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2 episodes with scheinert
2 episodes with scheinert
2 episodes with scheinert
Who made the mistake at Disney Plus and typed in "astrogRation" instead of "astrogation" and does it really matter? Is At-Attin the treasure planet from "Treasure Planet" or are the people of the last remaining "jewel of the Old Republic" just money changers? Is Jod a former Jedi? What was going on between Crimson Jack and Kh'ymm? Can we just call her an owlcat or is that too easy? Will Fern ever stop trying to be like her mom? Will Wim ever grow up? Will Nooma get Neel some nasal strips for that snore? What's wrong with K-B, according to her parents, because she seems like the most put together of the core four? Is the Supervisor someone or a species we already know or is it a droid with a personality? Are the rest of the hidden planets really destroyed or is that just more propaganda? What IS the Great Work?Do I have answers for all these questions? Yes. Are they the correct ones? I don't know.Episode 3 of Skeleton Crew brings more fun and more questions. I don't know how well the show is doing, but I do want another season, even though I have no idea how that would go. My hope is the kids just want to go on an adventure and find the other planets, because as it turns out, no one can find them to tell them its safe to come out of hiding. Well, is it safe to come out of hiding? The poor kids get to find out their school on At-Attin has missed some galactic sized events.Jude Law is very solid as the adult lead. The kids are more than alright. The writing has been very good and the action fun. The plot continues to unfold. Did we mention the aurabesh? There's so much aurabesh.Hats off to David Lowery. Excellent back-to-back episodes leading into a hand off to "the Daniels" (Kwan and Scheinert). If you'd like to theorize, send in your thoughts either to our email address thisisthewaypodcast-at-gmail.com or contact us through 'X' (you know, Twitter) or Instagram @ThisistheWayPod or Facebook and of course, through the comments on Spotify or YouTube! May the Force be with us! --- Support this podcast: https://podcasters.spotify.com/pod/show/thisistheway/support
Mit der Initiative "Männer gegen Rechts" will Bildungsreferent Frank Scheinert Männer dazu ermutigen, sich für Demokratie und Vielfalt einzusetzen. Gerade auf dem Land würden Rechtsextreme oft einschüchternd wirken und Männlichkeitsbilder prägen. Scheinert, Frank www.deutschlandfunkkultur.de, Studio 9
Listen to us as we discuss the 2022 film Everything Everywhere All at Once. If you like what you hear, and/or would like to give us feedback on how we're doing, follow us at: https://beacons.ai/senornerdpodcast / senornerdpodcast @senornerdpod on Twitter Everything Everywhere All at Once is a 2022 American absurdist science-fiction comedy-drama film written and directed by Daniel Kwan and Daniel Scheinert, who produced it with Anthony and Joe Russo and Jonathan Wang; the film incorporates elements from a number of genres and film mediums, including surreal comedy, science fiction, fantasy, martial arts films, immigrant narrative, and animation. Michelle Yeoh stars as Evelyn Quan Wang, a Chinese-American immigrant who, while audited by the IRS, discovers that she must connect with parallel universe versions of herself to prevent a powerful being from destroying the multiverse. The film also stars Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis, Jenny Slate, Harry Shum Jr., and James Hong in supporting roles. Kwan and Scheinert began work on the project in 2010. Production was announced in 2018, and principal photography ran from January to March 2020. The filmmakers initially sought Jackie Chan for the lead role before the script was revised to feature a female protagonist as part of a wife-husband duo. The works of Hong Kong film director Wong Kar-wai, as well as the children's book Sylvester and the Magic Pebble and the video game Everything, served as inspiration for several scenes. The soundtrack features compositions by Son Lux, including collaborations with Mitski, David Byrne, André 3000, John Hampson, and Randy Newman. The film explores philosophical themes such as existentialism, nihilism, surrealism, and absurdism, as well as themes such as neurodivergence, depr2ession, generational trauma, and Asian American identity. Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022, and began a limited theatrical release in the United States on March 25, 2022, before a wide release by A24 on April 8. The film grossed over $141 million worldwide, becoming A24's highest-grossing film. It garnered widespread critical acclaim, gained a large cult following, and was a success at the 95th Academy Awards, winning a leading seven awards out of eleven nominations: Best Picture, Best Actress for Yeoh, Best Supporting Actor for Quan, Best Supporting Actress for Curtis, Best Director and Best Original Screenplay for Kwan and Scheinert, and Best Film Editing. It also won two Golden Globe Awards, five Critics' Choice Awards (including Best Picture), a BAFTA Award, a record four SAG Awards (including Best Ensemble), a record seven Independent Spirit Awards (including Best Feature), and swept the four major guild awards (DGA, PGA, SAG, and WGA). With 266 awards out of 405 nominations, Everything Everywhere All at Once is currently estimated to be the most awarded film of all time.
Dean Scheinert, Executive Director of the Justa Center joins the show to talk about shelters for people experiencing homelessness, specifically seniors. See omnystudio.com/listener for privacy information.
Kerstin Scheinert aus Norderstedt setzt sich seit Jahren für Teilhabe und Inklusion ein. Dafür wurde sie vom Bundespräsidenten ausgezeichnet.
The Screen Actors Guild Awards, or SAG Awards, are known as an important predictor for the Academy Awards, or Oscars. On Sunday night in Los Angeles, the film Everything Everywhere All at Once was a big winner at the SAG Awards. Three actors from the film won awards. In addition, the group of actors in the film won the award for best cast.演员工会奖或 SAG 奖被称为奥斯卡金像奖的重要预测指标。周日晚上在洛杉矶，电影 Everything Everywhere All At Once 成为美国演员工会奖的大赢家。影片中的三位演员获得了奖项。此外，该片的演员组还获得了最佳演员表奖。The actors who won were Michelle Yeoh for leading female actor; Jamie Lee Curtis for supporting female actor and Ke Huy Quan for supporting male actor. Yeoh is the first Asian actress to win the award. She is from Malaysia. She acted in many films in Hong Kong in the 1980s and 1990s. Movie fans in other parts of the world learned about Yeoh when she appeared in a James Bond film in 1997. Quan is a Vietnamese American actor who became known in the 1980s when he was a boy. Quan was in the famous films Indiana Jones and the Temple of Doom, and The Goonies. As he grew older, he was not able to get many more acting roles and mostly dropped out of the business.获奖演员为女主角杨紫琼； Jamie Lee Curtis 为女配角，Ke Huy Quan 为男配角。 Yeoh是第一位获得该奖项的亚洲女演员。她来自马来西亚。她在80年代和90年代在香港出演多部电影。 1997 年，当 Yeoh 出现在詹姆斯·邦德 (James Bond) 的电影中时，世界其他地方的影迷就知道了她。Quan 是一位越南裔美国演员，他在 1980 年代还是个男孩时就广为人知。权在着名的电影印第安纳琼斯和末日神殿和七宝奇谋中。随着年龄的增长，他无法获得更多的表演角色，大部分时间都退出了这个行业。Jamie Lee Curtis is 64 years old and the daughter of two famous Hollywood stars: Tony Curtis and Janet Leigh. It was her first SAG nomination. She said: “I'm 64 years old and this is amazing.” Other actors in the group noted Curtis' award and joked that not all the actors in the film were Asian.The movie was written and directed by the team known as “The Daniels.” They are Daniel Kwan and Daniel Scheinert. The actors of Everything Everywhere All at Once spoke about how Hollywood is now recognizing more Asian actors and offering more opportunities.杰米·李·柯蒂斯现年 64 岁，是好莱坞两位著名明星托尼·柯蒂斯和珍妮特·利的女儿。这是她第一次获得 SAG 提名。她说：“我今年 64 岁了，这太棒了。”该小组的其他演员注意到柯蒂斯的获奖，并开玩笑说这部电影中并非所有演员都是亚洲人。这部电影是由被称为“丹尼尔斯”的团队编写和导演的。他们是 Daniel Kwan 和 Daniel Scheinert。 Everything Everywhere All at Once 的演员谈到了好莱坞现在如何认识更多亚洲演员并提供更多机会。Yeoh held her award and said: “This is not just for me. It's for every little girl that looks like me.” Quan said he left acting “because there were so few opportunities.” He looked around at the other Asian actors and said, “the landscape looks so different now.” James Hong is also a member of the cast. He is 94. He talked about old Hollywood movies when white actors would play Asian people. He said they wore makeup to look Asian, “because the producers said the Asians were not good enough…but look at us now!”Yeoh拿着她的奖杯说：“这不仅仅是给我的。这是给每一个长得像我的小女孩的。”全说他离开演艺圈是“因为机会太少了”。他环顾四周其他亚洲演员说，“现在的风景看起来很不一样了。” James Hong 也是剧组成员之一。他今年 94 岁。他谈到了白人演员扮演亚洲人的老好莱坞电影。他说他们化妆是为了看起来像亚洲人，“因为制片人说亚洲人不够好……但现在看看我们！”The other big winners on Sunday were Brendan Fraser for the film The Whale and Jennifer Coolidge, Jason Bateman and Jessica Chastain for their work in different television programs. Everything Everywhere All at Once is nominated for 11 Academy Awards. “The Daniels,” Kwan and Scheinert, are nominated for best picture, best directing and best original screenplay. Four of the actors are nominated, including Yeoh for best actress, Curtis and Stephanie Hsu for best supporting actress and Quan for best supporting actor.周日的其他大赢家是电影《鲸鱼》的布兰登弗雷泽和詹妮弗柯立芝，杰森贝特曼和杰西卡查斯坦在不同电视节目中的工作。 Everything Everywhere All On Once 获得 11 项奥斯卡金像奖提名。 “The Daniels”，Kwan 和 Scheinert 获得最佳影片、最佳导演和最佳原创剧本提名。四位演员获得提名，包括最佳女主角杨紫琼、最佳女配角柯蒂斯和徐倩妮以及最佳男配角权。Many of the SAG Awards voters are the same ones who vote for the Academy Awards. That is why people say it predicts the winners of the Academy Awards. Last year, for example, many Oscar winners also won SAG Awards. The Oscars ceremony will be held on March 12 in Los Angeles, California.许多 SAG 奖的投票者与奥斯卡金像奖的投票者相同。这就是为什么人们说它可以预测奥斯卡金像奖的获奖者。比如去年，很多奥斯卡影帝也获得了美国演员工会奖。奥斯卡颁奖典礼将于 3 月 12 日在加利福尼亚州洛杉矶举行。
Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.
Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.
Let's talk about (spoiler alert) Jazza's favourite movie of the year (and maybe of all time) - as we look at parallel universes, googly eyes, and lesbian supervillains! Support us on Patreon at patreon.com/thequeermoviepodcast for as little as $5 per month to gain access to perks like queer movie recommendations, Discord access, and watch-a-longs. Thank you for supporting us! We're a serious podcast and have a serious sponsor, Squarespace support us! Help make the podcast profitable by going to squarespace.com/queermovie, and by using the code 'queermovie' at checkout. This is a queer movie watch party for your ears, hosted by Rowan Ellis and Jazza John. Join us as we take a look at the queer film canon, one genre at a time. From rom-coms to slashers, contemporary arthouse cinema to comedy classics - Queer Movie Podcast is a celebration of all things queer on the silver screen! New episodes every other Thursday. Find Us on the Internet Super Highway - Twitter: https://twitter.com/QueerMoviePod - Patreon: https://www.patreon.com/thequeermoviepodcast - Website: http://www.queermoviepodcast.co.uk/ - Multitude: @MultitudeShows Production - Hosts: Rowan Ellis and Jazza John - Editor: Julia Schifini - Executive Producer: Multitude - Artwork: Jessica E. Boyd TRANSCRIPT: JAZZA: Hello, everyone. Just before we jump into the main episode today, I want to thank our two top-level patrons, Jennifer, and Toby, who are supporting us on the rainbow parent tier, which is absolutely bloody amazing. Do you want to join them, head over to Patreon and you don't have to donate as much as they do, but we'd really appreciate anything that you can give to us. More about Patreon coming a little bit later. On with the episode, my darlings. [theme] JAZZA: Welcome to the Queer Movie Podcast celebrating the best— ROWAN: —And worst— JAZZA: In LGBTQ plus cinema, one glorious genre at a time. ROWAN: I'm Rowan Ellis. JAZZA: And I'm Jazza John. ROWAN: Each episode we discuss a movie from a different genre of cinema. JAZZA: This episode's genre is— JAZZA AND ROWAN: Queer Oscars 2023. ROWAN: So in sync, so coordinated. JAZZA: Yeah, a 100%. The—the yearly tradition of us doing the Queer Oscar stuff. So today, we're going to be talking about the best bloody movie ever made by the Daniels, Kwan, and Scheinert. And starring the best actor in the history of humanity, Michelle Yeoh, and nominated for 11 Oscars, I think. Everything Everywhere All at Once. ROWAN: Not to spoil what Jazza thought of the movie or anything. But before we start— JAZZA: It's my favorite movie, it's my favorite movie. I'm so fucking excite— after like the last three movies that we've done, I'm so excited to speak about something that I actually genuinely adore. I love this film. Spoiler. ROWAN: But before we stuff Employee of the Month awards up our asses, so we can fight Michelle herself. Jazza, what's the gayest thing you've done since the last episode? JAZZA: So um, hi everybody, I live in New York. And I— ROWAN: Oh, here we go again. JAZZA: Ran out of my NHS-prescribed prep at the end of last year. And so I have been having to live like it's the 90s, oh, my God. And I just—for the first time, like a true American, which I'm not. But like a true American resident picked up my first prescription of prep from CVS. ROWAN: You— did you have to pay American money for it? Or do—do you have an insurance? JAZZA: No, I get it on my health insurance. ROWAN: Oooh, look at you! JAZZA: I got a full fe—although, can I just show you the documentation that I have to read— ROWAN: Yeah. JAZZA: —when I take this. ROWAN: I'll do an audio [2:33] Okay, here's the audio description. What's basically happened is Jazza has just come onto the webcam that I can see. And they've essentially like, you know, one of those comedy scrolls that just keeps rolling all the way down the throne room in some kind of fantasy comedy movie, that's exactly what's just—just been displayed in front of me. That is like, a world map to scale, that is so big. Have you read any of it? JAZZA: Yeah, well, I had to try and because, like, I know that, like what you're meant to do to take for it. But I wanted to like double check, because this is American prep, and maybe it's different. So I found the instructions of dosage and how to take it, and it says, take dosage exactly as your prescriber told you. ROWAN: Okay. JAZZA: Fucking useless. ROWAN: What—oh, did your prescriber not tell you? JAZZA: No. But I have texted him and said, is it like normal prep and we'll find out when he texts me back, so that'd be good. ROWAN: Wow. JAZZA: What's the gayest thing you did? ROWAN: Before we go into the gayest thing, I really feel like this podcast is educational. It's very vitally important, very serious, not at all. But in cases, anyone listening who doesn't know this, if you take two or more prescriptions monthly, and you're on the NHS, like through the NHS, get yourself a prepaid certificate, because it will be cheaper. And then every single prescription you get past, I think it's literally like you have to have one and a half prescriptions a month, it will be cheaper, and every single one, it won't cost you any more money. And then when you go in and they say do you pay for prescriptions, you get to be like, I already did baby, I pre-paid. Because I didn't know that until very recently. And I've been taking two prescriptions a month for many years and didn't realize I was paying too much for them. That wasn't the gayest thing I've done though. Um. JAZZA: [laughs] ROWAN: What? JAZZA: Isn't it, making—making healthcare more easy to—easier to navigate and more accessible? [4:24] ROWAN: [4:25] that's pretty gay. No, that I actually did my first in-person talk, and since the pandemic— JAZZA: Oh yeah, this is cool. ROWAN: I used to do a lot of them. And I've done some in person like hosting stuff and things like that, but mostly it's been online. But I went to essentially like a organization where a bunch of like solicitors and lawyers, and legal organizations kind of have joined forces so that, that LGBT group is—has some has—has actual members and it isn't just like one person at one law firm. And I did a little talk and I am very, very proud of it, it went very, very well. And I actually think that talk is very good. It's basically about the—the parallels of the moral panic from the 80s around gay people to the trans panic now. Yeah, a lot of people came to ask me about it afterward, I think including some people who hadn't necessarily been to abreast of the situation with like the trans panic. And who had some very thoughtful questions, and I think definitely was making them think, which is, you know, what we love to do. So, If anyone wants me to come and talk, basically be very depressing for an hour, I now apparently do that professionally. But that was my gay [5:34] JAZZA: Don't sell yourself [5:35]. If anybody wants like a really informed and provocative discussion or talk to bring to your workplace, then please get in touch with Rowan Ellis because she's one of the [5:45] ROWAN: [5:48] JAZZA: Yeah. ROWAN: Oh, don't think I won't do it, I'll do it. I'm sorry, that was a threat for some reason to you. Yeah. No, that's—that was, that's pretty gay, so that's me. JAZZA: Well done. Proud of you. ROWAN: Thank you. [theme] JAZZA: So anybody who is new here, here's how we're going to do it. So first, we're going to give a little bit of context around how gay the Oscars are this year in 2023. And I am just going to carve out a little bit of time to do some gushing around how I think Michelle Yeoh is the best person on the face of the planet, how she's my bitch, and that I die for her. I watched Star Trek Discovery for Michelle Yeoh. ROWAN: That's dedication. We will be spoiling this movie, so we would encourage you to watch it before listening to the rest of the episode because it really is very excellent. And some of these movies that we review, were like, no, don't bother, just listen to us describe what happens during the plot. But for this one, do go away and watch it and then come back. JAZZA: Yeah. To be clear, I think this is the best film ever made. So without further ado, let's put everything on a bagel, despair, report cards, salt, and this review of the movie, Everything Everywhere All at Once. [theme] ROWAN: So this year we had a few options actually when we were looking at what maybe we wanted to do for— JAZZA: No we didn't, we were always going to do this— ROWAN: Okay, well— JAZZA: [7:12] ROWAN: —hypotechnically. JAZZA: Yeah, yeah. ROWAN: There would [7:13] JAZZA: If were gonna pretend. ROWAN: So obviously Everything Everywhere All at Once, Tar, which was the film with Cate Blanchett that we didn't enjoy, that we have already reviewed. So if you did enjoy that or not, check out the podcast on that, already out. There's also The Whale, which has earned three nominations, I think, including for Brendan Frazier's performance of a gay man, spiraling out over grief after the death of his partner. And then technically Glass Onion: A Knives Out Mystery, [7:44] JAZZA: Oh sure. Yeah. ROWAN: For Best Adapted Screenplay because allegedly Ben was gay. And we also have already done that. So realis—oh, I think like, again, technically like Lady Gaga got a nomination for the theme song to Top Gun Maverick, and you know. JAZZA: Love the Top Gun Maverick, already one of the gayest fucking movies on the planet without actually being gay. Actually did get an Oscar nomination, we could have covered it. I love that because of Lady fucking Gaga of all people. ROWAN: Yeah. Their only— JAZZA: It would have been quite poetic actually. Should we go back and just do Top Gun? ROWAN: I mean, yeah, maybe it's like hey, here's a little sneak little—little cheeky episode where it's just like gay, the gay subtext genre. That is technically a genre, I guess? JAZZA: Hey, watch this space. ROWAN: And then there's also some ones that are maybe lesser known. So one of the best