How “Everything Everywhere All at Once” became an Oscars juggernaut
Just five years ago, the idea of a kung fu multiverse action comedy about Asian American laundromat owners co-directed by an interracial duo dubbed the Daniels being an Oscar favorite would have sounded like something from an alternate reality. “Everything Everywhere All at Once”
“The movie is so special and singular that I almost don’t want to say that this is an Asian American film that will benefit Asian Americans,” says, the star of “Fresh Off the Boat,” who just directed his first feature, about a Japanese American film snob. “It’s just a great movie, and I can’t wait to see that cast on that red carpet, getting their names called out and possibly winning.”
When his coming-of-age film about a young gay Black man struggling with his sexuality won best picture in 2017, it was seen as a watershed moment for diversity in the wake of the #OscarsSoWhite movement. That same year the Academy made a giant push to diversify membership, admitting a new class that was 46 percent women and 41 percent people of color. But progress is ongoing.
EVERYTHING EVERYWHERE ALL AT ONCE is an absolute BLAST — a loud, craven, Evel Knievel thrill-ride of a movie with a BIG ASS HEART. The The EEAO stars have talked about the discrimination they faced coming up in the industry. James Hong, 94, who plays the grandfather, was working at a time when Asian parts went to White actors in “yellowface” with their eyes taped so they slanted upward. The crew on the set called him “Chinaman.” During the pandemic, after Quan filmed EEAO but before it came out, he lost his Screen Actors Guild health insurance because he wasn’t cast in any roles.
For all its insanity and multiple universes, at its heart, EEAO is an immigrant story. Both Kwan and producer Jonathan Wang added bits of their parents to the script. Wang’s Taiwanese father, who died in 2016, had an incredible knack for butchering movie names — which is how we have Raccaccoonie, the master-chef raccoon who’s a spin on “Ratatouille.” Kwan interviewed his mother, June, while writing the screenplay.
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