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 sce…
seems to be at the forefront of a new kind of mainstream filmmaking. How has it felt to see it connect like this?: 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.
I’ll tell you a story, which is that the Daniels and I were going to the Hamptons Film Festival together, and we were on the same flight. Daniel Scheinert was sitting next to a man who started watching the movie, but he didn’t say anything. Then that guy talked to another guy, and he started watching the movie. So, they finished the movie on the flight, and then came together in the cabin and hugged each other and were talking about it.
I always say that people kept opening doors for me that I didn’t know existed. Someone was doing a table read of amusical, and they asked me to do some extra voices. I ended up being in that project for six years. Then I get a call one day, “Do you want to come to Broadway?” I mean, yes, I’ve never been before. And then another musical I’d done in New Jersey, that ended up being a weird internet cult sensation.
I loved Joybu, because I feel that’s where we got the scene. One of my favorite scenes is the one where Jobu is describing the bagel, and it’s this ultra closeup and I think that’s a perfect Joybu moment, because you get to see that there’s something beneath the villain. It’s the window.
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