Hello, I’m Salik Waquas, a colorist and owner of a post-production color grading suite. My passion lies in translating stories into visual poetry through the meticulous craft of color grading. I’m also an avid cinephile with a keen interest in dissecting the visual language of films. Today, I’d like to share my thoughts on the cinematography of Everything Everywhere All At Once directed by, Daniel Kwan, Daniel Scheinert, and The Daniels, a film that left an indelible impression on me as both a professional and a movie enthusiast.
Cinematography Analysis Of Everything Everywhere All at Once
About the Cinematographer
Larkin Seiple, the cinematographer for Everything Everywhere All At Once, delivered a masterclass in visual storytelling. Known for his work on indie films and music videos, Seiple brought a distinct visual language to the Daniels’ multiverse epic. His ability to blend emotional resonance with technical precision allowed him to navigate the film’s diverse visual styles seamlessly. What’s particularly inspiring about his work here is how he leveraged resourcefulness and creativity to produce a visually stunning film, all within a modest budget.
Seiple’s innovative approach emphasized both emotional depth and narrative clarity. Whether crafting intimate moments or chaotic multiverse battles, his cinematography consistently supported the story’s themes. His use of lighting, lensing, and framing not only created visually arresting images but also reinforced the emotional core of the film.
Inspiration for the Cinematography of Everything Everywhere All At Once
The multiverse concept posed unique visual challenges, which Seiple tackled by drawing inspiration from an eclectic mix of films. Each universe in Everything Everywhere All At Once carries its own visual identity, pulling influences from directors like Paul Thomas Anderson and Wong Kar-wai. For instance, the Wong Kar-wai-inspired sequences evoke lush romanticism with their vibrant greens and soft focus, reminiscent of In the Mood for Love. Meanwhile, the pastel tones of the “Hot Dog Fingers” universe nod to Todd Haynes’ Carol. Even Kubrick’s 2001: A Space Odyssey finds its echoes in the film’s surreal, existential moments.
This patchwork of visual influences ensured that each universe felt distinct yet cohesive. By borrowing from such varied sources, Seiple and the Daniels created a film that celebrates cinema’s diversity while staying true to its own chaotic yet heartfelt narrative.
Camera Movements Used in Everything Everywhere All At Once
The camera movements in this film are nothing short of exhilarating. They reflect the disorienting yet exhilarating experience of jumping between universes. Rarely static, the camera constantly tracks, pans, and tilts, keeping viewers immersed in Evelyn’s fragmented reality. This dynamic motion mirrors the chaos of her multiversal journey, pulling the audience deeper into her perspective.
Even during quieter, dialogue-heavy scenes, the camera’s subtle movements heighten the tension. For example, in moments of familial conflict, the handheld camera amplifies the emotional stakes, making the viewer feel every shift in tone. Additionally, rapid cutting between close-ups, mid-shots, and wide shots adds to the film’s frenetic energy, making Evelyn’s struggles feel palpable.
Seiple also used focus pulling to great effect. By seamlessly shifting focus within the frame, the camera guides the audience’s attention, maintaining narrative clarity amidst the chaos. This choreography between camera movement and focus is a testament to Seiple’s meticulous planning and execution.
Compositions in Everything Everywhere All At Once
Composition plays a pivotal role in grounding the film’s multiversal chaos. Symmetrical framing often reflects moments of balance or order, while asymmetrical compositions convey disarray and uncertainty. The contrast between these two approaches mirrors Evelyn’s journey as she attempts to restore equilibrium in her fractured existence.
The use of match cuts and seamless transitions between universes is another standout feature. For example, identical shapes or movements often link scenes, creating a visual continuity that underscores the interconnectedness of the multiverse. These compositional choices not only enhance the narrative flow but also reinforce the film’s thematic exploration of choice and consequence.
Lighting Style of Everything Everywhere All At Once
Lighting is as versatile and varied as the film’s universes. The “normalverse” employs naturalistic lighting to ground the story in reality. In stark contrast, the Wong Kar-wai-inspired sequences glow with warm, nostalgic hues, while the “Hot Dog Fingers” universe uses soft, pastel lighting to create a surreal, almost dreamlike quality.
Transitions between universes are often aided by lighting shifts. For instance, flashing lights or sudden changes in color temperature act as visual cues, guiding the audience through the narrative’s complexity. These subtle yet deliberate choices make the multiverse feel tangible and immersive.
Seiple’s use of practical lighting, such as neon signs and desk lamps, adds a layer of realism to the fantastical story. By balancing natural and stylized lighting, he created a visual language that feels both grounded and otherworldly.
Lensing and Blocking of Everything Everywhere All At Once
The film’s lensing choices are integral to its distinct visual style. Seiple used an ARRI Alexa Mini with a mix of lenses to achieve varied aesthetics. Zeiss Super Speeds lent a clean and straightforward look to the “normalverse,” while Hawk Anamorphic lenses added cinematic flair to the action-packed sequences.
Blocking, too, was meticulously crafted to enhance the film’s themes. The Daniels choreographed actor movements and camera placements to create visual rhythms that mirrored the chaos of the multiverse. For instance, when Evelyn is overwhelmed by simultaneous multiverse interactions, the blocking and lensing work in tandem to reflect her disorientation while keeping the audience engaged.
Color Grading of Everything Everywhere All At Once
As a colorist, I found the film’s color grading to be one of its most compelling aspects. Each universe is defined by its distinct palette, allowing viewers to instantly differentiate between dimensions. The “normalverse” uses warm tones to ground its reality, while other universes experiment with more unconventional palettes.
The pastel hues of the “Hot Dog Fingers” universe evoke a whimsical, almost childlike quality, while the Wong Kar-wai sequences use rich greens to evoke nostalgia and longing. These choices are not just aesthetic but also emotional, helping to underscore the narrative’s themes.
The color grading was essential in unifying the film’s diverse visual styles. Despite the stark differences between universes, the consistent use of bold, deliberate palettes maintained a cohesive visual identity.
Technical Aspects of Everything Everywhere All At Once
The technical execution of this film is a testament to ingenuity and resourcefulness. With a modest budget, the production team transformed an empty office building into multiple sets. Practical effects, such as wire stunts and physical props, were used wherever possible, minimizing reliance on CGI.
The VFX team, composed of just seven artists, delivered over 500 shots. Their work, inspired by the DIY ethos of 1980s effects, gave the film a distinct visual identity. The Everything Bagel, for instance, was created using layered pre-rendered elements, proving that creativity often trumps budget constraints.
Conclusion
Everything Everywhere All At Once is a cinematic marvel, blending inventive cinematography with heartfelt storytelling. Larkin Seiple and the Daniels turned limitations into opportunities, crafting a film that feels both expansive and deeply personal. From dynamic camera movements to bold lighting choices and meticulous color grading, every aspect of the visual storytelling contributes to the film’s emotional resonance.
As a filmmaker and colorist, I’m inspired by the resourcefulness and creativity on display. This film is a testament to the power of collaboration, proving that great storytelling transcends budgetary limitations. It’s a visual feast and an emotional journey that reminds us of cinema’s boundless possibilities.
- Also Read: CINEMATOGRAPHY ANALYSIS OF EUPHORIA (IN DEPTH)
- Also Read: CINEMATOGRAPHY ANALYSIS OF CAROL (IN DEPTH)