international feature, Close, which is from Belgium, follows two teenage boys who have this very close friendship and then it get there like a lot of drama happens after some of their schoolmates sort of notice how close they are. And there's like a rift forms between them, which I haven't seen. And it also haven't seen after [8:48] which seems to be ambiguously gay. Where some people are like, it's very obvious that the main character is gay. And some people are like, it's—it's not, no one picked up on it, blah, blah, blah. So it's like, that was also a possibility of [9:00] this movie that everyone is obsessed with. And that I do need to see, but I need to be emotionally ready for it because apparently, it's going to tear my heart out. JAZZA: Great. ROWAN: Absolutely decimated. And so yeah, I think that the only one that we haven't covered that we might do on the podcast seems to be The Whale. But I literally—I mentioned it not to say that we shouldn't do Everything Everywhere All at Once. I just mentioned it as like, oh, we could also do the work. Like I hadn't even finished typing to send the message. Before Jazza was like absolutely the fuck not, we're doing this movie. We're not doing any other movie ever again. Only this movie. JAZZA: I think I might have threatened to quit. ROWAN: Yeah. [9:35] Okay. Good luck [9:37] Rowan. So yeah, essentially, we didn't really have a choice and by we, I mean me. But I'm fine with that. I—I um have a confession though. JAZZA: Go on. ROWAN: I started watching this movie a little while ago. And I just didn't finish. I just got like— I mean I've finished it now. To be clear, I'm coming into this podcast— JAZZA: Oh my gosh! ROWAN: —not having watched the movie. JAZZA: Well, you did it with Rose, so. ROWAN: I basically got to the fanny pack fight scene, but I just like wasn't in the frame of mind to— I don't know like the ADHD was really ADHD. And I was like, I can't concentrate on anything, let alone this long movie. JAZZA: You didn't even get that far. ROWAN: I know. JAZZA: The fanny pack [10:18] ROWAN: It's really near the beginning, but my brain was just like, I can't concentrate on anything longer than about two minutes long. And I wanted to do it justice. Like I knew that so many people love this film, and I wanted to give it a good go. So I was like, I'm not just going to try and push through it. I want to actually enjoy it. So I am very happy that you forced me to watch it, because it's a very good movie. JAZZA: Wait, had you not finished it until we were going to do this episode? ROWAN: Yeah. I literally watched it for the episode. JAZZA: Oh, my God. I'm—you're welcome. ROWAN: Your—again. Again, Jazza the way you say welcome absolutely destroys me, but— JAZZA: Welcome. ROWAN: Absolutely not. So basically, but I'll show you because I don't know why I thought I would be able to watch this movie. I was like, maybe I need something different to my brain. So I was like, maybe I'll just paint while I'm doing it, just like a little cute painting. But then I forgot that I had to make notes for this podcast. So I was like, trying to write notes, and then also paint. So I got like, not far through the painting whatsoever. I just got the under-the-base thing done, which is like, this is— JAZZA: Oh that's cute. ROWAN: —the scene where she like cracks in three, and it's like any office building. JAZZA: Oh yeah. ROWAN: But like none of the actual features are in, so it just looks really like blobs. But I will try and finish it by the time this goes out, so we can put it on our social media because you know, we should probably upload there, you know. JAZZA: Hey [11:39] ROWAN: Put things on our socials. JAZZA: Really great for engagement. ROWAN: Yeah, everyone loves a good [11:44] So yeah, that is essentially my context, is that the queer movies we've done, like I've done like a—together, we did a whole video about the quick history of the Oscars on my channel before, we've talked about the kind of Oscars in general in other episodes of the podcast, so I wanted to keep it just to like what's going on specifically this year, which seems to be—I would say that from the movies that I've seen, that are nominated, this one it feels like— like Tar, for example, and Knives Out and things, the sexuality is not necessarily a key part of the plot. It could be that the character like isn't queer, and it would have been reasonably similar. Whereas I think that the queer element of this film is like important to the plot. Like the— the fact— JAZZA: Yeah 100%. ROWAN: — that she's queer is important to what's going on here. Which I think is very—it's going to be interesting to have a little chat about. Would you like to do your context, which is basically just you talking about your [12:40] JAZZA: Michelle Yeoh? Yeah, my girl Michelle, I'm—every gay kind of has a that one female artist, that they will die for generally. Mine in the music sphere, Shakira, and in the action sphere, Michelle Yeoh. Michelle Yeoh could probably be credited with me deciding to learn Chinese and move to China. I'm not even joking. I first— I remember watching her—the first time I ever watched her was in the James Bond movie that she was in, which was I Think Tomorrow Never Dies? And since then, have just like, completely been obsessed with her, obsessed with her career. She went from—well before then, she started off as like a beauty queen in Malaysia, then did an advert with Jackie Chan in the 1980s because, of course, every East Asian woman in the 1980s did an advert with the Jackie Chan, they were advertising watches. Then she from that ended up being an action star and a huge star in Hong Kong in her own— right Hong Kong being the center of the movie industry in Asia. So she was in movies like when [13:51] Yes, madam, and was already this huge, huge star. She was catapulted into international stardom through James Bond and then ended up doing the Ang Lee film, Crouching Tiger, Hidden Dragon was in stuff like Memoirs of a Geisha, went on to do have supporting roles in movies like Crazy Rich Asians. And just— has just kind of like grown into playing a lot of these matriarch roles. She has a dance background and so has traditionally done all of her own stunts and all of her fight scenes, which is the same for a lot of the stuff that is in this movie. And I just think she's really fucking badass. She's learned whole languages in order to play roles. Before the 2000s she couldn't speak any Mandarin, she learned it for Crouching Tiger, Hidden Dragon and now does this whole movie, this whole movie Everything Everywhere All at Once in Mandarin, just full interviews in Mandarin. She learnt Burmese when she played Aung San Suu Kyi in The Lady hasn't aged very well that movie, but that's crazy. And she didn't speak any Cantonese before she broke into Hong Kong cinema. Like this woman is a absolutely fucking phenomenal. And she was educated at least part of her life in London, so we can claim her, she's one of us. And that's all. I love her. ROWAN: That's very adorable. JAZZA: Thank you. ROWAN: Someone, someone, someone send this to Michelle. JAZZA: Oh, I—you know that embarrassing interaction I had with Baldwin Yang, I feel like Michelle Yeoh is one of the only other people who I would like physically combust in front of. I would not be able to handle it. ROWAN: I love that. Yeah, we'll keep you at a distance. I'll be— if I ever see her in the street and you're with me, I'm taking, I'm like gonna rugby tackle you to the floor. I'll be like, no, Jazza shield your eyes. Like— JAZZA: Yeah. ROWAN: —I feel like it would just have you'd be having some kind of like angelic experience, it would burn the very soul out of you, so don't worry, I've got your back. JAZZA: Thank you. And just to close on one final thing before we dive into the plot of this movie. She's the first East Asian woman to be nominated for an Oscar Best Actress. And Stephanie Hsu is the first East Asian woman to be nominated as a Best Supporting Actress. This movie is groundbreaking. And yeah, just again, before we go in and spoil the plot if you haven't watched it, you have to, it'll change your life. And you'll cry a lot. If you're anything like me, you'll probably cry a lot. ROWAN: I think she feels like a shoo-in for Best Actress. JAZZA: Who's she against? ROWAN: Cate Blanchett. JAZZA: [16:26] ROWAN: For Tar. JAZZA: I rec— so I will be. I can see Cate Blanchett winning, and I will be furious. ROWAN: Yeah. I think that— I think that's the most likely thing if Michelle doesn't, because the other ones it's other Michelle, for the fave woman's Michelle Williams, which you know, whatever. It's a film, it's fine, but like I feel like there's been better. Movies about movies and stuff. I think it's only because it's Spielberg talking about himself that anyone cares. JAZZA: Yeah. ROWAN: It's Andrea Riseborough for To Leslie, which is like the one everyone jokes about how no one actually knows. That everyone was like what the hell even is that film? When did it even come out? What is it, who cares? Ana De Armas for Blonde, where the hell did that nomination come from? Absolutely unhinged behavior from the Academy, and then Michelle. So I feel like she—she— if there's any justice in the world, will win it. JAZZA: And also she's—she's like a has a long decorated career, everywhere else apart from the Oscars. And the Oscars generally likes taking these opportunities to award— rewards people who have been such items in the industry, but maybe have never had the— the role has kind of put them in the contention for an award like this. ROWAN: Yeah. JAZZA: I think she will win. I think the best picture win is less of a shoo-in. ROWAN: Screenplay, I think is going to be the contest there is going to be with Banshees. And I think supporting actress—supporting actress Stephanie might be in. I feel like the only one that might—you know actually no because even though it is Angela Bassett, it's for Black Panther, which won't—It won't get it because it's a superhero movie. And the other two for The Whale and Banshees, like the— it's—they weren't big enough roles, I don't think. So it's Stephanie against Jamie Lee Curtis for the same movie, and Stephanie was simply better. So I'm really hoping that we have some— not just like first nominations, but first wins to go with it in the same year. JAZZA: I'd love it if Mitski beat Lady Gaga as well. [18:30] ROWAN: I love that for you. Right. Should we get into the plot of this movie then? JAZZA: Yeah, let's do it. [theme] ROWAN: Okay, so the movie begins with our hero Evelyn doing her taxes, which apparently was the summary of the movie pre-trailers, and even when the trailers were going out because I didn't want to spoil the movie at all. What it was we're going to be before the trailer dropped. So it was just a woman does her taxes was the description on IMDb for a long time, which I think is hysterical. And we essentially get this extremely chaotic scene where we're introduced to a bunch of issues that are going on in her life and complications, including the fact that she's not doing her taxes very well essentially, is one thing that she is, and it kind of hurt her husband on this laundromat which might not be doing too well, business-wise. She has annoying customers, her father is there and— JAZZA: He's just arrived from China. ROWAN: —just arrive from China. And her daughter is gay, has a girlfriend called Becky. The grandfather doesn't know about. And so the daughter has come to basically demand that hey, I just want to tell grand like I don't want to lie to him. I want to tell him what's going on and the fact that Becky is my actual girlfriend, not just like a friend. And she has a very sweet husband that she kind of does—they have this very practice dance where she will like bang the ceiling and he'll know that he needs to come down and but he—there's also slight difficulties in communication. So the husband has like moved a bunch of the clothes for the customers upstairs, so they're not where they should be. And so it's—it's both very like synchronized dance almost situation going on, but with utter chaos because there are things that aren't quite fitting together, which, you know, it's kind of the vibe metaphorically and literally throughout this movie with this— with her life and with the family. JAZZA: This is the first scene so I don't want to spend too much time on it. But I adore it so much for a couple of reasons. One is the swirling chaos that you talk about, and that I love you [20:37] describing it as a dance because I've never really thought of it like that. It's also one of the first times I can remember seeing the Chinglish kind of like flow of their language going with like dipping in and out of Mandarin and English, as the two of them are speaking depending on kind of like what they're talking about. When they're talking about external things, so things like their taxes, when Stephanie's girlfriend is coming, and all of those kinds of things, they'll often dip into English. And then when they're talking about their relationship, the fact that Gong Gong is there and all of that kind of stuff, a lot of it is in Mandarin. And they just kind of like that's a part of like bilingual families that I've never really seen before, maybe in kind of like some Spanish media, but definitely not with Chinese, and I love being able to see that. And secondly, I want to ask you, what do you think about the theory that Evelyn has ADHD? ROWAN: I didn't see that theory. I've not seen that theory before. Until literally I was reading just like the Wikipedia page and stuff to make sure that I hadn't missed any of the plot points while I was like making notes. And it was like yeah, themes, including ADHD. And I was like, huh, interesting. JAZZA: I think there's a couple of reads of it. One is, this is the modern world that we're in, where we are distracted and having to pay attention to and having to care about things that we don't actually care about. Stuff like taxes and laundry is like the line that goes through the movie. But you can also read it as the this is Evelyn trying to deal with all of the spinning plates, and a mind that is dealing with ADHD. And I love that reading of her, of kind of like, this is how she is trying to kind of like function through the world. And from my experience with ADHD anyway, it feels very—when I'm having like bad days, it feels like this opening scene. And I think that it's portrayed with the editing style and with her acting incredibly, incredibly well. And I'd like this as a reading for the character too. I don't think it's ever like explicitly mentioned, I think it's—I think it is just a theory unless one of the Daniels has mentioned it, ROWAN: I can definitely see that either way to be honest. I like that. Also, something I think is interesting is I watch everything with subtitles on because otherwise I wouldn't—as someone who doesn't speak anything but English, I wouldn't have noticed the fact that it's both Cantonese and Mandarin, depending on which member the family she's speaking to. So her father speaks Cantonese, and then she speaks Mandarin to Waymond. And I think that's also really interesting these like specific differences, cultural differences, even within this family that I think from the outside people would see as like one distinct group, as like this is a specifically a Chinese-American story. And I like the fact that you've got these elements which are brought in by the people who worked on the film to ensure that it doesn't become something which is sort of the homogenized version of the Asian-American story that might be told by people outside of that group. JAZZA: Yeah. It feels so real. It felt so real and really kind of like, it like [23:42] I'm not Asian- American, but I have been around these spaces at all, and it felt incredibly real. Like even though—when Stephanie's character [23:52] ROWAN: [23:53] Steph's character. JAZZA: Yeah. When Joy—when Joy as a character is introduced and we see Gong Gong for the first time, hug her granddad for the first time. And she's trying to kind of like get out. She—she understands Chinese, but she's trying to get out like the introduction to Becky and the distain with which her granddad just goes, your Chinese is really getting worse and worse every time I see you. And I've heard—I've heard older members of kind of like, I'm older generations of families, like say that about the other younger generations and like the disdain, like all of those interactions just feel really, really real. ROWAN: Also, the fact that Joy is— Joy is trying to—it is Evelyn's daughter it's trying to tell her grandfather that Becky has a girlfriend, and she suddenly realizes that she doesn't know the exact version of friend— JAZZA: Doesn't know how to say it, yeah. ROWAN: —girlfriend like which again just feels very real. That idea of like if you're someone who's got language for certain things in your life, and like you speak about certain things to your family. I think that's quite telling that that's not necessarily a word that she has at the tip of her tongue to be able to say in Cantonese. That, to me was like very interesting. And then we also have essentially, the end of this interaction is that Evelyn interrupts in Cantonese to describe Becky as a good friend rather than a girlfriend. So deliberately interrupting her daughter, to cover up her daughter's queerness for his grandfather. That she says, you know, he's old, we don't want him to, you know, this would— this would be too difficult for him to deal with. JAZZA: They keep on talking about how it's going to kill him, [25:24] ROWAN: [25:25] JAZZA: [25:25] he's already flown from China for the Chinese New Year [25:27] ROWAN: It's really difficult. And then essentially Joy leaves really upset. JAZZA: Yeah. ROWAN: And goes to get in the car to leave. And Evelyn has clearly got this parental love within her that she just cannot express in a way that her daughter understands. JAZZA: And so just says that she's fat. ROWAN: Yeah, she's like, you need to eat healthier, you're getting fat, which you can understand. And you can tell that it's—it's—she's not trying to say it to be awful. But obviously for Joy without the context of like, we've kind of been in Evelyn's point of view, and we get from the expression on— on her face that she can't just say, I love you so much, I'm sorry. So she has to just say—she's trying to say I care about you by being like, I've noticed something about you. I want you to take care of yourself like this is the way I show I care. But for Joy, she very much just hears, you're fat, you're doing things wrong, this is bad, you're bad. And so we see immediately this like real kind of disconnects between the two of them. This gap in generations, and language and culture, etc, etc. And we just essentially have this whole very chaotic first scene that leads into her meeting with internal revenue, where things are not going to get any easier for her, put it that way. JAZZA: Yeah, where Jamie Lee Curtis is her IRS agent. So when they go up into the elevator, we see that Waymond has divorce papers with him. And it's kind of like looking at this other older couple who are very affectionate. And you can see him lamenting the fact that he doesn't have that with Evelyn. Going up in the elevator, the elevator is very slow. And then Waymond shuts down opens up again and all of a sudden is like hiding from the cameras and whatever. And he's been Raccacoonie, and he's being puppeted by Waymond from another universe, the Alpha Verse. ROWAN: Alpha Waymond. JAZZA: Alpha Waymond. ROWAN: And it does the classic, I've taken over your body from another universe thing of being like, you're in grave danger. I don't have much