Larkin Seiple in everything everywhere at once

Larkin Seiple in everything everywhere at once

The 2022 wellness movie belongs to the cast and crew of Everything everywhere at the same time. The absurd story of the multiverse combines science fiction, drama, martial arts and fantasy to portray a gripping story of love and trauma. Michelle Yeoh stars as Evelyn Quan Wang, a hapless laundromat owner seeking a better life for herself. While 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 instantly became a 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 at the same time received universal acclaim for its originality, direction, and stunning visuals. Cinematographer Larkin Seiple helped create the beautiful use of color in the various universes and the excellent fight sequences throughout the film.

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

Michelle Yeoh stands in front of her character's husband and daughter in a scene from Everything Everywhere All At Once.

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 that features a farting corpse?

Larkin Seiple: The corpse was easier. The corpse I bonded with so much more. A middle-aged adult is at a loss and trying to come to terms with what to do. I am not a man. I’m not a child. What do I do in between? Strangely, that made sense. As a kid doing stupid things to his friends in the woods, he seemed very relatable.

The story of love and generational trauma in everything everywhere it was pretty intoxicating. Trying to emotionally follow that into the script was also a little different than [what] you see in the movie. The Daniels were really successful. If you’re confused, it doesn’t matter, because you know what emotion to feel. In the script, it was the opposite. You knew what was going on, but it was a little harder to track the emotion of it.

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

The first time I read it so fast because I was so excited. Much of the confusion was my fault. Like when you read a book you love or there’s something juicy about it, and you start looking for keywords. So you have to go back and reread. I took the bat. I spent the year with them throwing me verse skips and how that would work, what we could do with this look and what were some really dumb ideas we could play with that could make someone skip verses.

The cinematography of everything everywhere at once (2022)

I think the first reference they had was using a cat as a nunchuck. That was the first image I was told. They’re like, “There’s a universe, and you have to escape a room, and the only way to do that is to use that cat as a nunchuck.” And I was like, “Okay, that’s an interesting image in my head.” They never used it, and I don’t think they even made the script, but it was the first time we talked about it. The absurdity of what was possible out there was a big part of it.

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If you hadn’t worked with the Daniels before, do you think you would have achieved this in less than 40 days?

Not. I think a big part of what made this possible was the fact that not just me and the Daniels, but Jason, our production designer, our entire camera team and lighting team, have worked with them for a long time. And Jonathan Wang, its producer. We knew what they would ask for. They’d ask for some crazy things, but they’d also only ask for a lot of that. We had this crazy photo, but it’s a photo. It’s not like we need to build the entire road. We need to make an angle work.

They [the Daniels] really trust your employees. they trust [the crew]. “Here’s a crazy idea we have. What’s the best way to run it,” or ask Jason, “What’s the best place to shoot it?” or “What is the best option for our budget?” That was constantly the theme. How can we do that with the time and money we have?

Everything everywhere at once | Official HD Trailer | A24

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

Well, we’ve shifted the lens between all the universes as well. We use six or seven different types of lenses. We also changed the aspect ratio from 4:3 for CinemaScope to 1.85 for something as silly as Netflix’s 2:1. which looks like 1.85. We did things like that. We had a big meeting at the beginning with me and the production design, but also hair, makeup and costumes. The Daniels were like, “The second act is psychotic, and we’re going to go through these universes and we need to make bold choices so you can easily know where you were.”

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

We started to reserve colors for universes, but we also chose not to include some colors in certain universes. We were also playing with contrasts like the universe of hot dog fingers, which nobody gets. Everyone is distracted by hot dog hands, but the only colors in this universe are ketchup, mustard, meat, and bread. It’s just those colors.

Wow.

[Laughs] Production designer had ball. He was more excited about it [hot dog hands] universe. Yes, it was little things like that. in a mood of love was a great reference to the Hong Kong verse where she [Evelyn] is a movie star. in a mood of love it’s not really a green movie. It’s very clean, actually. But we respond 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 started just by making these bigger, bolder choices. Raccacoonie is a bizarre ode drunken love. You know, red, white and blue. There are very strong and visceral American colors. We just started having fun with it and then seeing what was there and improving it.

