#Larkin Seiple

[moviesframes]

Wolfs (2024)

Directed by Jon Watts

Cinematography by Larkin Seiple

[tv-moments]

Beef

Season 1, “We Draw a Magic Circle”

Director: Jake Schreier

DoP: Larkin Seiple

[maireadmalesco]

Cinematographers I hope to see Tim Burton work with someday

Tim Burton has had a good track record when it comes to choosing his directors of photography (DOP). Rather it be Dariusz Wolski, Emmanuel Lubezki, Bruno Delbonnel, etc. I was thinking about some DOPs I would love to see him work with in the future....

Henry Braham (Superman, Guardians of The Galaxy Vol. 2-3, The Suicide Squad)

Dan Laustsen (The Shape of Water, John Wick: Chapter 2-4, Nightmare Alley)

Jarin Blaschke (The Lighthouse, Nosferatu, Knock at The Cabin)

Chung Chung-hoon (Oldboy, It, Last Night In Soho)

Benjamin Kračun (The Substance, Promising Young Woman, Beast)

Larkin Seiple (Everything Everywhere All At Once, Weapons, Cop Car)

Bojan Bazelli (The Ring, King of New York, A Cure for Wellness)

Feel free to add more in the replies!

[ferretfyre]

The Cinematography for the Academy Award for Best Picture:

Film: Everything Everywhere All at Once

Year: 2022

Director: The Daniels

Cinematographer: Larkin Seiple

Aspect Ratio: 1.85:1; 1.33:1 (some scenes); 2.00:1 (some scenes); 2.39:1 (some scenes)

[nine-frames]

"You can't be happy all the time, and that's okay."

Beef, 2023.

Dir. Jake Schreier, Hikari and Lee Sung Jin | Creat. Lee Sung Jin | DOP Larkin Seiple

[vibe-stash]

Everything Everywhere All at Once (2022) Directors: Daniel Kwan, Daniel Scheinert DOP: Larkin Seiple Production Design: Jason Kisvarday Art Direction: Amelia Brooke

[italica-zoevincenti]

FKA twigs - sad day from Hiro Murai on Vimeo.

Starring: FKA twigs & Teake Produced by: Jason Cole @ Doomsday Ent. Nicole Powell @ Friend DoP: Larkin Seiple PD: John Stevenson Stylist: Matthew Josephs Mua: Daniel Sallstrom Mua support: Pat McGrath Hair: Issac Poleon Wushu Choreo: Sam Mak Fight Choreo: Dom Dumaresq Movement choreo: Theo TJ Lowe Dance consultant: Marina Stoimenova Vfx: MPC LA Color: Ricky Gausis Edit: Luke Lynch @ Parallax Post Sound design: Trevor Gates Title graphics: Alexis "Tyrsa" Taïeb EP: Nate Matteson @ Superfrog, Makeready, Kindred Spirit, FX networks.

[elbisonodelcine]

🎞️Beef (2023) 🎥Jake Schreier / Hikari / Lee Sung Jin 📷Larkin Seiple

[torley]

From the producers of Kelly Reichardt's "Certain Women" and Jeremy Saulnier's "Green Room" comes the story of Ruth (Melanie Lynskey), a nursing assistant suffering through a crisis of existential despair. But when her house is burglarized, Ruth discovers a renewed sense of purpose in tracking down the thieves. Accompanied by her obnoxious martial-arts-enthusiast neighbor Tony (Elijah Wood), they soon find themselves dangerously out of their depth against a pack of degenerate criminals. Now streaming on Netflix. Written and directed by Macon Blair (“Blue Ruin,” “Green Room,") in his directorial debut, with a distinctive look courtesy of cinematographer Larkin Seiple (“Swiss Army Man,” “Cop Car”), the film also stars David Yow, Jane Levy, Devon Graye, Christine Woods, Robert Longstreet, Lee Eddy and Gary Anthony Williams. SUBSCRIBE: http://bit.ly/29qBUt7 About Netflix: Netflix is the world's leading internet entertainment service with 130 million memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments. Connect with Netflix Online: Visit Netflix WEBSITE: http://nflx.it/29BcWb5 Like Netflix on FACEBOOK: http://bit.ly/29kkAtN Follow Netflix on TWITTER: http://bit.ly/29gswqd Follow Netflix on INSTAGRAM: http://bit.ly/29oO4UP Follow Netflix on TUMBLR: http://bit.ly/29kkemT I Don't Feel Like Home in This World Anymore | Official Trailer [HD] | Netflix http://youtube.com/netflix

[agendaculturaldelima]

#ProyeccionDeVida

🎬 “TODO A LA VEZ EN TODAS PARTES” [Everything Everywhere all at Once]👁️‍🗨️

🔎 Género: Comedia / Acción / Ciencia Ficción / Fantástico / Familia / Artes Marciales / Viajes en el Tiempo / Cine Independiente USA

⌛️ Duración: 139 minutos

✍️ Guión: Daniel Scheinert y Dan Kwan

🎼 Música: Son Lux

📷 Fotografía: Larkin Seiple

🗯 Argumento: Cuando una ruptura interdimensional altera la realidad, Evelyn (Michelle Yeoh), una inmigrante china en Estados Unidos, se ve envuelta en una aventura salvaje en la que solo ella puede salvar el mundo. Perdida en los mundos infinitos del multiverso, esta heroína inesperada debe canalizar sus nuevos poderes para luchar contra los extraños y desconcertantes peligros del multiverso mientras el destino del mundo pende de un hilo.

👥 Reparto: Michelle Yeoh (Evelyn), Ke Huy Quan (Waymond Wang), Stephanie Hsu (Jobu Tupaki), Jamie Lee Curtis (Deirdre Beaubeirdre), James Hong (Gong Gong), Jenny Slate (Debbie the Dog Mom), Biff Wiff (Rick), Tallie Medel y Brian Le (Alpha Jumper - Trophy).