time, here are some instructions. I can't say any more. Very, very classic call to adventure vibes, where it's like, I love a mysterious call to adventure like that. It all depends on you kind of energy to it, which is something that's really fun about this movie for me is it's a lot of like follows that process of the call to adventure. The refusal of the call, like all of this stuff that's very Monomyth is very Joseph Campbell, it's very much how Hollywood works. But then there is just such absurdism going on alongside it, and such bizarre stuff that—kind of by its nature, because we find out later that within this multiverse that's happening, that alpha Waymond is from part of the ways in which you're able to jump through the multiverse is by doing something that's statistically bizarre and unlikely. And so the absurdism sort of is written into these small moments of the script, as well as the overall story. But I just really like how it plays with the classic call to adventure, you know, this Alpha Waymond has said, not, this is your destiny, and she refuses it at first. And it's like, no, it's not me, I'm not the person to do this, and then gradually gets pulled into it. But it has these twists to it, which I really, really loved. JAZZA: And I—I just want to ask, what—what was your favorite like anomaly that somebody had to do? Apart from having to sit on an employee of the month award and then fighting with a [28:50] ROWAN: I'll tell you my least fucking favorite, Jazza. JAZZA: Yeah, go on. ROWAN: Giving yourself four paper cuts. [28:56] JAZZA: Yeah. The paper-cut one is horrible. ROWAN: I could not watch that. I could not watch her, it's literally the worst thing I can possibly think of, so I don't think I even now could name you a single one that— that—oh, do you know what else I hated, Waymond, eating chapstick. JAZZA: Yeah, it was sooo— ROWAN: I hated it so much. JAZZA: It looked so waxy, and— ROWAN: But yes. Anyway, so basically all that to say, because I realized I've jumped ahead to like, by the way, there's a multiverse. Get with it people, you should have seen this movie so you should already know about—yes, we meet Jamie Lee Curtis as audit lady, Deirdre is the name? JAZZA: Deirdre, yes, Deirdre. ROWAN: Who is I've just written in my notes, very mean and has butt plugs in the background question mark, question mark. Because I spotted them I was like— JAZZA: Chekov's— ROWAN: Are those relevant, like Chekov's butt plug? JAZZA: Chekov's butt plug. ROWAN: But essentially Evelyn, who has heard from Alpha Waymond these instructions that she needs to do during this meeting, gets completely overwhelmed. And just I think at the point of like, I have nothing to lose, looks at the end structions and carries them out, which essentially is to swap her shoes over to the other feet to really, really think about the janitor's closet that he wants her to go into. And basically, she finds herself there somehow. What—what in the science fiction? And the screen at this point cracks, and I think it's really interesting to know a little bit of con—a little bit of a behind the scenes info. Apparently, the effects for this movie, which are stunning, were done by like five people. JAZZA: Yeah, they also had a shoot time of like, of only, I think it was less than a month? [30:36] ROWAN: That is wild, that is truly wild. Because this one I feel like is where we start to get the sort of the Sci-Fi element the effects, special effects type element with a skink. The screen cracks, and we sort of realized that she is both in the closet now, but also still in front of Jamie Lee Curtis, who I guess from now on, I'm just going to refer to [30:54] as Jamie Lee Curtis. And we get this explanation that there is, you know, from Alpha Waymond, evil spreading throughout the multiverse, it's only you who can help us. While simultaneously getting the stakes of the normal everyday plot, which is that the laundromat could be repossessed, they could lose everything in that timeline. And it's a very stressful scene, because it's essentially, her potentially, like the whole universe is collapsing, but also her life is collapsing. And I think it's a really good example of how stakes that are just really big, like the whole universe is going to be destroyed are not actually necessarily that impactful, it's much more impactful to have something that's like very specific and personal to the character. And then they manage to marry those both together, by making the whole universe is going to be destroyed, personal for her as well, which to me was just like chef's kiss, my favorite version of this kind of storytelling. JAZZA: So in the Alpha Universe, we find out that Alpha Evelyn was the person who developed this verse jumping technology, which allows you to not necessarily— to, like inhabit the bodies of like yourself in other—depending on all of the branching decisions that you've possibly made all the way through your life. But also allows you to use all of their skills as well. So if for example, oh, let's say you were Michelle Yeoh in another universe, you'd be able to do kung fu because you learned that when you were a film star. So we also found find out that the big bad in the across the multiverse is someone called Jobu Tupaki, who is going around murdering everybody trying to find Evelyn, to what end, we have no idea. ROWAN: Dun, dun, dun. At this point, she's sort of slightly convinced, not really convinced this is real. She's very confused, and in a fit of confusion punches, Jamie Lee Curtis in the face, who has just offered to give her a little bit of an extension until the end of the day. And the classic, you'll know when it's time to fight, that happened from Alpha Waymond is completely misinterpreted, because she decides, I guess now's the time to fight and just punches this lady in the face. And it's at this point that we get our first like fight sequence of the movie. And I— JAZZA: I love all of the action sequences here. It's like one big long homage to Jackie Chan movies. It's fucking brilliant. ROWAN: It's beautiful. And essentially, it's just Waymond getting possessed by Alpha Waymond and using his fanny pack/bumbag, depending on which country you're in, to fight a load of people. And it's beautiful, it's— it's wonderful. It's actually exciting. I have a real big bone to pick with all the movies that do like CGI fight sequences against like, it's just what—two CGI things fighting each other, and I just get so bored. And these fights are consists— actually had like interesting choreography, was very legible as well, because I find that that's really tricky, which was helped by the fact that they film this movie at a very high frame rate, basically, so that they would have the freedom to use slow motion at any point, not just the ones that were scripted. Because if you've ever seen slow motion in older movies, and it looks really janky, it's basically because they put slow motion on something that was filmed at a normal frame rate, meaning that your eye is like used to seeing frames flick way faster, so it looks weirdly disjointed. And so this was this, I think really paid off for them. What I'm sure was very annoying having to film with that kind of high frame rate, I think has really worked because they utilize that so well. And before he does that, he does eat chapstick which again was extremely upsetting to watch. JAZZA: Very disgusting. So it is revealed to us that Jobu is in fact, Joy. [34:36] ROWAN: Plot twist. JAZZA: Got twist plot, and she possesses the Joy in the universe where there—the IRS having a conversation with Jamie Lee Curtis punching Jamie Lee Curtis in the face. And she wanders off somewhere, maybe to come and find Evelyn in our universe, that seems to be what is happening. Evelyn and Waymond and like it's—it's like the IRS building is in lockdown, and so they're hiding. And Jamie Lee Curtis ends up doing her own verse jump, getting the skills of a high-pitch-screaming wrestler we think? And goes around and fights Waymond one on one. But then Waymond goes, because Evelyn is so nervous, doesn't seem to be able to master any verse jumping at all on her own. He goes, you're clearly not the Evelyn I've been looking for, I've gotta go now. Bye. Can you imagine? No. ROWAN: No, I can't. JAZZA: Sorry Michelle Yeoh, you're not good enough. And so then she starts herself just doing a load of random shit in order to be able to try and get the skills of her in another universe. ROWAN: Yeah, she's like what is statistically unlikely just like give me— don't do random stuff to try and make that happen. JAZZA: She is told before Waymond runs away that saying I love you yo Jamie Lee Curtis will allow her to jump to a universe where she has the abilities of kung fu. She ends up being able to do that when Jamie Lee Curtis's knee drop is literally centimeters away from her nose. ROWAN: Millimeters, she's so close to getting a knee to the face. JAZZA: So close to getting a knee to the face. And Evelyn's verse jumps to basically the life of Michelle Yeoh, the actual actress. So interestingly, did you know that Michelle Yeoh was originally asked to play basically herself? And this verse jump, I reckon was meant to actually be our universes, Michelle Yeoh. ROWAN: I'll— well because they flashed through a bunch of footage, which is of her on various red carpets that she has done previously because it's all movie she's been in. So I was like, I didn't know whether that was meant to be literally jumping to our universe, or whether it was they just use it because it was footage. But either way, I like— I like both—both of those options to be honest. JAZZA: So she turned it down because she wanted to be taken seriously. [36:59] want to like play herself. But I do like the reading of—and to be honest, that's how I've been interpreting it as well. She's Michelle Yeoh in the other universe, is totally fine. ROWAN: Yeah. And we also get a little bit of a bunch of law here. So basically, every jump causes a crack, you can re—reseal the cracks, but only with training. You can't stay in a universe isn't your own that you've jumped to, because you could die, or worse. And essentially, we find out what the worst option is, is what happened to Jobu aka Joy, were in the Alpha Verse, that version of Joy's mind was splintered because Alpha Everlyn essentially pushed her too far. She made verse jump too many times. And now she's experiencing all of the universe, everywhere all at once. JAZZA: All at once. ROWAN: Everything, It's the title. And so she can verse jump, but also sort of manipulate matter itself at will seemingly. And so no one knows what Jobu wants, they just know that she's looking for Evelyn. And we—this essentially is like a little dump, but it doesn't necessarily feel like a bad law dump or like just exposition because you're listening to it going. Okay, okay, this is all information that I do need because right now, I don't know what the hell is going on. Because I am Evelyn, and I'm just like, oh, God, I just want to go back and finish my taxes, I guess, and be Michelle on the red carpet. But that is not her fate, unfortunately. JAZZA: So there's—out of this law dump come. I think two of the strongest themes of the movie that resonate with people the most, one is intergenerational, the differences between generations, and how relationships between generations are pressured from first-generation immigrants. So the fact that in the Alpha Universe, Evelyn pushed Joy too hard, made her crack, made her resent. And kind of like reflecting those sometimes difficult relationships, that it's similar across other phenomena like working-class parents, but especially with immigrant parents, that experience being represented there. And then also, the whole idea of fracturing, and each choice that you make in your life, creating a completely new branch of reality and possibility, really reflects people who choose to or are forced to go to another country to uproot themselves and go to another country. Evelyn, when she becomes Michelle Yeoh, and gets the skills of Michelle Yeoh, gets to see the world that she would have had and the life she would have had if she had never left for the United States with Waymond. And there's always whenever you leave a place, you make one of those big decisions. There's always the thought of oh my god, what would my life be like if I never left? Would it be better if I never left? The life I have now it's a struggle. Would it have been better if I had just stayed? And that I love the way that that is pulled through to the whole idea of kind of like the alternate realities and splintering. Like this is I think Sci-Fi and I didn't even really think of this as Sci-Fi until I saw it classified as such on IMDb. But this is Sci-Fi as its—at its absolute best, as a reflection of the real-world phenomena that happen for so many people. ROWAN: Yeah, I've been reading a bunch of like reviews and this is one that I think touches on that really nicely critic for The Washington Post. [40:22] says it's not only that the multiverse acts as a metaphor for the immigrant Asian-American experience, or a convenient parable for the dislocations and personality splits suffered by hyphenated that is Asian-American citizens. It also becomes a rather heavy vehicle for confronting and negotiating Asian pessimism, which I think is a really interesting idea of like, yeah, the— the literal hyphenation of you the— the ways in which your identity is split between and across, being something that's mirrored quite literally in this like cracking that's happening across these different multiverses. We also see at this point like the powers that Jobu has which includes like confetti cannoning a man's body apart. And various other very exciting, very exciting things which we lo—you know, I'm like, you know what I love to see, but also you are absolutely terrifying. JAZZA: Also if no, I'm sorry, I'm turning giant dildos into a murder weapon. ROWAN: Yes, stunning. JAZZA: This [41:18] and dildos, brilliant. ROWAN: Very into it. At this point, we also get Michelle jumping to a universe where everyone has hot dogs instead of fingers, I'm losing my mind. Just incredible work all around. And also, we get this moment where we're starting to see the big universal multiverse drama and the personal drama clash together, when Michelle basically is—is separating Jobu as a concept from her daughter Joy, because she says, you're the reason my daughter doesn't call anymore and dropped out of college and thinks that she's gay. So there's a sense of like, everything that's bad is not actually Joy, it's Jobu taking over her body or influencing her in some way, or being connected to her. And that she thinks that being gay is like one of these bad things like not caring and not having ambition. And being gay is like one of these things that she still doesn't support, which I think is— is very telling when we look at before where she—her excuse for not telling the granddad is like, oh, he's old, it's kind of like saying, oh, it's you know, he's old, he might be— it might like kill him all this kind of stuff, but never really admitting that she herself finds this difficult to deal with. And so we are like, this is going to be a journey for her as well in that way. And this is where we get to the bagel. JAZZA: Before we get to the bagel. ROWAN: Okay. JAZZA: This is— this is where I'm like, this is an explicitly queer movie. ROWAN: Yeah. JAZZA: It's not just kind of like a fact, this is about the queer experience. And something that I've only recently like clocked onto, I've watched this movie. I've watched the movie six times. In the—in the hot dog hand universe, I didn't even clock that the Ja— that Jamie Lee Curtis and Michelle Yeoh, in a queer relationship. ROWAN: How did you not clock that? JAZZA: I just like, obviously, I knew that it existed, but I never like when—oh, like Evelyn is also potentially at least in one of these universes, is queer as well. And showing kind of like those—a lot of this movie is about being distracted and caring about things that don't actually in the grand scheme of things matter, and deciding what you actually care about. We see that when Jobu is busy kind of like massacring all of these bodyguards. And goes, wait, you're still hung up on the fact that I'm gay in this universe? As kind of like, I can't believe that this is something that this Evelyn has decided to actually still fixate on. And it's— I think that there is a possible reading here where Evelyn herself is maybe queer in some way, shape, or form. But because of the fact that she was born in particular culture, comes from a particular time, got married to somebody who's actually trying to divorce her, was never able, and never had the freedom to be able to actually experiment with herself and—and find out about herself in that way. And actually, one of the many reasons that many people choose to emigrate and find a new life in another country, is so that they— their children can have a better opportunities and be able to kind of like be whoever they want to be. But then there is sometimes this brush up against who your kid then, therefore, wants to be, you'll have critic— critiques of like, oh, you've become too American. I don't understand all of this queerness and things like that. And I I love that kind of like relationship between Evelyn and Joy—oh, Jobu being represented here. But yeah, they're showing the bagel. ROWAN: Yeah, then there's a bagel. So basically Jo—okay, listen, stay with me here you guys. Jobu has created a bagel. And everything bagel with everything on it. That's quite literally everything in the world. All concepts, all matter, all things, which is all also kind of created a black hole that could destroy the entire multiverse. Classic. But Jobu is basically like nothing matters, so who cares? Let's all just get sucked into a bagel, that's a vibe for me. JAZZA: She's experienced Everything Everywhere All at Once. And therefore is like, well, everything matters, therefore nothing matters—matters. So what the fuck is the point anymore? ROWAN: Yeah. JAZZA: What is this world? ROWAN: Yeah. JAZZA: Essentially is Jobu's philosophy. ROWAN: Just total nihilism, just total, just like screw everything. And this is the interesting thing, right? We've heard the idea that she's looking for Evelyn, but we don't know why. And what she basically wants is for Evelyn to come into the bagel with her and for them to be dead and gone, and not have to experience anything, and just be free of the like agonies of life, and living, and experience. And it's kind of like Jobu, where's your therapist, I beg of you. We need— we need to, we need to sit down and talk about the bagel babes. JAZZA: So we—basically Jobu goes to Evelyn, I wanted somebody else to experience this with me. Her and her mother is really the only one who is able to because she invented verse jumping. Evelyn doesn't want Joy—she doesn't want joy to feel like this. She doesn't want Joy to have this nihilism as like the basis of her existence. And so Evelyn decides to do the thing that Waymond earlier said was worse than death, and splinter her mind so that she is across as many different universes as possible so that she experiences the same thing as her daughter. And so that she can get there and then bring her back. Essentially, this is the way. So we end up with Evelyn jumping to get the powers of somebody in one of the universes as she falls over and blind herself and then becomes an opera singer. As we all know, in one universe, she is one of those pizza sign spinners and manages to use that in some fighting. ROWAN: She is a chef who is friends with a man, who is being Ratatouilled by a raccoon. JAZZA: By a raccoon, Raccacoonie. ROWAN: Classic. JAZZA: Which is a better movie, it would have been a better movie, I think. [theme] JAZZA: Hello, friends Jazza here from another space and another time. Just popping in to humbly ask you to consider supporting this podcast financially. It makes a huge difference, and it keeps us on the airwaves, frankly. If you like what we're doing and want to support queer media, then you can sign up for our Patreon for as little as $5 a month. For that fee, that low fee less than like a fancy Starbucks, you can become a [47:47] called Baby Gay. And as a Baby Gay, you get access to our thriving Discord with hundreds of members who all chat about, not only movies but queer media and general chitchat that they love. It's a really lovely community. We've been going crazy about stuff like The Last of Us episodes and all of the Oscars hype. It's been a good time in the Discord recently. What's more, those Baby Gays get to join our monthly watch-along, which really is the jewel in the crown of our Patreon perks where we all watch a movie together once a month. In the run-up to the Oscars, we'll be watching something Oscars themed. Maybe The Whale, maybe not. If that sounds fun to you, check out our Patreon for that and many other perks. It really does keep the podcast afloat, especially in these difficult times. So thank you very much for considering supporting us. As returning listeners, know we are part of Multitude a collective of creators who make audio nibbles that you can listen to [48:48] really, really good. This week, I want to walk you through some of the refreshed parks that they offer to their patrons. Important hence separate to our patrons of the Queer Movie Podcast. But you get loads of really cool stuff, for example, my dears at the $10 tier who are called The Insiders, you get access to all of the behind-the-scenes stuff at Multitude. All of the drama going down in the office, all of the pet photos, and all of that kind of stuff. You also get to see the crew-only Instagram accounts, first dibs on any and all Multitude update coming down the pike. Plus, all insiders get 10% off all Multitude logo merch, and that is forever. There were loads of other perks available as well, that all have fantastic perks all the way up to the founders, which is the highest tier, where you can get hangout sessions for one to two hours with certain hosts, which is truly amazing access. So go over to Multitude Patreon and consider having a look there and seeing what you might be interested in, it can really be worth it. We are also still supported by Squarespace, who can help you to buy a domain and create a website. So a friend of mine was putting together an event in New York. Did I mention I live in New York now? And had a ton of amazing artwork that they had made in order to accompany this event. I was very naughty, and I told them to use our link, which is squarespace.com/queermovie. And I'm going to tell you what I told them, dear listener, that then convinced them to use our code. So not only does Squarespace allow you to centralize all of your assets, and platform presences in one place. It also lets you set up a shop where people can buy things from you, or even donate if they feel so inclined. Not only that high-tech analytics present a pretty good overview of how your posts are doing, how your content is doing, what's selling well. And it's all done with pretty, pretty graphics, so you can tell what is working and what isn't. And it also makes all events in New York instantly successful. Yeah, it's true. All you have to do in order to get all of those good things, maybe not the successful New York event stuff. All you have to do is go to squarespace.com/queermovie. And when you're set up to make all of your digital dreams come true, you can use the offer code, QUEERMOVIE that's all one word, to save 10% points off of your first purchase of a website or a domain. Remember to go to squarespace.com/queermovie. Now, back to the show. [theme] ROWAN: I have to ask at this point Jazza, have we reached act two yet? I forget when act two happens. JAZZA: Okay. So, so that was Act One, by the way, listener that was— ROWAN: [51:39] JAZZA: Handily, handily the movie splits it into three acts for us, that was everything. And then we go into act two, which is everywhere, but what I have also called the party and its aftermath. Because [51:54] ROWAN: Because the New Year's party is happening. JAZZA: Yeah, because as Evelyn's mind is cracking and she gets exposed to all of this and she becomes susceptible to all of the nihilism, by the way, that is in this just before this section, a fight scene with Michelle Yeoh and two people with butt plugs in them because that's the thing they had to do to get the martial arts skills. ROWAN: Classic. JAZZA: Amazing. One of the greatest pieces of cinema—cinema ever fucking made. I'm just annoyed, the whole thing was pixelated. But we ended up with her suspecting to the nihilism. And then she also just kind of like gives up and it feels like Evelyn, well, she dies, she dies in this one universe and then get sucked into the universe where she's having the Chinese New Year's celebration, where the IRS are arriving, and they're going to possess everything. ROWAN: I have my notes here was New Year's party is coming, there will be so much aftermath. Because I'm sure at this point, everyone has listened to the podcast already. But if you haven't, there is always an act in gay movies, that's the party in its aftermath. And they literally threw a party and they kept talking about this party. And I was like, we're gonna get so much fucking aftermath. We love to see it. So yeah, basically, we've reached—she's reached a point in this movie where she's basically like, yeah, you're right, everything is random and meaningless. Every single verse that I—that she's in, because she's in every universe all at once, all the time with her daughter. JAZZA: It's the movie, it's the title of the movie. ROWAN: It's the title of a movie. She's piñata in one universe, she's a rock in one universe, she's made of animation in one of the universe— JAZZA: Ah, the rock universe. ROWAN: —You've never—who would have thought that the rocks could make us feel so many fucking emotions. And there's a really, really sad bit where basically, Joy says to Evelyn, like, I was really hoping that someone else would have this experience, have themselves crack in this way. And then tell me that they had figured it out and everything was okay. And that I was just—I was just thinking about this wrong, and they would experience it and they will be able to tell me the meaning of life, and tell me what was actually happening and what I should be living for. And that hasn't happened because you essentially have turned just as chaotic and nihilistic and like, everything is meaningless as I have. And that was pretty— that's pretty rough. That's a pretty rough message for us to get at this point in the movie. So you know, spoiler alert, though, it gets better. JAZZA: Yeah. So as Evelyn kind of gives up, and he's about to step into the bagel, Waymond steps up, normal Waymond, not Alpha Waymond, because he's dead now, he died at some point. This is when I begin sobbing because Waymond is just being like, I don't understand why everybody is fighting. Why can't everybody just be kinder to one another? So this is where we have the trifecta, and it is complete. So we have Joy, who is nihilism, we have Evelyn who is existentialism, and then we have Waymond, who is optimism and absurdism. So those three philosophies, kind of interacting as these three main characters and the different ways that they go to the world, nihilism obviously everything is obviously, you read Wikipedia. Nihilism, obviously being where nothing matters, so why should you care? Existentialism is we can find meaning in kind of like the choices that we make in our live, And absurdism is kind of like finding the—it realizing how ridiculous everything is, and so laughing along with it anyway. And that optimism that can potentially come with that. So these few characters represent that, Those like three philosophies for life. And this speech from Waymond is—is one of the most heartwarming wonderful things because I think it's—it's such an optimistic take on humanity. And sometimes we need that optimism and I— I fucking loved it. So Waymond ended up influencing Evelyn. Evelyn realizes that the thing that is going to get her through this, even though that she is seeing that nothing matters, the thing that matters to her is Joy, her daughter, and so she decides that she is now going to help everybody else who's trying to fight her, including Jamie Lee Curtis. She's going to fight everybody and find out what they're thi—the thing that brings them joy. So she faces off against all of these minions. Jamie Lee Curtis, what is Jamie Lee Curtis's joy? Isn't it—is it— Jamie Lee Curtis finds out that she's lovable. There's one character—oh, the Raccacoonie guy, realizes he really loves being controlled by raccoons. ROWAN: He is played by Mike from Glee as well. JAZZA: Yeah. ROWAN: Which I immediately clocked and was like, absolutely perfect. Love it, beautiful. That boy I was like if they don't make him dance at some point during this, it would have been a wasted movie. And he does have a little bit of like more fight choreography style stuff, but I'm like I can see your dance roots in there, Harry, I can see them. JAZZA: And she makes two people dance and they become married in one universe. One of the Daniels, one of the directors, she takes him into another universe and exposes him to S&M and that's what brings him joy. ROWAN: I—the fact— I didn't know that—that was one of the Daniels, [57:06] JAZZA: That's one of the Daniels. ROWAN: I love that even more. JAZZA: It's so fucking brilliant. And then she reaches—so Jobu has summoned the bagel that's going to destroy everything and she's about to step into it. And am I sobbing? Yes, I still am. Jobu goes to like start to fight Evelyn her mother, and then Evelyn also like does like some kung fu, goes to fight, and then opens her arms to try and hug her. And eventually, Evelyn like they started rustling in tussling, and Evelyn, let Jobu go into the despair of the bagel. And that's kind of like—that's kind of like the way that this thing— no it isn't. ROWAN: Uh-huh tricks you— tricks you guys. So this I think is— okay, so again, what I found really interesting that I've just talked about before the idea of the big multiverse fight sequence finale, versus the very personal finale, and that the very personal is almost always going to be more interesting. And they tied it together so well because they have the really dramatic like, no don't go into the bagel, like trying to save her daughter she's being pulled in, which is like a very physically dramatic finale. But the actual moment is that it has that pathos and have that emotionality to it, is within our Evelyn's universe at this party where essentially Evelyn is like Joy is saying to Evelyn, like, we're just too different. You know, I'm tired, I just want to go, like us being together hurts the both of us, we need to go our separate ways. Let me go. And so her version of letting me go is very literal. Like I—we just need to be apart from each other. Like I get that we're mother and daughter but we just fucking make each other miserable. And it's this clear parallel to like the very dramatic Sci-Fi let me go into this bagel situation. And that that to me is just so perfect. And then in between we get the set— we get like the absurdist version of them as rocks and having this scene where— JAZZA: With googly eyes like we haven't even mentioned the googly eyes. ROWAN: Oh Joy's googly eye rock falling off a cliff. And then Evelyn's rock just falling after her. Oh, it's so beautiful. JAZZA: Like literally laughing and crying at stationary rocks that have subtitles. Like how has this—how does the [59:26] do that? Oh, it's so fucking good. ROWAN: It's essentially like we also get this again like very human ideas of like change and Evelyn being kind of taking up the call, so like breaking the cycle with her dad the idea of like, my daughter ended up being this like stubborn aimless mess just like her mother, and she's perfect that way. And that she gave someone— she says you gave her someone kind patient and forgiving to make up for all that she likes. Talking about her and Waymond, and her understanding of Waymond now, being so much clearer than it was at the beginning. That this is like helped her marriage, helped her relationship with her daughter. Just oh, she's—and also the idea of like, yeah, it doesn't make sense. You're saying the universe doesn't make sense. It doesn't make sense that I would be like, still love you even though you only visit when you need something. And like I— you know, I hate tattoos and your covered in them and like, I could be anywhere else in the entire world. In fact, at this point, she's like a good bit anywhere else in the multiverse, it doesn't make sense, but like, just want to be with you. And like, it doesn't matter if it doesn't make sense, essentially. And I weep and I cry, and so does Jazza. Jazza at this point is just simply 100% tear. JAZZA: Can I say—so I watched it this morning at an AMC and I cried so much. Have you ever cried so much that you dehydrated and you don't have any more tears? ROWAN: Yeah, all the time. JAZZA: That was me— I've met—that's never happened to me before, yeah. ROWAN: [1:00:49] like a headache, a headache that just all come fucking zooming. And so that essentially, in every single universe, they reconcile, there's no universe that she wants to be where her daughter isn't. And that has always been her strength throughout this, right? So like, we have this bit at the beginning where she says, like, you're getting fat, you need to look after yourself, whatever. But like in her actions, she shows that she cares about her daughter. She's willing to go through the thing that will like split her consciousness and like destroy her mind and maybe make her go crazy, and potentially she'll be dead. But she's immediately like, as soon as she knows that, that's an option, that it might help her daughter she does it. And so in her actions, she's showing love from the very beginning, and it just feels like it's about being able to show it in a way that her daughter can appreciate and a language in which they both understand, both like, you know, metaphorically and literally, and vice versa, that they can both kind of start to understand each other. And know that meaning is the meaning that they make
Our latest guests on Soundtracking are Ryan Lott, Rafiq Bhatia and Ian Chang, who come together under the banner of Son Lux. And under that banner, they provided the music for Daniels Kwan and Scheinert's mind-bending multiverse romp, Everything Everywhere All At Once. The score had to mirror the complexity of the narrative without confusing matters further. No mean feat, but one they manage to pull off with some considerable panache.
It's got Oscar nominations coming out of its ears, and now our Yosra Osman has given Daniels Kwan and Scheinert's dizzying multiverse adventure the nod, by picking it for this month's Flicking. But what will Mick and Hannah make of this tale of a middle-aged woman (Michelle Yeoh) unwillingly embroiled in an epic battle in various parallel universes to save the various parallel universes while still having to file her tax return? How has Mick managed to find nostalgia in a brand new film? Will Hannah make it through a multiverse film without vomiting? And how many sex toy jokes is too many sex toy jokes?Support this show http://supporter.acast.com/standardissuespodcast. Hosted on Acast. See acast.com/privacy for more information.
Swiss Army Man (2016) stars Paul Dano and Daniel Radcliffe, and it's Daniels Kwan and Scheinert's first feature film. We are in complete disagreement about this movie. It's gonna be fun!Watch the Swiss Army Man trailerFind UsTwitter @LastClerks , Instagram @thelastvideostoreclerks , and Facebook.com/lastclerksSubscribe to Podcast:Apple Podcasts SpotifyEverywhere you can find podcastsSwiss Army Man | A24Swiss Army Man - Rotten TomatoesSwiss Army Man - WikipediaSwiss Army Man IMDb The Last Video Store Clerks website Copyright 2023 Last Clerks
Vuelve Ignacia al podcast para hablar de la película de Kwan y Scheinert sobre una familia que salta entre multiversos. Spoilers en abundancia, quedan avisados.
Learn how to verse jump with the AMPM VIDEO crew as they talk Everything Everywhere All at Once a 2022 American absurdist science fiction comedy-drama film written and directed by Daniel Kwan and Daniel Scheinert (collectively known as "Daniels"), who produced it with the Russo brothers. It stars Michelle Yeoh as a Chinese American woman being audited by the IRS who discovers that she must connect with parallel universe versions of herself to prevent a powerful being from causing the destruction of the multiverse. Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis appear in supporting roles. The film was described by The New York Times as a "swirl of genre anarchy" and features elements of black comedy, science fiction, fantasy, martial arts film, and animation. Kwan and Scheinert researched the concept of the multiverse as far back as 2010, and began penning the screenplay as early as 2016. Originally written for Jackie Chan, the lead role was later reworked and offered to Yeoh.[5][6] Principal photography began in January 2020 and concluded in March as the COVID-19 pandemic reached the United States. The film's soundtrack features music composed by Son Lux, including collaborations with musicians Mitski, David Byrne, André 3000, and Randy Newman. Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022, and began a limited theatrical release in the United States on March 25, before a wide release by A24 on April 8. The film received widespread critical acclaim. Reviews praised its imagination, direction, and screenplay; Yeoh's performance; and its handling of themes such as existentialism, nihilism, and Asian American identity. It has grossed over $100 million worldwide, becoming A24's first movie to do so and surpassing Hereditary (2018) as its highest-grossing film. You can watch the video podcast on YouTube, listen on Spotify or Apple Podcast & catch us next week live on twitch.tv/ampmvideo Keep up with the AMPM VIDEO crew by following us on instagram @ampm.video & @goteamvideo BIG shoutout to @gubbsmusic for our intro/outro music & BIG shoutout to @shotfromthepit for our fun promo photos! ⚡️ If you would like to support @ampm.video & @goteamvideo for all we do & so that we can keep creating more content, check out patreon.com/ampmvideo ampmvideo.com
Micro Aggressions Galore! We're talking about Nihilism, Generational Learning, Trauma, and our sub-par fathers! WOO! Featuring: Lisa LamLisa Lam is an actor, model, and stand up comic in the Boston area! You can see her on the Parody News Network on YouTube; or if you prefer podcasts and/or roleplaying, you can listen to her in the Avatar Legends campaign presented by Even Footing Games on Spotify, or wherever you listen to your podcasts! Musical Suggestion: Japanese Breakfast Special Thanks:Brieana Woodward - ArtRyan Maguire - MusicJoe Moubhij - Being my rock
"Todo en todas partes al mismo tiempo" cuenta la historia de Evelyn, una mujer que puede existir en universos paralelos y debe evitar la destrucción de todos ellos. El nuevo largometraje de los Daniels, Daniel Kwan y Daniel Scheinert, transita por la comedia, la fantasía, la ciencia ficción y las artes marciales, con una brillante Michelle Yeoh como protagonista de este multiverso. Ya disponible en salas de cine.
