Everything Everywhere All at Once: The Art of Crafting a Sci-Fi Kung Fu Epic on a Shoestring Budget

In the vast multiverse of cinema, one film emerged as a true anomaly in 2022. “Everything Everywhere All at Once,” directed by the dynamic duo known as ‘The Daniels’ (Daniel Kwan and Daniel Scheinert), not only captivated audiences with its mind-bending narrative but also astounded industry insiders with its ambitious scope achieved on a modest budget. This sci-fi kung fu epic, brimming with complex visuals and spanning multiple universes, was crafted with an ingenuity that puts many big-budget blockbusters to shame.

But how did they do it? How did ‘The Daniels’ and their scrappy team stretch their dollars and their creativity to bring this kaleidoscopic adventure to life? In this article, we’ll dive deep into the techniques and strategies that made “Everything Everywhere All at Once” a testament to resourceful filmmaking. Whether you’re an aspiring filmmaker, a movie buff, or just someone who loves a good underdog story, you’re in for a wild ride across the multiverse of low-budget movie magic.

The Daniels: Masters of Making More with Less

Before we jump into the nitty-gritty of their techniques, let’s get to know our dynamic director duo. Daniel Kwan and Daniel Scheinert, collectively known as ‘The Daniels,’ are no strangers to pushing creative boundaries on a budget. Their journey began in the realm of music videos, where they honed their skills crafting visually arresting and often delightfully bizarre content. Their debut feature, “Swiss Army Man” (yes, the one with Daniel Radcliffe as a flatulent corpse), was a crash course in maximizing minimal resources.

This background in resourceful filmmaking laid the groundwork for “Everything Everywhere All at Once.” As Kwan puts it, “We knew we had to find one location for this film. That was the only way it was going to get made because there’s too much going on for us to even consider moving production to a different location.” This philosophy of doing more with less permeates every aspect of the film, from its locations to its special effects.

Technique 1: Location, Location, Location… All in One Place!

One of the most daunting aspects of the “Everything Everywhere All at Once” script was its multitude of locations. In a typical production, this would mean multiple location moves, each racking up costs in time and money. But ‘The Daniels’ had a different plan: find one versatile location that could serve as many.

Enter their secret weapon: an empty office building complex. This single location became the chameleon of their production. It played host to all the IRS scenes (because who doesn’t love a good tax audit in a sci-fi film?), the interiors of the Wong family apartment, and even the alphaverse motorhome. Talk about getting your money’s worth!

But the benefits didn’t stop there. The Daniels used different parts of the building for various aspects of production, essentially creating their own makeshift studio. This clever use of space allowed them to shoot a whopping five out of seven weeks without a single company move. That’s not just saving money; it’s saving sanity.

When they did venture out to shoot on location, ‘The Daniels’ applied the same efficiency. Take, for example, a single alley in Downtown L.A. that stood in for Hong Kong. As Daniel Scheinert explains, “If we’re gonna go to an alleyway that’s in Hong Kong, how many vignettes can we get there?” The answer? A lot. They crammed multiple scenes into this one spot, from Evelyn’s childhood runs to pivotal moments in taxis. All within about 20 feet and shot in a mere hour and a half. Now that’s what I call squeezing every drop out of a lemon!

Technique 2: A Multiverse of Visual Styles

Creating a multiverse isn’t just about having characters hop between realities; it’s about making each of those realities feel distinct. This is where ‘The Daniels’ and their cinematographer, Larkin Seiple, really flexed their creative muscles. They didn’t just rely on CGI to differentiate universes (more on that later); they used the fundamental tools of cinematography: lens choice, aspect ratios, and color palettes.

Seiple’s approach to color was like a film history tour. The Rakakuni Universe? That’s got the muted tones of a Paul Thomas Anderson film. The hot dog fingers universe (yes, you read that right) draws inspiration from the lush hues of “Carol.” And when Evelyn becomes a movie star, the green tones are a nod to Wong Kar-Wai’s “In the Mood for Love.” It’s like a love letter to cinema wrapped in a kaleidoscope.

But they didn’t stop at color. Each universe got its own lens treatment. The “normal” verse was shot with Zeiss Super Speeds for a familiar feel. Action scenes? Bring on the Hawk Anamorphics for that widescreen epic vibe. And for those peculiar hot dog hands, they used Baltar lenses, known for their soft, dreamy quality. It’s like each lens is a portal to another cinematic world.

Even the aspect ratios got in on the universe-hopping fun. When Evelyn’s humdrum world (shot in a standard 1.85:1) suddenly shifts into an action movie, the frame widens to 2.39:1. It’s a subtle cue that we’re not in Kansas anymore, Toto. And all those flashbacks? They’re in good old 4:3, like you’re watching memories on a vintage TV.

By playing with these visual elements, ‘The Daniels’ created a smorgasbord of universes without breaking the bank on elaborate sets or CGI. It’s proof that with a bit of cinematic know-how, you can take viewers anywhere – or everywhere, all at once.

