Larkin Sibel on everything everywhere at once

The impressive 2022 movie belongs to the cast and crew Everything everywhere at once. The absurd multiverse story combines science fiction, drama, martial arts, and fantasy to portray a warm story of love and shock. Michelle Yeoh plays Evelyn Quan Wang, an unhappy laundry owner who seeks a better life for herself. While being audited by the IRS, Evelyn learns about the multiverse and must inherit multiple copies of herself to save them from destruction.

The high-octane adventure immediately became a crowd pleaser and is on its way to becoming the highest-grossing A24 movie. Directed by Daniel Cowan and Daniel Scheinert, known professionally as “Daniels”, Everything everywhere at once It has received worldwide acclaim for its originality, direction and stunning visuals. Cinematographer Larkin Seiple helped craft the beautiful use of color in the different universes and excellent fight sequences throughout the film.

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

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

Digital Trends: What is the easiest concept to understand? An epic multiverse tale or a friend’s movie featuring a fart corpse?

Larkin Seibel: The corpse was easier. The corpse you arranged is much more. An adult gets lost in the middle of the road and tries to come to terms with what to do. I am not a man. I am not a child. What do I do in the middle? Oddly enough, this made sense. As a boy doing stupid things with your friends in the woods, I felt very connected.

The story of love and shock between generations in Everything is everywhere It was very intoxicating. Trying to follow it emotionally in the script was also a little different from [what] As you see in the movie. The Daniels family was really successful. If you’re confused, it doesn’t matter because you know what feelings you must be feeling. In the text, it was the opposite. You knew what was going on, but it was a little hard to keep track of the feelings about it.

Was there ever a moment when you finally understood the concept? Did it take a few reads until you finally said, “Okay, I see what the Daniels family is trying to do here?”

The first time I read it very quickly because I was so excited. Much of the confusion was my fault. Just like you read a book that you like or there is something interesting in it, and you start searching for keywords. Then you have to go back and re-read it. I got it off the bat. I’ve spent the year with them promoting me to hair jump and how that would work, what we can do with this visual, and what some really stupid ideas we can play with that can make someone jump.

Cinematography of Everything Everywhere at Once (2022)

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

Had you not worked with Daniels before, do you think you would have been able to achieve this in less than 40 days?

No, I think a big part of what made this possible was the fact that not just Daniels and I, but Jason, our production designer, and the entire camera team and lighting team, they all worked with them for such a long time. And Jonathan Wang is their producer. We knew what they would ask. They will ask for some crazy things, but they will also ask for a lot of it. We got that crazy shot, but it’s one shot. It’s not like we need to build the whole road. We need to make one corner.

that they [the Daniels] It really depends on their collaborators. trust [the crew]. “This is a crazy idea we have. What is the best way to implement it,” or ask Jason, “Where’s the best place to shoot it,” or “What’s the best option for our budget?” has been the topic consistently. How can we achieve this with the time and money we have?

Everything everywhere at once | HD Official Trailer | A 24

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

Well, we changed the lens between all universes, too. We used six or seven different types of lenses. We also changed the aspect ratios from 4:3 to CinemaScope to 1.85 to something silly like Netflix 2:1. Which looks like 1.85. We’ve done things like this. We had a great meeting initially with me and production design, but also love hair, makeup and fashion. The Daniels family was like, “The second act is psychotic, and we’re going to flash into these universes and need to make bold choices so you can easily tell where you are.”

Michelle Yeoh looks at hot dog fingers all over the place at once.

We started by reserving colors for universes but also chose not to include some colors in certain universes. We were also playing on contrasts like the world of hot dog fingers, which no one else caught. Hot dog hands distract everyone, but the only colors in this universe are ketchup, mustard, meatloaf, and bun. It’s just those colors.

Fabulous.

[Laughs] The production designer had a ball. He was so excited about it [hot dog hands] Universe. Yes, it was little things like that. in the mood for love It was a great reference to Hong Kong poetry where it was [Evelyn] He is a movie star. in the mood for love Not really an eco-friendly movie. It is actually very clean. But we responded to the idea of ​​Wong Kar-wai making many of them loved it fallen angels And the Chongqing Express It was very green and had a lot of flavour.