Cheese and rice psyckicks! Our conjuring video part 3 is now on YouTube, but you can only beat a dead demon for so long. So here's our metaphysical showers thoughts on a person's capabilities of mediumship. This podcast episode's epic is brought to you by Em's brain and the new indie film, Everything Everywhere All at Once, by Daniel Kwan and Scheinert. After enjoying this film in select theaters, Em's consciousness evoked questions surrounding her mediumship. Her main inquiry and the starting line of this episode's tangent adventure being, "Is everyone born a medium? If so, based on comparative ideas in the film above, what or who is keeping people from realizing their capabilities as a psychic medium?" Please, by all means go watch the last part in our Sam & Colby Conjuring House Reaction trilogy! But if you're looking for more soulful and comedic banter between best friends and psychic mediums, this episode is for you. Pop on some headphone, turn your car radio up, or connect your bluetooth to enjoy our metaphysical shower thoughts. SAM & COLBY CONJURING HOUSE REACTION PART 3 VIDEO: https://www.youtube.com/watch?v=ayMqzqAO30Y&t=15sOR READ THE BLOG: https://www.metapsyckicks.com/journalOR JOIN OUR PATREON: https://www.patreon.com/metapsyckicks——-BOOK A PSYCHIC MEDIUM READING:Olivia the Medium: https://www.metapsyckicks.com/our-servicesBOOK A TAROT READING:Emily the Intuitive: https://www.metapsyckicks.com/our-services-----RECOMMENDED PRODUCTS:Our YouTube Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-youtube-setupOur Podcast Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-podcasting-setupEm's Tarot Collection ►► https://kit.co/metapsyckicks/em-s-tarot-card-collectionOther Divination Tools: ►► https://kit.co/metapsyckicks/other-divination-toolsDISCLAIMER: This description might contain affiliate links that allow you to find the items mentioned in this video and support the channel at no cost to you. While this channel may earn minimal sums when the viewer uses the links, the viewer is in NO WAY obligated to use these links. Thank you for your support!-----ARE YOU A PSYCHIC QUIZ: https://www.metapsyckicks.com/extrasTELL US YOUR PARANORMAL STORIES HERE: https://www.metapsyckicks.com/extrasCHECK OUT OUR WEBSITE AND BLOG:www.metapsyckicks.comEMAIL US: metapsyckicks@gmail.com——-SAY HI ON SOCIAL:YouTube: https://www.youtube.com/channel/UC-Np1K0QH8e-EDHhIxX-FaAInstagram: https://www.instagram.com/metapsyckicksTikTok: https://www.tiktok.com/@metapsyckicks?lang=enFacebook: https://www.facebook.com/Meta-PsycKicks-107812201171308Em's Pet Channel - Chin Villain: https://www.youtube.com/chinvillainOlivia The Medium:Instagram - https://www.instagram.com/oliviathemedium/Twitter - https://twitter.com/OliviaTheMediumSupport this podcast at — https://redcircle.com/meta-psyckicks/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Everything Everywhere All at Once is a 2022 American absurdist comedy-drama film written and directed by Dan Kwan and Daniel Scheinert (collectively known as "Daniels"). The film stars Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis. The plot follows a Chinese-American woman (Yeoh) being audited by the Internal Revenue Service who discovers that she must connect with parallel universe versions of herself to prevent a powerful being from causing the destruction of the multiverse. The film has been described as a "swirl of genre anarchy" and features elements of black comedy, science fiction, fantasy films, martial arts films, and animation. Kwan and Scheinert researched the concept of the multiverse as far back as 2010, and began writing the screenplay as early as 2016. Originally written for Jackie Chan, the lead role was later reworked and offered to Yeoh. Principal photography began in January 2020, and wrapped in March prior to the onset of the COVID-19 pandemic in the United States. The film features music composed by Son Lux, including collaborations with musicians Mitski, David Byrne, and André 3000. Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022, and began a limited theatrical release in the United States on March 25, 2022, before a wide release on April 8, 2022, by A24; it has grossed under $57 million worldwide. The film was acclaimed by critics, who lauded its imagination, direction, the performances of the cast, and its handling of themes such as existentialism, nihilism, and Asian American identity. --- Send in a voice message: https://anchor.fm/popcorn-junkies/message
The dynamic directing duo, collectively known as Daniels, are next up on the Post Mortem slab! Hot off their spectacular feature Everything, Everywhere, All At Once, Daniel Kwan and Daniel Scheinert talk to Mick about how they first met each other, their cinema upbringings, approaches to script writing and much more! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.
Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing.They've developed a reputation for combining absurdity with heartfelt personal stories. Oftentimes they incorporate a unique brand of visual effects, and visceral practical effects into their genre blending projects.They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer.They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following.While they were writing & developing their new movie Everything Everywhere All At Once, a kung fu sci-fi dramedy starring Michelle Yeoh, Scheinert went and directed a small redneck dramedy called The Death of Dick Long, also released by A24.When an interdimensional rupture threatens to unravel reality, the fate of the world is suddenly in the hands of a most unlikely hero: Evelyn (Michelle Yeoh), an overwhelmed immigrant mother. As bizarre and bewildering dangers emerge from the many possible universes, she must learn to channel her newfound powers and fight to save her home, her family, and herself, in this big-hearted and hilarious adventure through the multiverse.They both live in Los Angeles. One of them has a son. The other has a goofy dog. But to be honest Daniel does most of the work.
On today's episode of Who's There, our weekly call-in show, we're celebrating EARTH DAY by chatting about our most climate change-conscious New Who: Sarah Talabi. But that's not all! We'll also discuss Nicole Scherzinger's fandom of Robert Duvall before addressing your comments and questions about Adrian Grenier, Gerard Butler, Stephanie Hsu, Thandiwe Newton, Lonr., Justin Bartha, and a whole lot more. Call 619.WHO.THEM to leave questions, comments & concerns, and we may play your call on a future episode. Support us and get a ton of bonus content over on Patreon.com/WhoWeekly. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Directors Dan Kwan & Daniel Scheinert discuss their new film, Everything Everywhere All at Once, with fellow director Destin Daniel Cretton in a Q&A at the DGA theater in Los Angeles. When struggling laundromat owner Evelyn Wang finds out that only she can save the multiverse, she is swept into a dimension spanning adventure as she explores the other lives she could have led. Join Mr. Kwan and Mr. Scheinert as they speak about working with Michelle Yeoh, the films that inspired this film (The Matrix and Fight Club), and how twelve people completed the visual effects using After Effects. Please note: spoilers are included. See photos and a summary of this event below: https://www.dga.org/Events/2022/May2022/EverythingEverywhere_QnA_0422.aspx
In addition to being an examination of how much chance determines the person we become, as well as something of a Rosetta Stone for the work of Krzysztof Kieslowski, BLIND CHANCE also plays like the 1980s version of a multiverse story, making it a clear precursor to Daniels Kwan and Scheinert's new EVERYTHING EVERYWHERE ALL AT ONCE. But Kieslowski's film has different ideas about fate, determination, and the invisible forces that shape our lives as much as the choices we make, all of which we attempt to unpack in our conversation, along with what connects BLIND CHANCE's three timelines, what about the politically minded film invited resistance upon its release, and the significance of that opening scream. Please share your comments, thoughts, and questions about BLIND CHANCE, EVERYTHING EVERYWHERE ALL AT ONCE, or anything else in the world of film, by sending an email to comments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, a weekly newsletter, recommendations, and more. Outro music: Talking Heads, “Once In a Lifetime” The Tale of King Crab opens April 15th at New York City's Film at Lincoln Center before expanding to cities across the country. Find theater, tickets, and more at kingcrab.oscilloscope.net Learn more about your ad choices. Visit megaphone.fm/adchoices
Everything Everywhere All at Once writer-directors Daniel Kwan and Daniel Scheinert join hosts Gemma and Slim for an unabashed conversation about love, empathy, crying, dopamine, their movie's stars, and whether “this butt-plug action movie is better than The Godfather”. Plus: time travel logic, anime adoration, Yuen Woo Ping, Kurt Vonnegut Jr's The Sirens of Titan, imposter syndrome, how they filmed the rock scene, how music videos helped get their new film made, Scheinert's wild Indiana Jones pitch, the joy of movies that take big swings, The White Stripes, fanny-pack supremacy, Cloud Atlas, the real enemy of EEAAO, and what it feels like to suddenly have the highest-rated film on Letterboxd (only the third-ever film to hold the number-one spot in Letterboxd history). Links: The Letterboxd list of films mentioned in this episode; Michelle Yeoh's GQ interview; the movies of Yuen Woo Ping and the Shaw brothers; reviews of EEAAO by Bowen Yang, David Chen and Jeremy Lists: Gemma's Fanny Pack Supremacy, Jared's Movies where Ke Huy Quan kicks ass with a Fanny pack , Letterboxd Top 250; Megan's Twitter thread on the EEAAO VFX crew; the films of animator Kirsten Lepore Credits: This episode was recorded in Auckland, Los Angeles and Pennsylvania, and edited by Slim. Facts by Jack. Booker: Linda Moulton. Transcript by Sophie Shin. Theme: ‘Vampiros Dancoteque' by Moniker.
Welcome DANIELS (aka Daniel Kwan and Daniel Scheinert) to talk about Everything Everywhere All at Once, purpose, parental expectations, unethical attention extraction, and eau de filmmaking. More about Everything Everywhere All at Once Directed by Daniel Kwan and Daniel Scheinert, collectively known as Daniels, the film is a hilarious and big-hearted sci-fi action adventure about an exhausted Chinese American woman (Michelle Yeoh) who can't seem to finish her taxes. Starring: Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, James Hong, Jenny Slate, Harry Shum Jr, and Jamie Lee Curtis. More about DANIELS Daniel Kwan and Daniel Scheinert, collectively known as DANIELS, have been writing and directing together for over a decade, initially with a slew of viral music videos, commercials, and short films, then with feature films and TV directing. They have directed music videos for Manchester Orchestra, Foster the People, and won a VMA for their video for “Turn Down For What,” which Scheinert bullied Kwan into being the lead actor in. Kwan is a really good dancer. They wrote and directed the feature film Swiss Army Man starring Paul Dano and Daniel Radcliffe, which went on to win the Directing Award at the Sundance Film Festival, received multiple nominations, and gained a large cult following. Find us at www.werewatchingwhat.com DANIELS can be found at twitter.com/Daniels THEDHK can be found at instagram.com/thedhk , twitter.com/thedhk, and facebook.com/thedhkmovies
On episode 30 of The Latke Room, your favorite Jews talk about their favorite fictional basketball movie characters. Then, Jon Scheyer the Duke men’s basketball Associate Head Coach, and Michael Scheinert, a recent Duke graduate and former men’s basketball team Manager join the podcast (13:58) to talk about the rich history of Duke basketball.
This week we are joined by Serita Blake, who is a black lesbian police officer from the UK, Serita talks about the lack of black lesbian representation in society and in the media. Author and Lawyer Josh Scheinert from Toronto, Canada joins us to talk about his book 'The Order of Nature', set in Gambia the novel follows an American and a Gambian, navigating an environment where their love is illegal, which is made even more topical by the fact that Brunei recently introduced new anti-LGBTQ laws. And finally we speak to David Ledain, author of 'Gay Dad' - Ten true stories of divorced gay men with kids, living in the UK today.
¡Hola Crononautas! Hoy os traemos uno de los audios más especiales que hemos grabado hasta el momento. Una entrevista interesantísima a Daniel Scheinert, uno de los componentes de la dupla directorial The Daniels, que filmaron la excepcionalmente original Swiss Army Man. A continuación tenéis una traducción escrita de la entrevista al español y más abajo la transcripción de la misma al inglés, para que no os perdáis ningún detalle. Muchas gracias al Agente N y a Mario Wire por su tremendo trabajo. Entrevista a Daniel Scheinert (Traducción al Español por El Agente N) Pregunta 1 Déjanos empezar con una pregunta que le hacemos a todos nuestros invitados: de donde proviene tu amor por las películas? Podrías resaltar una figura que durante tu infancia te influyera especialmente? Daniel: Hola! Me llamo Daniel Scheinert una mitad de los Daniels y he pensado que podía contestar a vuestras preguntas grabándome en el teléfono por si luego queríais incluirlas en el podcast. Vamos allá! Ok! Pregunta número uno. Si pudiese nombrar una persona que me haya influido…Posiblemente no hayáis escuchado este nombre nunca, su nombre es Brett Scheinert. El es mi hermano mayor, en el cual me fijaba cuando era pequeño. El y sus amigos empezaron haciendo películas cuando estaban en el instituto. Yo estaba celoso, quería molar como ellos, por lo que empecé a hacer películas también. Y de ahí proviene además mi amor por hacer películas. Honestamente, antes de eso no era el mayor fan del cine. En verdad, es hacer las películas no verlas lo que me apasiona del cine. Y en el transcurso he grabado unas cuantas (hasta el momento 16 entradas en IMDb). Actualmente, mi hermano no es cineasta, ayuda a diseñar videojuegos en Estocolmo (Suecia) para una compañía que se llama Paradox, creo. Pregunta 2 Podrías nombrar una película o películas / cineastas que hayan influido especialmente en tu trabajo en Swiss Army Man? El Parque Jurásico de Spielberg debe ser uno de ellos … Nosotros siempre tememos que nos digan a quien hemos plagiado cuando hemos hecho una película. Hemos intentado copiar a un grupo de gente…jajaja. Paul Dano (Hank) que está en la película, describe el largometraje como una mezcla entre Terrence Malick y Dumb and Dumber (dos tontos muy tontos) y estábamos bastante halagados por ello porque somos unos grandes fans de Dumb and Dumber. Además, supongo que soy un gran fan de Malik jajaja. Pero pienso que de lejos la verdaderas influencias son otra combinación: Miyazaki y Jackass. De Miyazaki tomamos inspiración de películas animadas y animaciones. Muchas veces tuvimos la sensación de tomar ideas “animadas” y ver si podríamos traducirlas en acción real, y ese es nuestro trabajo. Pero su trabajo es, obviamente, fantástico, tiene sus propias reglas, y es precioso. Pero nuestra película también es bastante tonta y pervertida, así que supongo que mi otra influencia es Jackass, la cual fue co-creada por Spike Jonze, uno de nuestros cineastas preferidos. Es simplemente tosco, divertido, fraternal, comedia lo que presenta este show televisivo, Jackass. Honestamente, es una influencia grandísima en nuestro trabajo, y cómo de simple y entretenida intentamos hacer la comedia en nuestras películas. Pregunta 3 Usted ha dicho repetidamente en entrevistas anteriores que la idea central del proyecto siempre fue el encuentro de un náufrago con "un cadáver que se tira pedos¨, dado que el proyecto presentaba este extraño estilo cómico, ¿fue muy difícil conseguir fondos para ello? ¿Podrías contarnos un poco sobre el proceso de financiación? Fue difícil, pero también divertido porque aún cuando la gente nos decía que no nosotros hacíamos una pequeña performance, ya sabes, sentados con algún rico inversor escenificando nuestro drama de un cadáver pedorro (risas). Pero creo que hubo tres factores clave que nos ayudaron en la financiación. En primer lugar tenemos un productor con el que hemos trabajado durante años, y él hizo la gran parte del trabajo duro, Jonathan Wang. Yo no sé ni la mitad de lo que hizo, pero fué genial tenerle a nuestro lado para que luchara y creyese en nosotros. En segundo lugar, pudimos colarnos en ‘Sundance Labs’, que es una especie de taller donde cogieron nuestro guión, el borrador final del guión, y lo hicieron trizas para luego sentamos con diversos cineastas que nos ayudaron a trabajar sobre en él. Este proceso supuso además un sello de aprobación que los inversores tuvieron en cuenta ‘oh mira, esto ha pasado por Sundance Labs así que no debe ser una locura total’. Y finalmente, hicimos “Turn Down for what”, que fue nuestro video musical más exitoso que nunca hayamos hecho, y creo que el haber sacado este video el mismo año que intentamos obtener fondos para la película…no puedo imaginar…apuesto que no hubiéramos obtenido fondos sin este vídeo, ya sabes, fuimos capaces de decir ‘Mira esto, todo el mundo lo ha visto!. Por favor, dadnos vuestro dinero’, y de alguna manera engañamos a un par de inversores para que creyeran en nosotros. Pregunta 4 Hoy en día vivimos en una sociedad sin un término medio. Parece que todo es un 0 o un 10. ¿Tuviste fe en que se entendiera la película o era algo que te preocupaba? Esta es una pregunta difícil, ¿Tuvimos fe en que se entendiera la película o estábamos preocupados en algún momento porque se mal entendiera? Nosotros siempre estuvimos muy preocupados de que la película no fuera comprendida correctamente y aún sigo preocupado, pero pienso que hay una parte en mí que quiere que la gente me quiera y me comprenda, y otra parte que quiere saltar del acantilado hacia la ambigüedad. La película al completo es un ejercicio de confianza entre Dan y yo, corriendo el gran riesgo de poner algo ahí fuera que no es blanco y negro, que no sermonea y que hace preguntas a las que ni siquiera nosotros sabemos las respuestas. Creo que lo que me gusta es que mis películas sean una experiencia y no sólo una pequeña obra de entretenimiento perfectamente construida, sino algo con lo que te tienes que ‘pelear’, que te planteas y que experimentas. Tú has planteado que la sociedad no tiene un término medio y creo que en muchos sentidos… que accidentalmente hemos hecho algo que se mueve en esa zona grisácea y que apuntaba a ése punto medio. Estoy de acuerdo en que no hay suficiente terreno medio y ambigüedad, no hay suficientes películas que lidien con personas que no tienen claro su género o sexualidad y fue divertido hacer una película que no se encuentra en ninguno de los lados del espectro. La película no tiene un mensaje super claro, pero tenemos confianza en que se abordan cierta temáticas en ella con claridad. Ha sido una respuesta algo rara (risas) Pregunta 5 Una de las grandes ventajas de la película es su elenco. Al parecer, Dano y Radcliffe no fueron muy difíciles de convencer para participar en la película y su química es increíble. Esto hace que uno se pregunte acerca de las escenas que podría haber dejado fuera del corte final. ¿Podrías contarnos un poco sobre tus momentos favoritos de improvisación o partes de la trama que no llegaron a la película? Momentos favoritos de improvisación o historias que fueron suprimidas: Había tantas historias que cortamos, escribimos un millón de borradores de esta película. Había un borrador en el que Manny tenía alergia a las abejas y él se caía de un precipicio, mientras caían, Hank agarraba a una abeja y pinchaba a Manny con ella, que se inflaba como una balsa salvavidas y aterrizaban en el agua arreglándoselas para no morir… (Daniel se ríe)... Tuvimos que cortar eso, tendríamos que haber presentado muchos conceptos nuevos..., las alergias a las abejas no tienen una conexión temática con nuestra película. Pero siempre quise hacer una gran balsa de Manny. La escena que tristemente cortamos es una en la que Hank cree que ve a Manny llorar y luego se da cuenta de que está empezando a llover y que no es una lágrima (¿o sí?) antes de que Manny comience a hablar. Luego, cuando filmamos, intentamos hacerlo tirando pequeñas gotas de agua en la cara de Daniel Radcliff para falsificar las lágrimas, pero no pudimos hacer que las lágrimas cayeran bien. Danny decía: '”solo rueda, simplemente rueda” y consiguió sacar una lágrima de su globo ocular sin siquiera parpadear, fue la cosa más surrealista que alguna vez he visto hacer a un ser humano, pero la escena se cortó. Su logro culminante no llegó al corte final, pero creo que está en los extras en algún lugar del DVD. Pregunta 6 Todo en vuestra