Stephanie Hsu has a whole heap of challenges to deal with in the Daniels’ hit Everything Everwhere All at Once. Not least of which is the infinite versions of her character she has to hold from scene to scene, from Joy, the disenfranchised daughter of Michelle Yeoh’s Evelyn, through to Jobu Tupaki, an all-seeing, all-knowing supervillain who’s as hellbent on destroying the world as she is completely disinterested in bothering.
Released in the Spring, the film has become that rarest of hits: firing up mainstream and indie audiences alike, and perhaps becoming the most likely “popular movie” to take down Oscar’s biggest prizes. DEADLINE: Everything Everywhere All at Once seems to be at the forefront of a new kind of mainstream filmmaking.
How has it felt to see it connect like this? STEPHANIE HSU: Absolutely — I feel like our movie was a launching pad for everybody to say, “Wait, movies are back.
OK, here we go. Let’s get back into editing and let’s keep pushing each other further and further.” I feel it is defining something new, and I think I’ve been waiting for mainstream cinema to change people again, to make people eager to get back to the theaters.
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