The Daniels broke down the “happy accidents” and unconventional methods within six of their favorite scenes from 'Everything, Everywhere, All At Once'.
the genre-jumping epic that follows Evelyn Wang , a laundromat owner who is recruited to travel through the multiverse and fight off an evil force set on imploding the world. “How do you keep the audience believing in and rooting for characters in a universe that has hotdog hands or there’s a talking raccoon or there’s someone beat to death with a dildo, there’s a butt-plug fight?” says Larkin. “The lighting and the execution of the camera work makes it feel real and visceral.
It was also important for this real-world scene to not feel too different from the rest of the movie. The plan was to reveal the layers of absurdity a little bit at a time, says Kwan. “We knew it was going to be a family drama that gets interrupted by a sci-fi film that gets interrupted by a rom-com that then becomes an action movie, and then gets shredded through the blender of the internet,” says Kwan.
The set, made to look like a Hong Kong alleyway, had a lot of texture and detail to it. Seiple chose to focus on simplicity, turning down a lot of lights and letting the actors stand out amongst the chaos behind them. It’s one of the few moments when the camera isn’t moving and the framing is purposely different. “The rest of the film, it’s very centered and focused very much with Evelyn, and this framing is disassociated with her in a way that it’s like she’s dramatically framed,” says Seiple.
The stunning vista helps viewers to stay engaged in the scene, which was essentially just two rocks on an overlook. “I think we underestimated how emotional people’s reaction to the rock universe would be,” says Scheinert. “Some people got really sincerely emotional during this silly universe. I think the fact that it’s so beautiful is what gives you permission to care about this absurd image.”
The whole scene was shot with just two setups and completed in about 30 minutes. “This was one of those examples of something that we gave no time or money towards but turned out great because every department cared about it,” says Seiple. The VFX team, which usedas a reference, manipulated the shot to make it look more retro, along with adding a fake sunset.
Seiple’s flexibility is one of the team’s strongest assets. “He’s good at responding to the story, and on the fly without us having to cut to try another take and discuss what to adjust,” says Scheinert. “He’ll chase those happy accidents.”Toward the end of the film, when a bloodied and battered Evelyn reaches for her husband’s hand, the Daniels and Seiple wanted to make the moment feel special, so they used a lighting rig that had a trio of lights rotating around the center.
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