película tiene un enfoque único y fresco, incluido la banda sonora. ¿Por qué decidisteis tener una banda sonora a capela? ¿Qué quería transmitir y por qué cree que se transmitió mejor de esta manera? La banda sonora a capela para la película fue una idea muy temprana. Cuando bromeábamos sobre esta película, una de las cosas que realmente lo inició para nosotros fue la idea de una película sobre un tipo ajeno a la sociedad, el cual tendría alguna manera de contar su propia historia. Originalmente, la idea era que él narraría la historia en vez de tener flashbacks. El trataría de crear un escenario, intentaría construir cosas para recordar su hogar. La película entera sería algo así como un hombre atrapado en el bosque obsesionado con el hogar. Por lo tanto, naturalmente, tiene sentido que él también se pusiese su propia banda sonora. Desde muy temprano nosotros decíamos: “oh, será como un escenario hecho a mano construido con basura del bosque con una banda sonora hecha por él mismo en el bosque”. Simplemente sabíamos que si las reglas de la narrativa desarrollasen al personaje, sería un aspecto que sumaría mucho a la historia. Así que siempre pensamos en los accesorios, la música, y todo sería hecho por Hank y ayudaría al espectador a conocer al personaje. Pregunta 7 ¿Cómo fue trabajar con Andy Hull y Robert McDowel? ¿Fue su idea componer y muchas veces grabar partes de la banda sonora mientras se filmaba la película? Debo decir que esta es una de las hazañas más asombrosas en en cuanto a composición de una banda sonora que he escuchado. Trabajar con Andy y Rob de la banda Manchester Orchestra siempre es un placer. Somos amigos de esos muchachos y lo hemos sido desde que hicimos un video musical para ellos, creo que en 2011. Así que les pedimos que compusieran la banda sonora de la película por un par de razones: sabíamos que queríamos a alguien que tuviera una hermosa voz para el canto y que pudiera crear hermosas armonías, pero también nos gusta trabajar con personas agradables y simplemente les queremos. Fuimos muy afortunados de que resultasen grandes compositores, fue algo colaborativo al desarrollar la sensación de la película. Sabíamos que queríamos que fuera a capela. En cuanto Andy leyó el guión, comenzó a escribir canciones, nos envió las canciones que había escrito y nosotros terminamos incluyéndolas en el guión. Nunca imaginamos que el la música sería tan no irónicamente épica y hermosa, pensamos que sería un poco más estúpida inicialmente. Empezaron a hacer música y comenzamos a pensar: "espera, esto es increíble y totalmente bizarro, yuxtaponiendo una hermosa partitura a un cadáver pedorro". Sabíamos que queríamos que esa parte fuera hermosa, pero realmente nunca nos hubiéramos imaginado que se convertiría en lo que se hizo en realidad. Andy y Rob siempre nos sorprendían y lo llevaban más allá agregando más capas de las que pensábamos que necesitaban. Me alegra que os haya gustado la partitura. Pregunta 8 ¿Figuraba en el guión desde el principio el final con Manny "propulsandose" en el mar? Esto sucede en un punto muy catártico de la película donde el espectador puede pensar que finalmente había entendido la película, muchas veces rompiendo este sentido de comprensión. ¿Fue pensado como un último giro irreverente para que no olvidemos que esta no es una película habitual? Se nos ocurrió el final de Manny lanzándose a la puesta del sol bastante pronto. Creo que tal vez en el tercer borrador del guión ya está ahí. Se nos ocurrió el desafío de comenzar la película con un pedo que te hace reír y terminar con uno que te hace llorar. Siempre fue una lucha tratar de hacer que el final fuera ambiguo, pero no desagradablemente ambiguo. A algunas personas no les gusta el final, pero fue muy importante para nosotros que tenga sentido para el personaje de Hank, incluso si no tuvo mucho sentido para la audiencia lo que sucedió o no. Si no has visto la película no escuches/leas esta parte del podcast. Lo que significa para nosotros es que Hank finalmente no se avergüenza, él se pee y dice "he sido yo". Manny le enseñó a no avergonzarse más de sí mismo, y con su misión cumplida sale volando como un ángel que vino a la Tierra para enseñarle una lección. Un adiós agridulce. Independientemente, nosotros pensamos que algunos miembros de la audiencia creerían que Manny era real, en base a este final, y algunos otros pensarían que tenía que ser un engaño y que no había forma de que Manny fuera real. Decidimos que esto estaba bien, la gente nunca estaría de acuerdo y queríamos que las caras de todos en la playa demostrasen las diferentes formas en que las personas pueden reaccionar ante esta película, como dándoles permiso a esas personas para sentirse así. Así que algunas personas pueden simplemente reírse, otras pueden llorar, algunas personas pueden decir "WTF" o sentirse asqueadas por ello y todo eso está bien... así que eso es lo que ves a cada personaje haciendo en la playa. Pregunta 9 Después de su primera experiencia como directores de largometrajes y después de su éxito en Sundance, ¿cómo será el futuro para ustedes? Leemos en Collider que los hermanos Russo están produciendo su próxima película. ¿Podría contarnos algo al respecto? Entonces, ¿cuál es nuestro próximo paso? Estamos intentando hacer una nueva película para el próximo año que hemos estado escribiendo durante un par de años y que los hermanos Russo la han estado desarrollando. Se llama "Everything, everywhere, all at once" y es un dramedia de ciencia ficción donde la mayoría de los personajes principales son asiático-americanos, ese es el origen de los padres de Daniel Kwan. Es una especie de carta de amor a algunas de nuestras películas favoritas como 'Brasil' o 'The Matrix' pero con temas modernos, como el sentirse abrumado y desesperado en un mar de información infinita. Es una idea un poco ¨tonta¨ como todas nuestras ideas, pero tonta de una manera de la que estamos orgullosos. Mientras tanto estamos trabajando en otras cosas. Yo tengo una película sobre de dónde soy, Alabama, al sur de los Estados Unidos, que se espera que salga el año que viene con suerte. La produce A24 también, es un pequeño drama policial ... dramedia, divertido y triste, así que estad atentos... pero no te diré el nombre. Ya veréis, es una sorpresa. Pregunta 10 "Swiss Army Man" ganó el premio a "Mejor película" en el festival de Sitges en 2016. ¿Estuviste en el Festival? Si es así, ¿recuerdas algo en especial sobre el festival o sobre España en general? Desafortunadamente, no pudimos ir al festival de Sitges (lo siento, no sé cómo pronunciarlo) pero hubiéramos estado muy contentos de estar allí, lamento que no estuviéramos y me encantaría volver a visitar España. No he vuelto desde principios de la década de 2000. Visité Barcelona y otro par de ciudades … oh! mi cerebro me falla, no recuerdo los nombres... creo recordar que era la ciudad de donde era Salvador Dalí. Es un país hermoso, me gustó mucho. Nos encantaría volver. Gracias chicos por contactar conmigo, espero que esto haya sido útil y espero que el podcast salga bien. “Adios”. --------------------------------------------------------------------------- Daniel Scheinert Interview (Transcription by Mario Wire) 1.Let us start with a question we ask all of our guests, where does your love for films come from? Could you point out a person in your childhood that specially influenced you that way? Daniel Scheinert: Ok, question number 1, if I could name one person that influenced me to pursue film... You probably haven’t heard of this person, his name is Brad Scheinert and he was my older brother. I looked up to him a lot when I was a kid, and he and his friend started to make movies together in high-school and I was jealous and I wanted to be cool like them, so I started making movies as well. That is really where my love for making films came from, and honestly I wasn't even the biggest film love before that. It was really making movies not watching movies that I fell in love with, and along the way… I watched a few movies I guess. Now my brother is not a filmmaker he helps to design video games , right now he works in Stockholm (Sweden) for a company called Paradox - I think. 2. Could you name a movie or movies/film makers that specially influenced your work in Swiss Army Man? Spielberg´s Jurassic Park must be one of them... There is a whole lot of them , we’re always afraid that people will be able to tell who are we ripping off when we make movies, so we try just to rip off a bunch of people (laughs). Paul Dano, who is in the movie, described the film as ´Terrence Malick meets Dumb and Dumber’ and we were very flattered by that because we are huge ‘Dumb and Dumber’ fans, and I’m a pretty big fan of Terrence Malick I guess (laughs). I think as far as real influences , another combination I’d say would be like Hayao Miyazaki, Dan and I both take a ton of inspiration from animated films and from animations, and a lot of times we feel like we are taking animated ideas and just see if we can do it in live action, and that is kind of our work. His stuff (Miyazaki’s) is obviously so fantastical and has its own rules and it's really beautiful, but then our movie is pretty dumb and perverted so, I guess my other influence would be ‘Jackass’ which was co-created by Spike Jones, one of our favourite filmmakers, but just the like raw, fun, brotherly comedy of that television show ‘Jackass’ it was honestly a huge influence on us ,in our work, in just how a … simple entertainment that we try to make the comedy in our movies. 3. You have said repeatedly in past interviews that the core idea of the project always was the encounter of a castaway with ¨a farting corpse¨, given that the project featured this bizarre comedic style, was it very hard to get it funded? Could you tell us a bit about the funding process? It was hard, but it was also really fun, cause even when people said no to us it felt like doing a piece of performance art. You known, sitting down with a rich investor and pitching our farting-corpse drama (laughs). The two things that helped us getting it funded, three things, one we had a producer we’ve worked with for years and he did a lot of the hard work, Jonathan Wang, I don’t even know half of what he did do but it was great having him fight for us and believe in us , two, we got into sundance labs which is an awesome kind of workshop were they took our screenplay, we had a finished draft of it and they just tore it apart and we sat down with different filmmakers and they helped us workshop it but also it was a stamp of approval so investors can see ‘oh this went to sundance labs, it must be not totally insane’ and three was that we made ‘Turn down for what’ which is a music video that was our most successful video we’ve ever made and I think , having that come out the same year that we were trying to get it funded…. I cannot imagine.. I bet that we couldn’t have gotten it funded without that ,you know, we were able to just say ‘look at that , everybody watched it , please give us your money’ and somehow tricked a couple of investors into believing us. 4. Nowadays we live in a society with no middle ground. It seems like everything is either a 0 or a 10. Did you have faith in the movie being understood, or were you worried at some point about this? This is a tough question. Did we have faith in the movie being understood or were we worried at some point it’ll be misunderstood?. We were always very worried that the movie would be misunderstood and I still I’m worried that it was misunderstood but I think that …. there is a part of me that wants people to like me and understand me, and there is a part of me that wants to... jump off a cliff of ambiguity and this whole movie was kind of a trust exercise between Dan and I and just like a crazy risk of putting something out in the world that is not black-and-white and isn’t preachy and that it asks questions that we don’t even know the answers to, I think I like for my movies to be an experience not just a... kind of, perfectly constructed little piece of entertainment but like something that you wrestle with and experience and you questioned, just asked..you mentioned that society has no middle ground and I think that in a lot of ways this whole movie was kind of something we… we accidentally made something that was filled with gray area and was kind of aiming at the middle ground, because I agree there is not enough middle ground and ambiguity, there is not enough movies that wrestle with people who aren’t sure of their gender or sexuality and it was fun to make a movie that doesn’t come down on either side of that. There is not a super clear message, but there are very clear themes that we felt confident we come across by the end of it all. Ok, weird answer (chuckles). 5. One of the huge pros of the movie is its cast. Apparently Dano and Radcliffe were not very hard to convince to participate in the film and their chemistry is amazing. This makes one wonder about the scenes you might have left out of the final cut. Could you tell us a little bit about your favorite moments of improvisation or story lines that did not make it into the movie? There were so many story lines we cutted out. We wrote a million drafts of this movie and there was one draft where Manny had a allergy to bees and he falled off a cliff and as they are falling Hank grabs the bee and stabs Manny and he inflates like a liferaft and they land in the water and manage not to die down below….eh…(se descojona él solo)….we had to cut that out, there was a lot of set up…. bee allergies do not have a thematic connection to our film. But I always wanted to do a big fat Manny raft. The scene that sadly we cut out it’s a one where Hank thinks he sees Manny crying and then he realises that it’s starting to rain and that it is not a tear (or was it?) before Manny starts talking and then, when we shot it we’re trying do like water droplets into the Daniel Radcliffe´s face but we couldn’t get the tears to land right and Danny was like ‘just roll, just roll’ and just willed a tear out of his eyeball without even blinking and it was the most surreal thing I’ve ever seen a human being do….but the scene got cut…..his crowning achievement did not make the final cut but I think it's in the special features somewhere in the dvd. 6.Everything in your movie has a very unique and fresh approach, including the Score. Why did you decide on having a fully acapella score? What did you want to transmit and why do you think it was transmitted better this way? So the a capella score for the film was an idea very early on when we’re joking around about this movie. One of the things that really unlocked it for us was the idea a movie about a guy stranded away from society and he will have to kind of tell the story himself and originally the idea was that he was narrate and that instead of having flashbacks he would create sets, he would try to build things to remind himself of home. The hole movie would be kind of about a man stranded in the woods obsessed with home and so he just can naturally make sense to this day he would make the score too and so from very early on ‘oh it will be like handmade props made of crap from the woods and a score made by that guy out in the woods’ we just knew that it would add to kind of the story overall if like the rules of the movie will develop the character so we always thought the props and the music and everything will be all made by Hank and it will help you to know the character. 7.What was it like working with Andy Hull and Robert McDowel? Was it their idea to compose and many times record parts of the score while the film was being shot? I have to say, this is one of the most amazing feats in movie scores I have ever heard of... Working with Andy and Rob from the band Manchester Orchestra is always a treat. We’re friends of those guys and have been ever since we did a music video for them back on I think 2011 so we asked them to compose the film for a couple of reasons. We knew we want someone who had a beautiful singing voice and could create beautiful harmonies but also we like working with nice people and we just love them and so we were very lucky that turns out they’re great composers and it was a collaborative thing kind of developing the feel of the movie we knew we wanted it to be a capella but Andy wrote the script and just started writing songs and he will send us songs that he had written and ended up getting written into the script and we never imagine that the music will be so unironically epic and beautiful we kind of thought it will be a little stupider…I think initially and the they started making music we’re like “wait, this is incredible beautiful and totally bizarre to juxtapose beautiful score with a farting corpse…We knew we want it that part to be beautiful but really like we never could have imagined that would sonically turned into what it did turned into and Andy and Rob were always surprising us and pushing it forward and adding more layers than we thought they needed to and …. yap. I am glad you liked the score. 8. Was the ending with Manny ‘propelling away’ in the sea scripted from the beginning? This happens at a very cathartic point in the movie where the viewer may think he had finally understood the movie, many times braking this sense of understanding. Was this intended as one last irreverent turn so we would not forget that this was not your usual movie? We came up with the ending of Manny farting off into the sunset pretty early on I think maybe on the third draft of the script we can zeroed in on that we came up with the challenge that we wanted the movie start with a fart that will makes you laugh and end it with a fart that makes you cry and it was always a struggle trying to make the ending ambiguous but not obnoxiously frustrated ambiguous. Some people don’t like the ending but it was kind important to us that it makes sense for the character of Hank, even if it didn’t totally make sense for the audience what happened or not so if you haven’t seen the movie don’t listen to this part of the podcast but what it means to us is that Hank finally is not ashamed, he farts and says ‘that was me’ Manny has taught him to no longer be ashamed of himself and having taught him his lesson he flies away like an angel that came to Earth to teach him a lesson. A bitter-sweet goodbye. But regardless we kind of thought some audience members would believe that Manny was real, based on this ending, and some members would think that it had to be a delusion and there was no way that Manny was real and we decided that it was ok with us that people would disagree and we wanted everybody’s faces there on the beach to demonstrate the different ways people may react to this movie and almost give those people permission to feel that way. So some people may just laugh, some people may cry, some people may say “what the fuck” o “be grossed out” and all of that’s ok….so that’s what you see everybody doing on the beach. 9. After your first experience as feature film directors and after your success in Sundance, what does the future look like for you? We read in Collider that the Russo brothers are producing your next movie, could you tell us something about it? So what’s next for us? We are trying to make a new movie next year that we have been writing for a couple of years and the Russo Brothers have been developing it. It’s called “everything everywhere all at once” and it’s a sci-fi dramedy and, where most of the main characters are Chinese-Americans and that’s a Daniel Kuan’s parents background and it’s a kind of a love letter to some of our favourite films like ‘Brazil’ or ’The Matrix’ but with kind of modern themes of feeling overwhelmed and hopeless in a sea of endless information. That is kind of a bit about it, and it’s kind of dumb, like all of our stuff, dumb in a way we are proud of. But in the meantime we’re working in other things. I have a movie about where I’m from, which is Alabama in the South of the United States, that is supposed to come out next year hopefully. From A24 as well and is small crime drama….dramedy, funny and sad, so look out for that but I am not gonna tell you the name. You’ll see….it’s a surprise. 10.Swiss army man won “Best film” at Sitges festival in 2016. Were you in the Festival? If so, do you have any thoughts about it or about Spain in general? Unfortunately we didn’t get to go to the Sitges festival…sorry I don’t know how to pronounce it, but we’re very happy to play there, bummed we weren’t there and I’d love to visit Spain again… I’ve not been back since early 2000s I’ve got to visit Barcelona and a couple of other towns….oh, my brain is farting I can´t remember, I don’t remember…I think the town where Salvador Dali was from, but it was a beautiful, beautiful country, I liked it a lot. We’d love come back. Thanks for reaching out you guys I hope this stuff was helpful and I hope the podcast turns out well. Adios.
