Larkin Seiple on Everything Everywhere Once Get Whole Detail

Larkin Seiple on Everything Everywhere Once
– #Larkin #Seiple

The feel good movie of 2022 belongs to the cast and crew Everything Everywhere Once. The absurd multiverse story combines sci-fi, drama, martial arts and fantasy to depict a heartwarming tale of love and trauma. Michelle Yeoh stars as Evelyn Quan Wang, a hapless laundromat owner looking for a better life. While being audited by the IRS, Evelyn learns about the multiverse and must inherit multiple versions of herself to save it from destruction.

The high-octane adventure became an instant crowd pleaser on its way to becoming A24’s highest-grossing film. Directed by Daniel Kwan and Daniel Scheinert, known professionally as “The Daniels”, Everything Everywhere Once received universal acclaim for originality, direction and stunning visuals. Cinematographer Larkin Seiple helped create the beautiful use of color in various universes and excellent fight sequences throughout the film.

In an interview with Digital Trends, Seiple explains the challenge of shooting in less than 40 days, Daniel’s ingenuity, and the positive impact the film continues to have on audiences.

Michelle Yeoh stands in front of her character

Note: This interview has been condensed and edited for length and clarity.

Digital Trends: What was the easiest concept to understand? An epic multiverse story or a buddy movie featuring a rotting corpse?

Larkin Seiple: The corpse one was easier. I tied the one with the corpses much more. An adult in the middle of something is lost and trying to come to terms with what to do. I’m not a man. I am not a child. What do I do in the middle? Bizarrely, that made sense. As a boy fooling around with your friends in the woods, he felt very relatable.

The story of generational love and trauma in Everything Everywhere it was quite dizzying. Trying to follow that emotionally in the script was also a little different from [what] see in the movie. The Daniels were really successful. If you are confused, it doesn’t matter because you know what emotion to feel. In the script, it was the other way around. You knew what was going on, but it was a little harder to follow the excitement.

Was there a moment when you finally understood the concept? It took a few readings to finally say, “Okay, do I see what the Daniels are trying to do here?”

The first time I read it so quickly because I was so excited. Much of the confusion was my fault. Like when you’re reading a book you love or there’s something juicy in it and you just start looking for keywords. Then you have to go back and reread. I took her off her feet. I had spent the year with them coming up with verse skipping and how it was going to work and what we could do with that image and what were some really stupid ideas that we could play with that might make someone skip verses.

Cinematography Everything, Everywhere, Once (2022)

I think the first reference they had was using a cat as a nunchuck. This was the first picture they told me about. They say, “There’s a universe and you need to escape a room, and the only way to do it is to use that cat as a nunchuck.” And I said, “Okay, that’s an interesting picture in my head.” They never used it and I don’t think he scripted it, but it was like the first time we talked about it. The absurdity of what was possible there was a big part of it.

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If you hadn’t worked with the Daniel family before, do you think you could have solved this in less than 40 days?

Not. I think a big part of what made that possible was the fact that not only me and the Daniel family, but Jason, our production designer, our entire camera crew and the lighting crew, have been working with them for a long time. And Jonathan Wang, their producer. I knew what they were going to ask for. They would ask for some crazy things, but they would also only ask for so much. I had this crazy shot, but it’s just one shot. It’s not like we have to build the whole road. We only need to make one angle work.

They [the Daniels] they really lean on their collaborators. They have confidence [the crew]. “Here’s a crazy idea we have. What’s the best way to execute it,” or ask Jason, “What’s the best place to shoot it,” or “What’s the best option for our budget?” That has consistently been the theme. How can we achieve this with the time and money we have?

Everything Everywhere Once | Official Trailer HD | A24

All universes feel different through the use of colors. Why did you use colors to differentiate each universe? Were there other ideas in the mix?

Well, I also changed the lens between all universes. I used six or seven different types of lenses. I also changed the aspect ratios from 4:3 on CinemaScope to 1.85 to something as bad as 2:1 on Netflix. which looks exactly like 1.85. I have done such things. I had a big meeting at the beginning with myself and the production design, but also the hair, makeup and costumes. The Daniels said: “The second act is psychotic and we’re going to go through these universes and have to make bold choices so you can very easily know where you’ve been.”

Michelle Yeoh looks at her hot dog fingers in Everything Everywhere All at Once.

We started reserving colors for universes, but chose not to include some colors in certain universes. Also, I was playing the contrasts like the hot dog fingers universe, which no one catches. Everyone is distracted by the hot dog hands, but the only colors in that universe are ketchup, mustard, meat and bun. It’s just those colors.


