Construction of the “Electrical Status”: The Rousseau brothers share their vision

Electricity is the latest Netflix science-fiction adventure film. The movie that premiere on Friday of the Straimer is an adaptation of Simon stolenhagDystopic graphic novel. It has taken the viewers in an alternative version since 1994. It has been placed in a very different looking America against the background of a country that is still gathering after a civil war between robots and people tore the cities.

If it sounds dark, this is because the original theme is just that. Stålenhag’s story, like much of his work, is loaded with beautiful images that compensate for the sorrowful story.

In electrical condition, Dear Bobby Brown He plays Michel, a young woman who embarks on a post-apocalyptic little thing to find her missing brother. The remnants of the robot war flood the US province, leaving the mission to feel impossible. This is until she meets Keats (played by Chris Pratt) and his robot, who is Herman (sounded by Anthony Maki). Together, they encounter a cavalcade of strange characters and fight the chances of reconnecting with their younger brother and, potentially, humanity itself.

If that sounds a little Schmaltzy, that’s it. And that’s all the design. You see that this version of the electrical state – now the most expensive Netflix movie has ever done – there is a completely different tone from the favorite book it is based on. This tonal shift was a sticking point for many critics. But there is a different reason for this change.

As a producer friend and I like to say, There were meetingsS It was a collective decision that Rusos made with Stålenhag. During a conversation to increase Joe and Anthony Rousseau, I used this topic to launch our conversation, which has become a shrewd study of the long process of reviving the electrical state.
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“What we most loved in the electrical state was the work of art and the topics,” said Joe Rousseau. “But we felt that as parents the topics -and these are topics about technology and technology addiction -will be the most resonant and impact with a younger audience, which is more deposited in technology than an older audience.”

The accessibility was the key. And not only the Rousseau brothers felt that way.

“Simon Stanlenhag also has children and agreed,” he continued. “So, we came to this conclusion. You can tell a story of any tone and you can go in any direction you want. Part of the entertainment of adaptation is that you adapt it to a new form of yourself. So it was the intention behind moving the tone: to reach this more young, wider audience.”

Throughout the 2-hour work, two topics are repeated: the interruption of humanity due to the application of technology in our daily lives and the addiction to the dopamine that comes with it. To a paraphrase Kendrick LamarRusos tells the younger viewers to “turn off the TV.”

But how exactly do they coordinate the fact that they retransate this message to reduce the time of the screen through a story that must be viewed on the screen to get started?

“There are only so many ways to reach a wide audience,” said Joe Rousseau. “Whereher IT’s A Movie Screen, TV Screen Or Phone Screen, I WOULD Argue That All Have Positives and Negative Time, Can Also Call Attention to Perhaps We See as the Overuse of Narrativs to Escape Reality? As a Way to Escape Reality or to Treat Our problems with undiagnosed anxiety and depression.

It is worth noting that this is not an anti -technological propaganda movie. Entering this narrative direction would be too easy. Anthony Rousseau agreed, saying, “The message of this movie is not, Do not use technologyS “

He continued: “The film is about our paradoxical relations with the technology and the fact that there are positive aspects of technology; There is a real human connection that you can find in technology, but you can also find the opposite. “

He quoted two examples of the movie to support this claim: Keats’ true love relationship with his robot Herman and the use of Michelle’s technology to release his brother.

I cannot discuss the electrical state without talking about the fascinating visual effects. It is safe to say that there were more robots in the movie than actual human characters. Dealing with such a creative challenge means working tirelessly to ensure that the technology looks and feels analog. I will admit that the distinction between practical effects and CGI was difficult. It is an achievement in itself.

So how digitized and how real is it? I have no exact statistics. “Every time the actors interacted with a robot, we threw these robots,” said Anthony Rousseau. Moreover, they throw talented actors to shoot to play these robots.

“They are actual, fully -minded actors who have trained for weeks and rehearsed for weeks and helped us develop these characters for weeks before we hit the set,” he continued. “With regard to how they moved, we had performers who play these robots on the set.”

The development of these unique robot characters did not stop there.

“Many of these robots were voiced by more famous actors,” said Anthony Rousseau. “We would show those actors the conceptual art we had for the characters, we will download their voice performance and use this voice performance with our troupe to capture the movement.”

The finished product is here after two years of post production, during which more complex digital graphics are applied. “It took a long time to post to get these things that look real and seemed to be there,” said Anthony Rousseau. “There were so many layers and it was a commitment to a very true, tactile start between robots and actors.”

It has been nearly three years since Anthony and Joe Rousseau have started firing electrical. Throughout our conversation, it was easy to see how connected they continue to be with the topic and with each other with regard to their love for the transmission of emotion through stories. As Anthony Rousseau says, this is the relationship that the viewers will experience when watching the movie together.

“We think this can be a powerful form of human connection, and this, of course, is a big topic in the films,” said Anthony Rousseau. “How do people unite? How do you get friends? How do you intersect generations? Can it provide a common experience for people to share and then become a contact point with each other in terms of emotions or intellectual ideas? The topics of the movie are just the ideas that people hope that people can come to the movie.”

With a familiar laugh from his brother, Anthony Rousseau ended our conversation, saying with a hearty smile: “It really made us fall for a movie first.”