¡Hola Crononautas! Hoy os traemos uno de los audios más especiales que hemos grabado hasta el momento. Una entrevista interesantísima a Daniel Scheinert, uno de los componentes de la dupla directorial The Daniels, que filmaron la excepcionalmente original Swiss Army Man. A continuación tenéis una traducción escrita de la entrevista al español y más abajo la transcripción de la misma al inglés, para que no os perdáis ningún detalle. Muchas gracias al Agente N y a Mario Wire por su tremendo trabajo. Entrevista a Daniel Scheinert (Traducción al Español por El Agente N) Pregunta 1 Déjanos empezar con una pregunta que le hacemos a todos nuestros invitados: de donde proviene tu amor por las películas? Podrías resaltar una figura que durante tu infancia te influyera especialmente? Daniel: Hola! Me llamo Daniel Scheinert una mitad de los Daniels y he pensado que podía contestar a vuestras preguntas grabándome en el teléfono por si luego queríais incluirlas en el podcast. Vamos allá! Ok! Pregunta número uno. Si pudiese nombrar una persona que me haya influido…Posiblemente no hayáis escuchado este nombre nunca, su nombre es Brett Scheinert. El es mi hermano mayor, en el cual me fijaba cuando era pequeño. El y sus amigos empezaron haciendo películas cuando estaban en el instituto. Yo estaba celoso, quería molar como ellos, por lo que empecé a hacer películas también. Y de ahí proviene además mi amor por hacer películas. Honestamente, antes de eso no era el mayor fan del cine. En verdad, es hacer las películas no verlas lo que me apasiona del cine. Y en el transcurso he grabado unas cuantas (hasta el momento 16 entradas en IMDb). Actualmente, mi hermano no es cineasta, ayuda a diseñar videojuegos en Estocolmo (Suecia) para una compañía que se llama Paradox, creo. Pregunta 2 Podrías nombrar una película o películas / cineastas que hayan influido especialmente en tu trabajo en Swiss Army Man? El Parque Jurásico de Spielberg debe ser uno de ellos … Nosotros siempre tememos que nos digan a quien hemos plagiado cuando hemos hecho una película. Hemos intentado copiar a un grupo de gente…jajaja. Paul Dano (Hank) que está en la película, describe el largometraje como una mezcla entre Terrence Malick y Dumb and Dumber (dos tontos muy tontos) y estábamos bastante halagados por ello porque somos unos grandes fans de Dumb and Dumber. Además, supongo que soy un gran fan de Malik jajaja. Pero pienso que de lejos la verdaderas influencias son otra combinación: Miyazaki y Jackass. De Miyazaki tomamos inspiración de películas animadas y animaciones. Muchas veces tuvimos la sensación de tomar ideas “animadas” y ver si podríamos traducirlas en acción real, y ese es nuestro trabajo. Pero su trabajo es, obviamente, fantástico, tiene sus propias reglas, y es precioso. Pero nuestra película también es bastante tonta y pervertida, así que supongo que mi otra influencia es Jackass, la cual fue co-creada por Spike Jonze, uno de nuestros cineastas preferidos. Es simplemente tosco, divertido, fraternal, comedia lo que presenta este show televisivo, Jackass. Honestamente, es una influencia grandísima en nuestro trabajo, y cómo de simple y entretenida intentamos hacer la comedia en nuestras películas. Pregunta 3 Usted ha dicho repetidamente en entrevistas anteriores que la idea central del proyecto siempre fue el encuentro de un náufrago con "un cadáver que se tira pedos¨, dado que el proyecto presentaba este extraño estilo cómico, ¿fue muy difícil conseguir fondos para ello? ¿Podrías contarnos un poco sobre el proceso de financiación? Fue difícil, pero también divertido porque aún cuando la gente nos decía que no nosotros hacíamos una pequeña performance, ya sabes, sentados con algún rico inversor escenificando nuestro drama de un cadáver pedorro (risas). Pero creo que hubo tres factores clave que nos ayudaron en la financiación. En primer lugar tenemos un productor con el que hemos trabajado durante años, y él hizo la gran parte del trabajo duro, Jonathan Wang. Yo no sé ni la mitad de lo que hizo, pero fué genial tenerle a nuestro lado para que luchara y creyese en nosotros. En segundo lugar, pudimos colarnos en ‘Sundance Labs’, que es una especie de taller donde cogieron nuestro guión, el borrador final del guión, y lo hicieron trizas para luego sentamos con diversos cineastas que nos ayudaron a trabajar sobre en él. Este proceso supuso además un sello de aprobación que los inversores tuvieron en cuenta ‘oh mira, esto ha pasado por Sundance Labs así que no debe ser una locura total’. Y finalmente, hicimos “Turn Down for what”, que fue nuestro video musical más exitoso que nunca hayamos hecho, y creo que el haber sacado este video el mismo año que intentamos obtener fondos para la película…no puedo imaginar…apuesto que no hubiéramos obtenido fondos sin este vídeo, ya sabes, fuimos capaces de decir ‘Mira esto, todo el mundo lo ha visto!. Por favor, dadnos vuestro dinero’, y de alguna manera engañamos a un par de inversores para que creyeran en nosotros. Pregunta 4 Hoy en día vivimos en una sociedad sin un término medio. Parece que todo es un 0 o un 10. ¿Tuviste fe en que se entendiera la película o era algo que te preocupaba? Esta es una pregunta difícil, ¿Tuvimos fe en que se entendiera la película o estábamos preocupados en algún momento porque se mal entendiera? Nosotros siempre estuvimos muy preocupados de que la película no fuera comprendida correctamente y aún sigo preocupado, pero pienso que hay una parte en mí que quiere que la gente me quiera y me comprenda, y otra parte que quiere saltar del acantilado hacia la ambigüedad. La película al completo es un ejercicio de confianza entre Dan y yo, corriendo el gran riesgo de poner algo ahí fuera que no es blanco y negro, que no sermonea y que hace preguntas a las que ni siquiera nosotros sabemos las respuestas. Creo que lo que me gusta es que mis películas sean una experiencia y no sólo una pequeña obra de entretenimiento perfectamente construida, sino algo con lo que te tienes que ‘pelear’, que te planteas y que experimentas. Tú has planteado que la sociedad no tiene un término medio y creo que en muchos sentidos… que accidentalmente hemos hecho algo que se mueve en esa zona grisácea y que apuntaba a ése punto medio. Estoy de acuerdo en que no hay suficiente terreno medio y ambigüedad, no hay suficientes películas que lidien con personas que no tienen claro su género o sexualidad y fue divertido hacer una película que no se encuentra en ninguno de los lados del espectro. La película no tiene un mensaje super claro, pero tenemos confianza en que se abordan cierta temáticas en ella con claridad. Ha sido una respuesta algo rara (risas) Pregunta 5 Una de las grandes ventajas de la película es su elenco. Al parecer, Dano y Radcliffe no fueron muy difíciles de convencer para participar en la película y su química es increíble. Esto hace que uno se pregunte acerca de las escenas que podría haber dejado fuera del corte final. ¿Podrías contarnos un poco sobre tus momentos favoritos de improvisación o partes de la trama que no llegaron a la película? Momentos favoritos de improvisación o historias que fueron suprimidas: Había tantas historias que cortamos, escribimos un millón de borradores de esta película. Había un borrador en el que Manny tenía alergia a las abejas y él se caía de un precipicio, mientras caían, Hank agarraba a una abeja y pinchaba a Manny con ella, que se inflaba como una balsa salvavidas y aterrizaban en el agua arreglándoselas para no morir… (Daniel se ríe)... Tuvimos que cortar eso, tendríamos que haber presentado muchos conceptos nuevos..., las alergias a las abejas no tienen una conexión temática con nuestra película. Pero siempre quise hacer una gran balsa de Manny. La escena que tristemente cortamos es una en la que Hank cree que ve a Manny llorar y luego se da cuenta de que está empezando a llover y que no es una lágrima (¿o sí?) antes de que Manny comience a hablar. Luego, cuando filmamos, intentamos hacerlo tirando pequeñas gotas de agua en la cara de Daniel Radcliff para falsificar las lágrimas, pero no pudimos hacer que las lágrimas cayeran bien. Danny decía: '”solo rueda, simplemente rueda” y consiguió sacar una lágrima de su globo ocular sin siquiera parpadear, fue la cosa más surrealista que alguna vez he visto hacer a un ser humano, pero la escena se cortó. Su logro culminante no llegó al corte final, pero creo que está en los extras en algún lugar del DVD. Pregunta 6 Todo en vuestra película tiene un enfoque único y fresco, incluido la banda sonora. ¿Por qué decidisteis tener una banda sonora a capela? ¿Qué quería transmitir y por qué cree que se transmitió mejor de esta manera? La banda sonora a capela para la película fue una idea muy temprana. Cuando bromeábamos sobre esta película, una de las cosas que realmente lo inició para nosotros fue la idea de una película sobre un tipo ajeno a la sociedad, el cual tendría alguna manera de contar su propia historia. Originalmente, la idea era que él narraría la historia en vez de tener flashbacks. El trataría de crear un escenario, intentaría construir cosas para recordar su hogar. La película entera sería algo así como un hombre atrapado en el bosque obsesionado con el hogar. Por lo tanto, naturalmente, tiene sentido que él también se pusiese su propia banda sonora. Desde muy temprano nosotros decíamos: “oh, será como un escenario hecho a mano construido con basura del bosque con una banda sonora hecha por él mismo en el bosque”. Simplemente sabíamos que si las reglas de la narrativa desarrollasen al personaje, sería un aspecto que sumaría mucho a la historia. Así que siempre pensamos en los accesorios, la música, y todo sería hecho por Hank y ayudaría al espectador a conocer al personaje. Pregunta 7 ¿Cómo fue trabajar con Andy Hull y Robert McDowel? ¿Fue su idea componer y muchas veces grabar partes de la banda sonora mientras se filmaba la película? Debo decir que esta es una de las hazañas más asombrosas en en cuanto a composición de una banda sonora que he escuchado. Trabajar con Andy y Rob de la banda Manchester Orchestra siempre es un placer. Somos amigos de esos muchachos y lo hemos sido desde que hicimos un video musical para ellos, creo que en 2011. Así que les pedimos que compusieran la banda sonora de la película por un par de razones: sabíamos que queríamos a alguien que tuviera una hermosa voz para el canto y que pudiera crear hermosas armonías, pero también nos gusta trabajar con personas agradables y simplemente les queremos. Fuimos muy afortunados de que resultasen grandes compositores, fue algo colaborativo al desarrollar la sensación de la película. Sabíamos que queríamos que fuera a capela. En cuanto Andy leyó el guión, comenzó a escribir canciones, nos envió las canciones que había escrito y nosotros terminamos incluyéndolas en el guión. Nunca imaginamos que el la música sería tan no irónicamente épica y hermosa, pensamos que sería un poco más estúpida inicialmente. Empezaron a hacer música y comenzamos a pensar: "espera, esto es increíble y totalmente bizarro, yuxtaponiendo una hermosa partitura a un cadáver pedorro". Sabíamos que queríamos que esa parte fuera hermosa, pero realmente nunca nos hubiéramos imaginado que se convertiría en lo que se hizo en realidad. Andy y Rob siempre nos sorprendían y lo llevaban más allá agregando más capas de las que pensábamos que necesitaban. Me alegra que os haya gustado la partitura. Pregunta 8 ¿Figuraba en el guión desde el principio el final con Manny "propulsandose" en el mar? Esto sucede en un punto muy catártico de la película donde el espectador puede pensar que finalmente había entendido la película, muchas veces rompiendo este sentido de comprensión. ¿Fue pensado como un último giro irreverente para que no olvidemos que esta no es una película habitual? Se nos ocurrió el final de Manny lanzándose a la puesta del sol bastante pronto. Creo que tal vez en el tercer borrador del guión ya está ahí. Se nos ocurrió el desafío de comenzar la película con un pedo que te hace reír y terminar con uno que te hace llorar. Siempre fue una lucha tratar de hacer que el final fuera ambiguo, pero no desagradablemente ambiguo. A algunas personas no les gusta el final, pero fue muy importante para nosotros que tenga sentido para el personaje de Hank, incluso si no tuvo mucho sentido para la audiencia lo que sucedió o no. Si no has visto la película no escuches/leas esta parte del podcast. Lo que significa para nosotros es que Hank finalmente no se avergüenza, él se pee y dice "he sido yo". Manny le enseñó a no avergonzarse más de sí mismo, y con su misión cumplida sale volando como un ángel que vino a la Tierra para enseñarle una lección. Un adiós agridulce. Independientemente, nosotros pensamos que algunos miembros de la audiencia creerían que Manny era real, en base a este final, y algunos otros pensarían que tenía que ser un engaño y que no había forma de que Manny fuera real. Decidimos que esto estaba bien, la gente nunca estaría de acuerdo y queríamos que las caras de todos en la playa demostrasen las diferentes formas en que las personas pueden reaccionar ante esta película, como dándoles permiso a esas personas para sentirse así. Así que algunas personas pueden simplemente reírse, otras pueden llorar, algunas personas pueden decir "WTF" o sentirse asqueadas por ello y todo eso está bien... así que eso es lo que ves a cada personaje haciendo en la playa. Pregunta 9 Después de su primera experiencia como directores de largometrajes y después de su éxito en Sundance, ¿cómo será el futuro para ustedes? Leemos en Collider que los hermanos Russo están produciendo su próxima película. ¿Podría contarnos algo al respecto? Entonces, ¿cuál es nuestro próximo paso? Estamos intentando hacer una nueva película para el próximo año que hemos estado escribiendo durante un par de años y que los hermanos Russo la han estado desarrollando. Se llama "Everything, everywhere, all at once" y es un dramedia de ciencia ficción donde la mayoría de los personajes principales son asiático-americanos, ese es el origen de los padres de Daniel Kwan. Es una especie de carta de amor a algunas de nuestras películas favoritas como 'Brasil' o 'The Matrix' pero con temas modernos, como el sentirse abrumado y desesperado en un mar de información infinita. Es una idea un poco ¨tonta¨ como todas nuestras ideas, pero tonta de una manera de la que estamos orgullosos. Mientras tanto estamos trabajando en otras cosas. Yo tengo una película sobre de dónde soy, Alabama, al sur de los Estados Unidos, que se espera que salga el año que viene con suerte. La produce A24 también, es un pequeño drama policial ... dramedia, divertido y triste, así que estad atentos... pero no te diré el nombre. Ya veréis, es una sorpresa. Pregunta 10 "Swiss Army Man" ganó el premio a "Mejor película" en el festival de Sitges en 2016. ¿Estuviste en el Festival? Si es así, ¿recuerdas algo en especial sobre el festival o sobre España en general? Desafortunadamente, no pudimos ir al festival de Sitges (lo siento, no sé cómo pronunciarlo) pero hubiéramos estado muy contentos de estar allí, lamento que no estuviéramos y me encantaría volver a visitar España. No he vuelto desde principios de la década de 2000. Visité Barcelona y otro par de ciudades … oh! mi cerebro me falla, no recuerdo los nombres... creo recordar que era la ciudad de donde era Salvador Dalí. Es un país hermoso, me gustó mucho. Nos encantaría volver. Gracias chicos por contactar conmigo, espero que esto haya sido útil y espero que el podcast salga bien. “Adios”. --------------------------------------------------------------------------- Daniel Scheinert Interview (Transcription by Mario Wire) 1.Let us start with a question we ask all of our guests, where does your love for films come from? Could you point out a person in your childhood that specially influenced you that way? Daniel Scheinert: Ok, question number 1, if I could name one person that influenced me to pursue film... You probably haven’t heard of this person, his name is Brad Scheinert and he was my older brother. I looked up to him a lot when I was a kid, and he and his friend started to make movies together in high-school and I was jealous and I wanted to be cool like them, so I started making movies as well. That is really where my love for making films came from, and honestly I wasn't even the biggest film love before that. It was really making movies not watching movies that I fell in love with, and along the way… I watched a few movies I guess. Now my brother is not a filmmaker he helps to design video games , right now he works in Stockholm (Sweden) for a company called Paradox - I think. 