are running around and ‘rumpusing,’ the operator’s right in there with them — the crazier the camerawork, the better the result. The depth of the frame is accentuated with handheld camerawork, point-of-view shots and very long lenses to compress the space, and we also use lots of foreground elements, such as unexpected glimpses through trees. I’m constantly amazed at how lifelike their movements appear.”
Lex Kimbrough
Released - 2009
Director - Spike Jonze
Run - 101 minutes
Material objects and the creations of others (i.e., television) didn’t make us kids – it’s the primal, uninhibited way we used to get lost in our own imaginations that did.  We all watched different cartoons and played with different toys, but we all ran around screaming to the dismay of our frustrated parents.
Panavision Millennium XL
Aaton 35-III
Panavised Arri 235
Full transcript