EVERYTHING, ALL AT ONCE...
music was huge,” says Rogers. The band and filmmakers meeting every week to give rough sketches. EEAAO is presented in three acts, with on-
screen graphics to mark where the acts begin. But Rogers didn’t cut in a linear fashion. “I tend to follow my excitement and would jump around all the time.” There are what Rogers describes as
movements. “Sometimes three or four scenes, sometimes a span of six or seven or more scenes.” These include early, location-based movements, such as the laundromat scenes at the beginning, or arriving at the tax office building, before the first fight starts. At the tax office, when the multiverse
Ke Huy Quan, Photo Credit: Allyson Riggs The Daniels’ references included
“Everything the Daniels do is in the interests of
bringing people together and making people feel like they’re part
of something, they’re not alone.
This movie is a great example of that.”
PAUL ROGERS EDITOR
Leos Carax fantasy film Holy Motors and Japanese animations Paprika and Mind Game. “I watched those not as a kind of prescriptive aesthetic reference, more as a ‘here’s what you can do, here’s what you can make when you disregard the rules of filmmaking.’” Rogers also took inspiration from Kung Fu Hustle, edited by Angie Lam, for the fight scenes, and Jet Li’s seminal film, Fist of Legend. Bringing the film to life was an act of
sculpture, “slowly chipping away at it and making it feel good. It was stilted, had no flow, no rhythm, for a long time,” says Rogers. “We just kept working at it. We just kept showing more and more people and then finding the moments that would work, figuring out ways to expand those moments that work into longer moments and then, all of a sudden, there’s a scene that works, and then you just keep going until those scenes start to touch each other and blend together.”
MUSIC AND MOVEMENT IN THE MULTIVERSE
Rogers was awed by the cast performances. “Michelle literally never had a bad day,” he says. “It was very much like picking the cream off the cream that rises to the top.” He was heartbroken when takes had to hit the cutting room floor. The movie rides on a wave of music,
almost entirely composed by US band Son Lux over two to three years. They also opened up their whole back catalogue. “The
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kicks in and the film moves sideways making multiple connections, it also fills with elements of different cinematic genres and references. While the audience is being spun and challenged, the genre tropes give an anchor. “It’s nice for the viewer to feel sure of what language is being spoken. cinematically, even if it’s on a subconscious level. So, we could centre them in an action movie with our sound design, with our cutting style, with the music, and we could then recentre them in the family drama with the same techniques, just applied differently.” The movie is shot through with VFX,
produced by a small, agile team, with music video experience, led by Zak Stoltz. Their motto was less Marvel, more Ghostbusters. “They were tipping in stuff day to day,” says Rogers. “I could be like, hey Zak, can I get a quick render of the [Everything] Bagel? Or can you cut together this quick comp for me? And that afternoon, he could give me a super rough version that would allow me to figure out timing, sound design, that kind of stuff. So that was really, really wonderful.” The cast and crew pulled together
throughout and it’s no coincidence that the Daniels had their well-being top of mind. Rogers says this philosophy is essential to the directors’ creative themes as well as their production ethos. “In my mind their work has always been about making people feel less alone. And especially with people who don’t feel like they have any kind of representation in the world. That can be neurodivergent people, people of colour, disabled people. Everything that they do is in the interests of bringing people together and making them feel like they’re part of something, that they’re not alone. And I think this movie is such a great example of that.”
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