2. Could you name a movie or movies/film makers that specially influenced your work in Swiss Army Man? Spielberg´s Jurassic Park must be one of them... There is a whole lot of them , we’re always afraid that people will be able to tell who are we ripping off when we make movies, so we try just to rip off a bunch of people (laughs). Paul Dano, who is in the movie, described the film as ´Terrence Malick meets Dumb and Dumber’ and we were very flattered by that because we are huge ‘Dumb and Dumber’ fans, and I’m a pretty big fan of Terrence Malick I guess (laughs). I think as far as real influences , another combination I’d say would be like Hayao Miyazaki, Dan and I both take a ton of inspiration from animated films and from animations, and a lot of times we feel like we are taking animated ideas and just see if we can do it in live action, and that is kind of our work. His stuff (Miyazaki’s) is obviously so fantastical and has its own rules and it's really beautiful, but then our movie is pretty dumb and perverted so, I guess my other influence would be ‘Jackass’ which was co-created by Spike Jones, one of our favourite filmmakers, but just the like raw, fun, brotherly comedy of that television show ‘Jackass’ it was honestly a huge influence on us ,in our work, in just how a … simple entertainment that we try to make the comedy in our movies. 3. You have said repeatedly in past interviews that the core idea of the project always was the encounter of a castaway with ¨a farting corpse¨, given that the project featured this bizarre comedic style, was it very hard to get it funded? Could you tell us a bit about the funding process? It was hard, but it was also really fun, cause even when people said no to us it felt like doing a piece of performance art. You known, sitting down with a rich investor and pitching our farting-corpse drama (laughs). The two things that helped us getting it funded, three things, one we had a producer we’ve worked with for years and he did a lot of the hard work, Jonathan Wang, I don’t even know half of what he did do but it was great having him fight for us and believe in us , two, we got into sundance labs which is an awesome kind of workshop were they took our screenplay, we had a finished draft of it and they just tore it apart and we sat down with different filmmakers and they helped us workshop it but also it was a stamp of approval so investors can see ‘oh this went to sundance labs, it must be not totally insane’ and three was that we made ‘Turn down for what’ which is a music video that was our most successful video we’ve ever made and I think , having that come out the same year that we were trying to get it funded…. I cannot imagine.. I bet that we couldn’t have gotten it funded without that ,you know, we were able to just say ‘look at that , everybody watched it , please give us your money’ and somehow tricked a couple of investors into believing us. 4. Nowadays we live in a society with no middle ground. It seems like everything is either a 0 or a 10. Did you have faith in the movie being understood, or were you worried at some point about this? This is a tough question. Did we have faith in the movie being understood or were we worried at some point it’ll be misunderstood?. We were always very worried that the movie would be misunderstood and I still I’m worried that it was misunderstood but I think that …. there is a part of me that wants people to like me and understand me, and there is a part of me that wants to... jump off a cliff of ambiguity and this whole movie was kind of a trust exercise between Dan and I and just like a crazy risk of putting something out in the world that is not black-and-white and isn’t preachy and that it asks questions that we don’t even know the answers to, I think I like for my movies to be an experience not just a... kind of, perfectly constructed little piece of entertainment but like something that you wrestle with and experience and you questioned, just asked..you mentioned that society has no middle ground and I think that in a lot of ways this whole movie was kind of something we… we accidentally made something that was filled with gray area and was kind of aiming at the middle ground, because I agree there is not enough middle ground and ambiguity, there is not enough movies that wrestle with people who aren’t sure of their gender or sexuality and it was fun to make a movie that doesn’t come down on either side of that. There is not a super clear message, but there are very clear themes that we felt confident we come across by the end of it all. Ok, weird answer (chuckles). 5. One of the huge pros of the movie is its cast. Apparently Dano and Radcliffe were not very hard to convince to participate in the film and their chemistry is amazing. This makes one wonder about the scenes you might have left out of the final cut. Could you tell us a little bit about your favorite moments of improvisation or story lines that did not make it into the movie? There were so many story lines we cutted out. We wrote a million drafts of this movie and there was one draft where Manny had a allergy to bees and he falled off a cliff and as they are falling Hank grabs the bee and stabs Manny and he inflates like a liferaft and they land in the water and manage not to die down below….eh…(se descojona él solo)….we had to cut that out, there was a lot of set up…. bee allergies do not have a thematic connection to our film. But I always wanted to do a big fat Manny raft. The scene that sadly we cut out it’s a one where Hank thinks he sees Manny crying and then he realises that it’s starting to rain and that it is not a tear (or was it?) before Manny starts talking and then, when we shot it we’re trying do like water droplets into the Daniel Radcliffe´s face but we couldn’t get the tears to land right and Danny was like ‘just roll, just roll’ and just willed a tear out of his eyeball without even blinking and it was the most surreal thing I’ve ever seen a human being do….but the scene got cut…..his crowning achievement did not make the final cut but I think it's in the special features somewhere in the dvd. 6.Everything in your movie has a very unique and fresh approach, including the Score. Why did you decide on having a fully acapella score? What did you want to transmit and why do you think it was transmitted better this way? So the a capella score for the film was an idea very early on when we’re joking around about this movie. One of the things that really unlocked it for us was the idea a movie about a guy stranded away from society and he will have to kind of tell the story himself and originally the idea was that he was narrate and that instead of having flashbacks he would create sets, he would try to build things to remind himself of home. The hole movie would be kind of about a man stranded in the woods obsessed with home and so he just can naturally make sense to this day he would make the score too and so from very early on ‘oh it will be like handmade props made of crap from the woods and a score made by that guy out in the woods’ we just knew that it would add to kind of the story overall if like the rules of the movie will develop the character so we always thought the props and the music and everything will be all made by Hank and it will help you to know the character. 7.What was it like working with Andy Hull and Robert McDowel? Was it their idea to compose and many times record parts of the score while the film was being shot? I have to say, this is one of the most amazing feats in movie scores I have ever heard of... Working with Andy and Rob from the band Manchester Orchestra is always a treat. We’re friends of those guys and have been ever since we did a music video for them back on I think 2011 so we asked them to compose the film for a couple of reasons. We knew we want someone who had a beautiful singing voice and could create beautiful harmonies but also we like working with nice people and we just love them and so we were very lucky that turns out they’re great composers and it was a collaborative thing kind of developing the feel of the movie we knew we wanted it to be a capella but Andy wrote the script and just started writing songs and he will send us songs that he had written and ended up getting written into the script and we never imagine that the music will be so unironically epic and beautiful we kind of thought it will be a little stupider…I think initially and the they started making music we’re like “wait, this is incredible beautiful and totally bizarre to juxtapose beautiful score with a farting corpse…We knew we want it that part to be beautiful but really like we never could have imagined that would sonically turned into what it did turned into and Andy and Rob were always surprising us and pushing it forward and adding more layers than we thought they needed to and …. yap. I am glad you liked the score. 8. Was the ending with Manny ‘propelling away’ in the sea scripted from the beginning? This happens at a very cathartic point in the movie where the viewer may think he had finally understood the movie, many times braking this sense of understanding. Was this intended as one last irreverent turn so we would not forget that this was not your usual movie? We came up with the ending of Manny farting off into the sunset pretty early on I think maybe on the third draft of the script we can zeroed in on that we came up with the challenge that we wanted the movie start with a fart that will makes you laugh and end it with a fart that makes you cry and it was always a struggle trying to make the ending ambiguous but not obnoxiously frustrated ambiguous. Some people don’t like the ending but it was kind important to us that it makes sense for the character of Hank, even if it didn’t totally make sense for the audience what happened or not so if you haven’t seen the movie don’t listen to this part of the podcast but what it means to us is that Hank finally is not ashamed, he farts and says ‘that was me’ Manny has taught him to no longer be ashamed of himself and having taught him his lesson he flies away like an angel that came to Earth to teach him a lesson. A bitter-sweet goodbye. But regardless we kind of thought some audience members would believe that Manny was real, based on this ending, and some members would think that it had to be a delusion and there was no way that Manny was real and we decided that it was ok with us that people would disagree and we wanted everybody’s faces there on the beach to demonstrate the different ways people may react to this movie and almost give those people permission to feel that way. So some people may just laugh, some people may cry, some people may say “what the fuck” o “be grossed out” and all of that’s ok….so that’s what you see everybody doing on the beach. 9. After your first experience as feature film directors and after your success in Sundance, what does the future look like for you? We read in Collider that the Russo brothers are producing your next movie, could you tell us something about it? So what’s next for us? We are trying to make a new movie next year that we have been writing for a couple of years and the Russo Brothers have been developing it. It’s called “everything everywhere all at once” and it’s a sci-fi dramedy and, where most of the main characters are Chinese-Americans and that’s a Daniel Kuan’s parents background and it’s a kind of a love letter to some of our favourite films like ‘Brazil’ or ’The Matrix’ but with kind of modern themes of feeling overwhelmed and hopeless in a sea of endless information. That is kind of a bit about it, and it’s kind of dumb, like all of our stuff, dumb in a way we are proud of. But in the meantime we’re working in other things. I have a movie about where I’m from, which is Alabama in the South of the United States, that is supposed to come out next year hopefully. From A24 as well and is small crime drama….dramedy, funny and sad, so look out for that but I am not gonna tell you the name. You’ll see….it’s a surprise. 10.Swiss army man won “Best film” at Sitges festival in 2016. Were you in the Festival? If so, do you have any thoughts about it or about Spain in general? Unfortunately we didn’t get to go to the Sitges festival…sorry I don’t know how to pronounce it, but we’re very happy to play there, bummed we weren’t there and I’d love to visit Spain again… I’ve not been back since early 2000s I’ve got to visit Barcelona and a couple of other towns….oh, my brain is farting I can´t remember, I don’t remember…I think the town where Salvador Dali was from, but it was a beautiful, beautiful country, I liked it a lot. We’d love come back. Thanks for reaching out you guys I hope this stuff was helpful and I hope the podcast turns out well. Adios.
¡Hola Crononautas! En esta nueva entrega traemos uno de los films más "bizarros" de los últimos años, para cerrar nuestro ciclo de cine Indie. Analizamos en profundidad Swiss Army Man, una película de 2016 escrita y dirigida por Daniel Kwan y Daniel Scheinert (dupla directorial conocida como los Daniels), y protagonizada de manera sobresaliente por Paul Dano y Daniel Radcliffe. Basada en una premisa perturbadora y llena de humor infantil e irreverente, esta historia alcanza cotas muy profundas y trascendentales, generando un contraste completamente brillante. En los dos primeros bloques del episodio, hablaremos entre otras cosas de la historia del Cine Indie y el festival de Sundance en nuestra sección Detrás de la Claqueta. Además de tratar la producción, la dirección y el reparto, hablaremos de Andy Hull y Robert McDowell del grupo Manchester Orchestra, compositores de una banda sonora que eleva y complementa el largometraje a la perfección. En el tercer y último bloque abrimos la VEDA SPOILERS, para discutir a fondo la trama y analizar todas las capas de esta peculiar historia. Con Gonzalo McFly a los mandos, Mario Wire, el Sr. Lobo y Pablo Wallace se encargan de que no la líe mucho. En este episodio suena la BSO de CronoCine compuesta por el artista musical El Arias (podéis encontrar su música en Facebook y Soundcloud). Además, suenan covers de la banda sonora de la película, en concreto los temas Montage interpretado por The Tune-Ups (visitad su canal de de Youtube), y River Rocket interpretado por Sophie Hashtings (disponible en Youtube y Soundcloud).
¡Hola Crononautas! En esta nueva entrega traemos uno de los films más "bizarros" de los últimos años, para cerrar nuestro ciclo de cine Indie. Analizamos en profundidad Swiss Army Man, una película de 2016 escrita y dirigida por Daniel Kwan y Daniel Scheinert (dupla directorial conocida como los Daniels), y protagonizada de manera sobresaliente por Paul Dano y Daniel Radcliffe. Basada en una premisa perturbadora y llena de humor infantil e irreverente, esta historia alcanza cotas muy profundas y trascendentales, generando un contraste completamente brillante. En los dos primeros bloques del episodio, hablaremos entre otras cosas de la historia del Cine Indie y el festival de Sundance en nuestra sección Detrás de la Claqueta. Además de tratar la producción, la dirección y el reparto, hablaremos de Andy Hull y Robert McDowell del grupo Manchester Orchestra, compositores de una banda sonora que eleva y complementa el largometraje a la perfección. En el tercer y último bloque abrimos la VEDA SPOILERS, para discutir a fondo la trama y analizar todas las capas de esta peculiar historia. Con Gonzalo McFly a los mandos, Mario Wire, el Sr. Lobo y Pablo Wallace se encargan de que no la líe mucho. En este episodio suena la BSO de CronoCine compuesta por el artista musical El Arias (podéis encontrar su música en Facebook y Soundcloud). Además, suenan covers de la banda sonora de la película, en concreto los temas Montage interpretado por The Tune-Ups (visitad su canal de de Youtube), y River Rocket interpretado por Sophie Hashtings (disponible en Youtube y Soundcloud).
On the latest episode of the Talkhouse Film podcast, standup comedian and Silicon Valley star Kumail Nanjiani sits down with DANIELS (aka Daniel Kwan and Daniel Scheinert), the directors of one his recent favorite movies, Swiss Army Man. The trio talk about their latest projects – the aforementioned “farting corpse” movie, DANIELS' new interactive short Possibilia, and Nanjiani's upcoming feature as writer-actor The Big Sick – as well as the insurance-related impact of action thrillers and superhero movies, the effect ADHD and anxiety on Kwan and Nanjiani's careers and creativity, the perennial arguments Scheinert and Nanjiani have with their respective partners, and much more. For more filmmakers talking film and TV, visit Talkhouse Film at talkhouse.com/film.
Steve, Josh and Smiley re back to review Swiss Army Man. This episode also contains a look ahead for the month of July on Netflix with Chilling with Smiley and mini reviews of The Fundamentals of Caring and The BFG. Warning! Any spoilers are time stamped! Tweet us @Film4Cast or email us at Film4Cast@gmail.com. with any comments on this episode. Visit and like our facebook page at facebook.com/film4cast. 00:00-04:23 Intro 04:23-17:55 Chillin With Smiley *Mini Reviews* 17:55-22:50 Smiley briefly reviews The Fundamentals of Caring and the trio gets a bit off topic 22:50-31:33 Josh reviews The BFG and once again the trio gets a bit off topic 31:33 - The trio does an in depth review of Swiss Army Man (Spoilers at 39:18, final ratings at 01:00:15) 01:01:10-01:03:11 Outro
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