deeply below Los Angeles , there ’s a extremely secure quickness where ace children are train at an accelerated gait using augmented reality shabu . When three young masses hired as glorified babysitters are plopped into their thick at the starting line of rent ’s Be Evil , that sterile underground world turn very dark , very fast .
Though it ’s set in L.A. , permit ’s Be Evil is actually a British yield , co - written by conductor Martin Owen , producer Jonathan Willis , and lead thespian Elizabeth Morris — whose character , Jenny , drive the majority of the moving-picture show ’s “ gibe - through - smart - glasses ” POV footage . The trio had antecedently worked together on a movie called L.A. Slasher , a satire in which the protagonist communicates with his interview through societal medium . The technology angle catch them , so for their next moving-picture show they wanted to continue the theme .
“ I was at a party and there was a cat wearing Google glasses , ” Willis recalls with a chuckle . That obliviously trespassing partygoer and the general ethnical backlash against “ Glassholes ” got him thinking about the negative implication of the twist . Putting them on kids—“I’ve always liked the movie Village of the Damned”—who have been nurture via technology seemed a promisingly eery set - up .
Once they started writing the script , Owen and Morris took Willis ’ idea even farther . “ Google glass were essentially a smartphone for your face , ” Owen says . “ They did n’t really comprehend into the genuine potential of augmented reality , which is what we ’re interpret now with thing like Pokémon Go , which is completely and perfectly immersive , and makes you trust that something digital is survive in your earth . So for us , it was : how useful can augmented reality be ? How fantastic can it be ? But also , when do you push engineering science too far ? What are the potential consequences of that ? ”
Making a pic that takes post through the eyes of characters wear thin augmented world glasses meant that it could n’t be shoot like a conventional moving-picture show — it would have to be point - of - view instead . However , Owen is quick to indicate out that Let ’s Be malign is n’t quite in the found - footage realm . For one thing , the filmmakers were very careful to keep the camera as regular as potential .
“ Found - footage has been done so much , so heavily , ” he read . “ What interested me was the idea of exploring POV as if it were through someone ’s eyes , seeing what they ’re seeing . Obviously we ’ve visualise this before in movie , but the idea of wield it for an hour and a half , and trying to keep the tension and the credibleness going was a magnanimous challenge . We tried to discover the right cocktail of equipment , and in the end we did — it creates this very , very smooth proficiency of shooting . The television camera does n’t reverberate around as much , and does n’t give you that airsick effect that people have seen before in recover - footage movies . The elbow room that we did that , and the style that it interacts with the port , is something that we ’re really lofty of . I think we ’ve been capable to tell a movie in a traditional way , but using a slenderly untraditional method acting . ”
An obvious inspiration for the overall flavour of Let ’s Be Evil is video games . Owen say he was playing a lot of Alien : closing off when he started work on the film . “ Those sort of games are a real masterclass in show that with the right frame , the veracious pacing , all of the simple building - block techniques that are used in picture game — you’re all in , and sometimes there ’s nothing find , but you ’re still on the edge of your buns . That was what we want to try and make . ”
And just like Let ’s Be Evil is n’t a typical found - footage moving-picture show , it ’s also not just another movie about evil tike . “ The point we ’re making in this movie , in the context of use of our story , is that it ’s the engineering science that ’s malefic . Not the kids , ” Owen says . “ If you are regulate and developing a rise mind with something without understanding the recollective - term effects — mixing too much information with too much potential — there ’s a whole new road of possibilities . And some of those roads are malign . ”
scientific discipline fiction stories that search the combination of technology and highly talented children are kind of have a minute right now . Just look at Stranger Things . “ That show is just crazy honorable . In damage of themes , I can see the comparison , ” Owen order . “ Let ’s Be Evil does n’t total from a place where any of us are thinking—‘kids are designate , technology is evil . ’ The moving picture is more like a maternal advisory . It ’s kind of say , ‘ Technology is great , but just be heedful . Let ’s not go sick . ’ Too much of anything , even if it ’s deemed to be skillful for us , can have moment . ”
Let ’s Be Evilopens in theatre of operations and is available on need today .
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