ComingSoon was given the opportunity to speak with the sound designing team of Everything Everywhere All at Once ...
Everything Everywhere All at Once
, consisting of Alexandra Fehrman, Andrew Twite, Brent Kiser, and Julie Diaz. The group discuss the challenges they faced while working on the critically-acclaimed motion picture and the amount of work that went into making the astonishing sound come to life.Andrew Twite: Brent and I have worked with Daniels on a number of projects over the years. I think the first for me was a Nike commercial back in 2012 that never saw the light of day. Then we did a couple of commercials with them, and their short, Interesting Ball, which I remember them screening at a small party for their friends in someone’s backyard in Koreatown. My first big project with them was their first feature,. It was the first project I ever cut for Atmos as it was very new at the time.
What was the most challenging aspect of Everything Everywhere All at Once, and how did you overcome it?For me, the sheer magnitude of the project and the time we had to get the editorial into shape. So it was time for sure. We had about 8 weeks to really hustle and get the editorial into shape. It was a huge undertaking. We had the film broken into 7 reels.
This movie is insane –- it hops around from various dimensions and time periods, often with overlapping dialogue, score, etc. Was there a conscious effort to make each local/dimension/time different from the other from a sound perspective?Building out detailed backgrounds and ambiances really helped sell this idea. This isn’t a unique concept really, but the devil is in the details.
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