Issue link: https://digital.copcomm.com/i/1470106
8 8 P E R S P E C T I V E | M AY / J U N E 2 0 2 2 Everything Everywhere All at Once is not only the title of the film. It's the way it felt every day as the roduction Designer and Art Director of this wild project. We are grateful to say that this filmas demanding as it was rewardingwas ultimately just as much fun to make as it is to watch, thanks to the most enthusiastic, creative and dedicated crew in Los Angeles. We knew this would be a challenge from the moment we read the script. It was full of dense text describing each intricate story beatwhich, due to the nature of the film, meant something new to consider after every jump to another parallel universe, including both new characters and alternate versions of existing characters. It was a lot to absorb and decipher. The first challenge was the sheer number of reuests alternate versions of the same sets, things that need to be able to break, move, and explode, specialty props and puppets. Because we were making this on an indie film budget, we had to get really creative with our problem solving. The directing team (Daniels Daniel wan Daniel Scheinert) knew that they were asking for a lot, and made it clear that uantity is more important than uality on this project. utside of the several main sets, which were painstakingly detailed, most other setups would only be on screen for a few moments. The goal was to not get too bogged down on any of these secondary setups to have fun with them, but not to get so fixated that any particular one would become a resource drain. It's great having practical directors when most things seem impractical! T h e h a l l e n g e o f a r a l l e l U n i v e r s e s E V E R Y T H I N G E V E R Y W H E R E A L L A T O N C E B Y J A S O N K I S VA R D AY, P R O D U C T I O N D E S I G N E R , A N D A M E L I A B R O O K E , A R T D I R E C T O R A