We spoke in-depth to EverythingEverywhereAllAtOnce cinematographer Larkin Seiple about crafting the mind-bending (and Oscar-nominated!) film, creating various universes alongside Daniels, and more:
Even with an infinite universe of possibilities, family is always where the heart lies, as seen in Everything Everywhere All at Once. Hailing from the Daniels, the duo behind the off-beat Swiss Army Man, the exceptional film revolves around laundromat owner Evelyn Quan and a trip to the IRS to clear up taxes that becomes a mind-bending journey through the multiverse.
But they had been talking about this for a while. They started talking about the idea of universe jumping, and the absurdity of it was what they were falling in love with. They kind of told me the pitch, or the catch to the idea behind it, but not fully the actual emotional story of it. The most fascinating part of it was hearing this very silly concept, and then actually hearing that the bones of it were something heartbreaking and true.
It was really tricky. We only have about 36 days to make it, and it's an action movie, so you're dealing with wire work and stunts and explosions. That stuff is really slow to shoot on set, so a lot of our job was just trying to figure out how we can pull things off, which basically just meant running around the building with two cameras and going crazy. [Chuckles]
Once we had the Taxes Universe, most of the other universes were like, "The color red can't be in there, that is for Taxes Universe." In the "Movie Star Universe," or the Wong Kar-wai universe, we push that green and yellow. We wanted that to feel more romantic in a weird way. And then the Ratatouille [universe], we pushed more American classic '90s movies, like Magnolia, or Punch Drunk Love, and that was more blue and white with their costumes.
That was the most enjoyable, and we were all excited to create this very subjective imagery compared to the rest of the film, which is very blunt and in your face with very direct framing. You have to know all this information for the next scene to make sense. Larkin Seiple: We almost didn't do it there! They initially wanted to find somewhere closer, because we were going to shoot it while we were making the film originally, we were going to shoot just in a forest in someone's backyard, and I fought really hard to be like, "No, we're gonna go there. It needs to be this epic shot."
They were amazing, they were phenomenal, I think the Daniels sent them the fanny pack, fight, and walked them through what they wanted and the beats, and then the next day, The Martial Club had an eight-minute choreographed fight that they had already shot of all these extra angles we didn't ask for, and showed it to us, and we're like, "This is amazing, we need two minutes, we're gonna take this and this and this, and we're going to redo that.
With both films, I even have friends that are like, "Not for me," but the love for this movie was much stronger from the beginning, ike at the South by Southwest screening of it, it was just wild to hear everyone laughing, and then hear everyone crying, and you're like, "Oh, is that really people openly sobbing?" Especially during the rock scene, which is dead silent, that was the trippy part to be like, "Why are people making noises?" and you're like,...
It's very hard to find new new territory to actually expand upon. Yes, it'd be fun to do it. But to me, it's not worth it. You've read that book, and it was meant to end; it wasn't a trilogy. [Chuckles] It is a one-off, in my opinion. As fun as universe jumping is, and they could easily have a lot more fun with that, I don't think it's worth it.
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