Cinematographer LarkinSeiple explains the challenge of shooting in under 40 days and the ingenuity of the Daniels in EverythingEverywhereAllatOnce.
The feel-good movie of 2022 belongs to the cast and crew of Everything Everywhere All at Once. The absurdist multiverse story combines sci-fi, drama, martial arts, and fantasy to depict a heartwarming story of love and trauma. Michelle Yeoh stars as Evelyn Quan Wang, an unhappy 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 story of generational love and trauma in Everything Everywhere was pretty heady. Trying to follow that emotionally in the script was also a little different than [what] you see in the film. 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 happening, but it was a little harder to track the emotion of it.
Had you not worked with the Daniels before, do you think you would have been able to pull this off in under 40 days? Well, we changed the lensing between all the universes as well. We used six or seven different types of lenses. We also changed aspect ratios from 4:3 to CinemaScope to 1.85 to something as silly as Netflix’s 2:1. which looks just like 1.85. We did things like that. We had a big meeting in the very beginning with me and production design, but also like hair and makeup and costumes.
I even think they switched one of the races of the actors, bizarrely enough. A lot of the references are based on memories of these movies as opposed to actually pulling up frames and referencing them themselves. That’s kind of where we went from it. Kind of shooting from the heart, if you will. Then you have the stairs fight, and that was the most painful thing to make. You have 20 people on the staircase. You’re trying to move around. We had to spend a bunch of money on these fancy techno cranes, not to do any cool moves, but to put a camera in a place that was hard to get to. We had to spend all this money to put a camera in an obnoxious place to tell the story. We slowly worked with it.
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