We are just beginning to make these bigger and bolder choices. Raccoonie is a strange poem Drunk love punch. You know, red, white and blue. There are very strong American colors. We are just starting to enjoy it and then see what was there and enhance it.

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

I always have a few references to Daniels as a joke but it’s still a real reference to me. As for Jobu being in the White Temple, all of my favorite movies come from childhood trauma of the movies. Movies that hit hard like Jurassic Park. The crap scared me. in The NeverEnding story, There is a princess in this strange and bright icy white castle. In the second, there is this strange crystal palace crumbling. When I was a kid, it always bothered me, this strange, fragile and frightening environment.

I collected it with photos from Beyond the black rainbowThis is a mystery horror movie. This was my favorite reference. I even watched The Story of NeverEnding IIIt’s terrible, made really cheap, and totally ruined my memories of it. It doesn’t seem anywhere close to my memories, and it looks really cheap.

I even think they changed one of the cast’s races, oddly enough. A lot of the references are based on memories of these films rather than dragging frames and referring to them themselves. That’s kind of where we went from. Kind of shooting from the heart, if you will.

The fight scenes are very intricately designed. Logistically, it must be difficult to photograph. How did you know where to put the cameras for the fight scenes?

We were really lucky that the Daniels family reached out to our choreographers, the Lou brothers, and their team. These guys love the Jackie Chan movies and we love the Jackie Chan movies. I grew up on Jackie Chan movies and all of his classic movies like Fighting Ladder first blow. The Daniels family got in touch with them, so they started working with them [the Le brothers] for choreography. They choreographed with the camera as well, so we started taking it apart and figuring out how to do it beforehand and how to simplify it.

Lots of it was giving yourself a good time. The propeller pack battle was multiple cameras, and we had these really weird rigs that we built pre-built like a camera on the ground that look like a POV of a propeller pack wrapped around this foot. It was a little skateboard I just ran on the tip of a rope.

Females and males hide in everything everywhere at once.

Then you grapple with the stairs, 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 bunch of money on these fancy tech jacks, not to do any fancy stunts, but to put the camera somewhere hard to reach. We had to spend all that money to put a camera in a nasty place to tell the story. We worked with it slowly.

With these scenes, you’re not only trying to do an action scene, but have industrial fans blowing paper all over the place. Illumination flicker. It was a huge challenge. We were actually correcting through the dialogue and trying to do intense dialogue days so we could have time to pick up the mess appropriately. We won’t have to rush through the action scenes as much as we thought we should.

Were you able to step back and realize what this movie meant to so many people? She has grossed over $100 million worldwide, an A24 record, and has a solid chance of being nominated for some Academy Awards. Is this surreal? Did you know you have something special?

I remember a couple of crew members being like, “I think you guys made something special,” and at the time, you didn’t think much about it. I was just glad we finished. It was an endurance contest because you come every day at 100. There is never a cold day in a photo shoot. [Laughs] Every day he had a crazy idea or something that we had to implement. It started flowing slowly. Our streamer, Alex, before the movie rolled out, watched it with his wife and was like, “Yeah. My wife loved the movie, and she cried.” There are not even final visual effects in it. I was like, “Oh, wow. That’s crazy.”

But I was also there during the editing process because they kept playing with it and getting all these crazy responses. It dawned on us only in the south and southwest. Upon hearing my first crowd reaction, I was like, “Oh. I get it.” Hearing people cry in theaters is something I haven’t really experienced. Crying is usually a quiet thing, the person next to me was crying, and I was starting to get really emotional. I’ve never had an emotional response to any of my projects before because you’re usually defeated by the time you watch it in the cinema. I actually had a real reaction to seeing it.

Michelle Yeoh consider everything everywhere at once.

I’m so proud of the Daniels family for what they’ve done. Even on the night after South and Southwest, they throw a big party in their house with just the crew. It was a dance party. Someone started giving speeches to everyone. Half of the people could not enter into a speech because the whole room would calm down. They’ll go talk, and they’ll start crying and say, “I can’t do that.”

It sounds cliched, but people have been working on it for a really long time. It was all of them. It wasn’t like it was a great script that we found and someone did it. No, all these guys kind of put everything they have into it. I am so happy to see the world respond.

Everything everywhere at once Available for rental on services like Prime Video, Apple TV, and YouTube.

Editors’ Recommendations






Leave a Reply

%d bloggers like this: