Design I Like: "Castle in the Sky" Poster

One of my favorite movie posters is for a classic Japanese animated film called “Castle in the Sky” (1986) by my favorite director Hayao Miyazaki. The poster is immediately striking for its vibrant, warm colors and complex imagery. It has a strong look of fine artistry that is rarely seen in the vapid movie posters of today, but there is also something to be said for it as a functional piece of graphic design. The two main characters, the boy Pazu and the girl Sheeta, are featured prominently in the poster floating high above a canyon landscape and gazing upwards with smiling faces that convey a sense of optimism and wonder. Flying below them, but still high above the village in the canyon, there is the pirate airship and several of its pirates on board, who start out as pursuers of the main characters in the movie but end up forming an unusual friendship with them. This spectacular and unexpected aerial perspective serves to grab people’s attention and give them a sense of the adventure they can expect when they watch the film. The fact that the two main children’s faces are featured very near the center of the frame also accentuates their glowing expressions and indicates who the main characters are. The magical stone on Sheeta’s necklace is also glowing in the center near her face, perhaps representing the idea that this jewel is indeed the “MacGuffin” of the film’s story. The bright colors on the children’s clothes, in contrast to the brown tones of the pirate ship and village below, separate them from the background and also suggest how their grand adventure brings them to wondrous new places far removed from the industrial-looking village that they leave behind.

What I See: Where the Wild Things Are

Where the Wild Things Are is one of the most special films made in recent history. In adapting this beloved children’s picture book, Director Spike Jonze defied convention by creating a darkly affecting and visually rough movie about childhood that proves especially resonant for those of us whose childhood is a bittersweet memory. Jonze, cinematographer Lance Acord , and production designer K. K. Barrett created a dynamic mise-en-scene that is both remarkably naturalistic and fantastical. The film begins and ends in “the real world”—a very recognizable suburban environment, a place in which the rowdy Max finds little solace, stimulation, or companionship. To evoke Max’s disenchantment, it takes place in winter, a season that holds both the promise of fun times in the snow, or the disappointment of being left out in the cold. The beginning outdoor scenes are lit ostensibly by a gray overcast sky that gives the feeling of a cold and gray world, as Max plays alone in the snow. Later at night, the interior of Max’s house is unevenly and dimly lit while Max is isolated in his room.

The fantasy world of the Wild Things is dynamic and ever-shifting. It is painted mostly in earth tones—shades of brown, tan, gray, and muted green—but is occasionally broken up by bright colors. The texture in these scenes juxtaposes the coarseness of bark with the softness of fur. Joy, bliss, fear, and sadness are experienced as extremes in this world, reflecting the inconstant emotional nature of childhood. Jonze and Acord chose to shoot Wild Things mostly with a handheld camera, and apparently without the aid of a Steadicam. The shaky camera is used to heighten these various emotions and evoke spontaneity, as if the camera were documenting real experiences. In particular, the rough camera work is meant to generate chaos and energy during Max’s rambunctious behavior at home or when he and the Wild Things are playing one of their wild games. However, I have to say, although I understand why Jonze and other filmmakers want to use the “shaky camera,” I don’t like it because it’s distracting. I feel that the most stunning moments in Where the Wild Things Are occur when the camera is held still. The movie’s beauty lies in what’s happening beyond the camera itself.