Technique 3: Keeping It Real with Practical Effects

In an age where CGI reigns supreme, ‘The Daniels’ took a refreshingly old-school approach. Sure, their script was chock-full of wild visual effects, but instead of defaulting to digital wizardry, they rolled up their sleeves and got practical. We’re talking real, tangible, you-can-poke-it-with-a-stick effects.

Take the talking raccoon, for instance. In a big-budget flick, that’d be a CGI critter voiced by a Hollywood A-lister. Here? It’s an actual raccoon puppet. And those hot dog hands that have become the film’s bizarre calling card? Yep, those are 100% practical. No pixels were harmed in the making of those meaty digits.

But why go through the trouble? As Daniel Kwan explains, “There’s something about things like that being 100% practical that just makes shooting it so fun and makes it so much easier because the actors know exactly what they’re reacting to.” It’s not just about saving money; it’s about creating a more genuine, immersive experience for both the actors and the audience.

This practical mindset extended to the film’s numerous fight scenes. Instead of relying on digital doubles and CGI punches, ‘The Daniels’ had their actors train with YouTube sensations “The Marshall Club” to perform their own stunts. The result? Action that’s not just exciting but also amusingly human. And when they needed that extra oomph, they turned to wirework, a staple of Hong Kong martial arts cinema. A few wires, a bit of elbow grease in post to remove them, and voilà – epic, gravity-defying moves without the need for a nine-figure VFX budget.

In the end, these practical effects do more than save money. They give “Everything Everywhere All at Once” a tactile, handcrafted charm that even the slickest CGI can’t replicate. It’s movie magic you can touch.

Technique 4: DIY VFX – Less Marvel, More Ghostbusters

Now, let’s be real. Even with all their practical wizardry, ‘The Daniels’ couldn’t escape the need for some digital effects. But true to form, they approached VFX with the same DIY spirit. Instead of outsourcing to a big-name effects house, they assembled a team of seven – yes, just seven – filmmaker friends who’d been honing their VFX skills via YouTube tutorials.

This skeleton crew, led by VFX Supervisor Zack Stoltz, tackled over 500 VFX shots. Their mantra? “Less Marvel, more Ghostbusters.” In other words, they aimed for the charming, slightly rough-around-the-edges aesthetic of ’80s effects rather than the hyper-polished look of modern blockbusters.

One prime example is the IRS building. Everything above the first floor? That’s not a costly 3D model; it’s a 2D matte painting whipped up in Photoshop. It’s the kind of effect that would’ve been cutting-edge in “Blade Runner” and feels right at home in this retro-futuristic multiverse.

But the pièce de résistance of their DIY VFX has to be the everything bagel. You know, that universe-devouring vortex of sesame and poppy seeds. Stoltz reveals that it’s essentially one pre-rendered element that they manipulated and reused throughout the film. “We just messed with it in a bunch of ways to make it feel different,” he explains. It’s the cinematic equivalent of your grandma making a week’s worth of meals from one chicken.

Even ‘The Daniels’ themselves got their hands dirty in the VFX process. Remember that trippy sequence where Evelyn gets sucked through a portal? That’s not some high-end rendering; it’s footage Daniel Kwan shot on a pocket camera while wandering around New York. They displayed this on LED panels to match the lighting on Michelle Yeoh’s face. The result? A mind-bending visual that looks like it cost a fortune but was crafted with pocket change and elbow grease.

Conclusion: A New Blueprint for Cinematic Ambition

As we wrap up our journey through the making of “Everything Everywhere All at Once,” it’s clear that ‘The Daniels’ have given us more than just a wildly entertaining film. They’ve provided a masterclass in resourceful filmmaking, proving that with enough creativity, even the most outlandish visions can be realized on a modest budget.

By maximizing their locations, embracing practical effects, diversifying their cinematography, and adopting a DIY approach to VFX, they’ve shown that the limits of budget need not be the limits of imagination. Their methods harken back to the scrappy inventiveness of early cinema while simultaneously pushing the boundaries of what’s possible in modern filmmaking.

The lesson here isn’t just for aspiring filmmakers, though. It’s for anyone who’s ever been told their ideas are too big, too wild, or too expensive to achieve. ‘The Daniels’ remind us that constraints can be catalysts for creativity. That sometimes, having less means finding more inventive ways to work. And that with the right mindset, you can create not just a film, but a phenomenon – one that spans universes, defies genres, and yes, features hot dog fingers.

In a cinematic landscape often dominated by nine-figure budgets and franchise behemoths, “Everything Everywhere All at Once” stands as a beacon of possibility. It whispers (or perhaps yells, given its frenetic energy) that the next groundbreaking film might not come from a major studio, but from a couple of directors with big ideas, a small budget, and the audacity to turn an empty office building into a multiverse.

So the next time you watch a movie and think, “How did they do that?” remember the story of ‘The Daniels.’ Because in the world of filmmaking, as in life, the most incredible journeys often start with someone saying, “We can’t afford that. But maybe we can do it anyway.” And then, against all odds, they do.