[Laughs] The production designer had a ball. He was most excited about it [hot dog hands] universe. Yes, it was little things like that. In the mood for love it was a great reference for the Hong Kong verse where she [Evelyn] he is a movie star. In the mood for love it’s not really a green film. It’s very clean, actually. But I responded to the idea of ​​Wong Kar-wai’s work, which many like Fallen angels and Chungking Express they were very green and had a lot of flavor.

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We just started making these choices bigger and bolder. Raccacoonie is a bizarre ode to Punch-Drunk Love. You know, red, white and blue. There are very strong, visceral American colors. We just started having fun with it and then seeing what was there and making it better.

Do you have a favorite reference from a movie that you were able to sneak in?

I always have some references that I mention to Daniel as a joke, but they are still a real reference to me. For the Jobu in the White Temple universe, all of my favorite movies come from the trauma of childhood movies. Movies that hit really hard like Jurassic Park. It scared me. In the the never ending story she is a princess in this strange, frozen, white and bright castle. In the second, there’s this weird crumbling crystal palace. As a child, it always bothered me, this strange, fragile, creepy environment.

I combined this with images from Beyond the Black Rainbowwhich is this trippy and dark horror film. That was my favorite reference. I actually looked NeverEnding Story IIwhich is terrible and really cheaply made and completely destroyed my memories of it. It doesn’t look nearly as good as my memories and it looks very cheap.

I actually think they changed one of the actors’ races, quite bizarre. Many of the references are based on memories of these films, as opposed to actually pulling the frames and referencing them themselves. This is where I left. A kind of gut-wrenching, if you will.

The fight scenes are very intricately choreographed. Logistically, it must be difficult to film. How did you figure out where to put the cameras for the fight scenes?

We were very fortunate that the Daniels contacted our choreographers, the Le brothers and their team. These guys love Jackie Chan movies and we love Jackie Chan movies. I grew up with Jackie Chan movies and all his classic movies like the ladder fight The first shot. The Daniels connected with them, so they started working with them [the Le brothers] to choreograph. They actually choreographed with the camera as well, so we started breaking it down and figuring out way ahead of time how we could execute it and how to simplify it.

A big part of it was timing yourself. The backpack fight was multi-camera, and we’d have these really weird platforms that we built in advance, like the ground camera, which is like the point of view of the backpack that wraps around this leg. It was a little roller skate platform that I was just running on at the end of a rope.

2 females and a male hide in Everything Everywhere All once.

Then you’d have the stair fight and that was the most painful thing to do. You have 20 people on the ladder. You try to move. We had to spend a lot of money on these fancy techno cranes, not to make cool moves, but to put a camera in a place that was hard to reach. We had to spend all this money to put a camera in an awkward place to tell the story. I slowly worked with him.

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With those scenes, not only are you trying to do an action scene, but you have industrial fans blowing paper all over the place. The lighting flickers. It was a big challenge. We would actually rush through dialogue and try to do dialogue heavy days so we could have time to capture the chaos properly. We don’t have to rush through the action scenes as much as we thought we had to.

Were you able to step back and realize what this movie meant to so many people? It has grossed over $100 million worldwide, which is an A24 record, and has a good chance of being nominated for some Oscars. Is this surreal? Did you know you had something special?

I remember several crew members saying, “I think you guys have done something special,” and at the time they didn’t think much of it. I was just glad to be done. It was such an endurance contest because every day, you come at 100. There’s never a cool day on set. [Laughs] Every day has a crazy idea or something that we had to come up with. It began to drip slowly. Our colorist Alex, before grading the film, saw it with his wife and said, “Yes. My wife loved the movie and cried.” There aren’t even any final visual effects in it. I said, “Oh, wow. This is madness.”

But I was also there during the editing process because they kept playing with it and got all these crazy responses. We really only found out at South by Southwest. Hearing the crowd’s first reaction, I said, “Oh. I understand.” Hearing people cry in theaters is something I haven’t really experienced. Usually crying is a quiet thing, and the person next to me was crying and I started getting really emotional. I’ve never had an emotional response to none of my projects so far because it’s usually beaten out of you by the time you see it in theaters.I actually had a real response when I saw it.

Michelle Yeoh stars in Everything Everywhere All at Once.

I am so proud of Daniel for what they have done. Even the night after South by Southwest, they had a big house party with just the crew. It was a dance party. Someone started making everyone give speeches. Half the people couldn’t get into a speech, because the whole hall would be silent. They would go talk and start crying and saying, “I can’t do this.”

It sounds cliché, but people really have been working on it for so long. It was all of them. It wasn’t like it was a great script that I found and someone did it. No, all these guys put everything they have into it. I am very happy to see that people are responding.

Everything Everywhere Once is available for rental on services such as Prime Video, Apple TV and YouTube.

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