Do you have a favorite reference from a movie you managed to get into?

I always have some references that I mention to the Daniels as a joke, but they’re still a real reference to me. For Jobu’s universe in the white temple, all my favorite movies come from the childhood trauma of movies. Movies that hit really hard like Jurassic Park. That scared the hell out of me. Inside The never-ending story there is a princess in this strange, icy, white, glittering castle. In the second, there’s this weird crystal palace that collapses. When I was a kid, it always bothered me, this strange, fragile, scary environment.

I combined this with images from Beyond the Black Rainbow, which is this dark and mind-blowing horror movie. That was my favorite reference. I even watched Neverending Story II, which is terrible and very cheap and ruined my memories completely. It doesn’t look anywhere near as good as my memories, and it looks pretty cheap.

I even think they switched one of the actors’ races, bizarrely enough. A lot of the references are based on memories from those movies, rather than actually pulling the frames and referencing themselves. That’s how we left. Heart shot type, if you will.

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

We were very lucky because the Daniels got in touch with 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 in first attack. The Daniels connected with them so they started working with them [the Le brothers] to choreograph. They really choreographed it with the camera too, so we started to break it down and figure out in advance how we could execute it and how to simplify it.

A lot of it was giving himself the right amount of time. The fanny pack fight was with multiple cameras, and we had these really weird gear that we built in advance, like the camera on the floor, which is like the fanny pack point of view involving that foot. It was a small skating rig that I ran on the end of a rope.

2 females and a male hide in Everything Everywhere All at Once.

Then you have the ladder fight, and that was the most painful thing to do. You have 20 people on the stairs. You are trying to move. We had to spend a lot of money on these fancy tech cranes, not to make cool moves, but to put a camera in a hard-to-reach place. We had to spend all that money to put a camera in a nasty place to tell the story. Little by little we work on it.

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With these scenes, not only are you trying to do an action scene, but you also have industrial fans blowing paper everywhere. Lighting is flashing. It was a big challenge. We would really rush through the dialogue and try to do days of dialogue heavy so we could have time to really capture the chaos properly. We wouldn’t have to run through the action scenes as much as we thought we needed to.

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

I remember some staff members saying, “I think you guys did something special,” and at the time, they didn’t think much of it. I was glad we were done. It was an endurance competition because every day, you hit 100. There’s no cold day on filming. [Laughs] Every day there’s a crazy idea or something we had to do. She started to drip slowly. Our colorist, Alex, before reviewing the film, he watched it with his wife and said, “Yes. My wife loved the movie and cried.” There aren’t even final visual effects in it. I was like, “Oh, wow. This is crazy.”

But I was also there during the editing process because they kept playing with it and getting all these crazy responses. It really only occurred to us at South by Southwest. Hearing the audience’s first reaction, I was like, “Oh. I get it.” Hearing people crying in theaters is something I haven’t really experienced. Usually crying is a quiet thing, and the person next to me was sobbing, and I started to get really emotional. I never had an emotional response to it. none of my projects before, because it’s usually been defeated by the time you see it in the movies. I really got a real response from seeing it.

Michelle Yeoh assists in Everything Everywhere All at Once.

I’m so proud of the Daniels for what they’ve done. Even the night after South by Southwest, they had a big party at their house with just the crew. It was a dance party. Someone started making everyone give speeches. Half the people couldn’t speak because the whole room was quiet. They would go to talk and they would start to cry and say, “I can’t do this”.

It sounds cliché, but people have really worked on it for so long. It was all of them. It wasn’t like it was a great script that we found and somebody made it. No, it’s all these guys putting everything they’ve got into it. I am very happy to see the world respond.

Everything everywhere at the same time is available for rent on services such as Prime Video, Apple TV and YouTube.

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Source : www.digitaltrends.com

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