📢 Dirección: Daniel Scheinert y Dan Kwan

© Productoras: A24, AGBO, Hotdog Hands, Ley Line Entertainment, Year of The Rat & IAC Films.

🌎 País: Estados Unidos

📅 Año: 2022

📽 PROYECCIÓN:

📆 Jueves 09 de Enero

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[sourcesandsignificance1]

Blog #08- Colour as Narrative

When I decided to explore 'Everything Everywhere All At Once' for this blog, it wasn’t just about celebrating a brilliant film. It was about delving into how visual language, particularly colour, can act as a powerful narrative tool. This film felt like a masterclass in using colour and cinematography to guide audiences emotionally and philosophically. It’s a benchmark not just for cinema but for creative media as a whole.

Watching 'Everything Everywhere All At Once' felt like encountering a visual language so fluent that it could express the chaos and meaning of existence itself. The film’s audacious use of colour made me reflect on how I could push the boundaries of visual storytelling in my own work.

Released in March 2022, Everything Everywhere All At Once is a sci-fi-comedy-drama that defies categorization. It follows Evelyn Wang, a middle-aged Chinese immigrant and a laundromat owner struggling with tax issues, family conflict, and existential despair��until she’s thrust into the multiverse. Evelyn discovers she must connect with parallel versions with of herself to save all of existence from collapsing into the void of meaninglessness, embodied by the "everything bagel". Ultimately, this film is about finding your way through the absurdity of life while hanging onto the relationships and personal growth. It’s a deeply impactful human story wrapped in the dazzling shell of chaos of multiversal action and absurdist humour. Its genre-bending nature mirrors the fragmented reality it portrays, making it a rich text for analysis.

The Role of Colour in Storytelling

One of the film’s standout features is its exceptional use of colour to define emotional states and universes. Larkin Seiple’s cinematography turns each multiverse into its own distinct visual realm:

The IRS Universe- Dominated by muted grays and beiges, this universe reflects Evelyn’s mundane and oppressive reality. The lifeless palette reflects her sense of imprisonment and immobility.

Hot Dog Fingers Universe- This absurd and comedic reality explodes with vibrant, almost cartoonish colours, enhancing its surreal and grotesque humour. The garish hues make the ridiculousness of this universe unforgettable.

Rock Universe- The absence of colour and sound creates a stark, minimalist world. It’s a place of retreat and reflection, a visual pause from the film’s chaotic energy. The black-and-white imagery underscores the serenity of simply existing.

Throughout the film, colour shifts dynamically to reflect Evelyn’s emotional journey. Saturated tones heighten the intensity of fight scenes, while soft pastels bring warmth to moments of connection. This deliberate use of colour not only distinguishes each universe but also immerses the viewer in Evelyn’s tumultuous inner world.

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Philosophical Depth and Emotional Symbolism

The power of this movie is in its ability to communicate philosophical ideas on a visual level. One of the most poignant moments is the "rock scene," wherein Evelyn and her daughter Joy exist as lifeless rocks in a barren landscape. Many interpret this as Evelyn hitting "rock bottom," but it goes much deeper. The scene symbolizes her active decision to run away from the overwhelming burden of her interwoven lives. In a universe that has no emotions, responsibilities, and chaos-where being a rock was enough-she finds peace. It's not exactly "rock bottom"; it's an escape from the overwhelming burden of existence, a retreat back to a universe where nothing will be required of them, and that simplicity can be profoundly comforting.

And then, of course, there is nihilism: the thematic element of the "everything bagel," denoting that nothing matters. The everything bagel is the almost comic imagery of the futility and randomness in life. Although the film captures the horrible terror of the world where anything is possible and nothing is fixed, it also offers in return the possibility to choose in a freedom-meaning and connection. This dichotomy-chairs and hope-really resonated with me. But instead of succumbing to despair, the film counters this with a message of hope: If nothing matters, then we are free to choose what matters to us. This balance between chaos and meaning resonated deeply with me, whose life is often overcome by the demands of creative work.

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Why This Film Resonates with Me

The part that inspired me the most about this film is that its truly remarkable visual effects were accomplished by a mere team of five individuals. Numerous viewers and critics on YouTube and Reddit mentioned that this small team succeeded in surpassing industry giants such as Disney, Warner Bros, Universal, and Sony. This clearly demonstrates that enthusiasm and innovation can outpace large budgets and resources.

Aside from its technical excellence, the film’s story and imagery resonate profoundly with modern cultural discussions. It redefines conventional storytelling by placing a middle-aged immigrant woman at the forefront as its hero, breaking stereotypes regarding who can be the main character in a sci-fi epic. Evelyn’s challenge to harmonize her cultural and generational identity with her own ambitions mirrors a common human experience. Thus, this investigation of identity seemed especially significant as I traverse my own artistic path in a world that is becoming ever more intricate. The film is absurd, random, and just like life, very unpredictable; it is within this chaos that beauty and meaning can be found. Overall, as mentioned previously in the blog, the role of colour, cinematography, and narrative complexity as instruments that expand the limits of what cinema can accomplish.

Sources:

Screenrant. (2022). Everything Everywhere All At Once: The Real Meaning Explained. Available at: https://screenrant.com/everything-everywhere-all-at-once-real-meaning-explained/ (Accessed: 26 December 2024)

The New York Times. (2022). Review: Everything Everywhere All At Once. Available at: https://www.nytimes.com/2022/03/24/movies/everything-everywhere-all-at-once-review.html (Accessed: 26 December 2024)

Kuegler, T. (2022). Why Everything Everywhere All At Once Is Addicted To Color And What It Means. Medium. Available at: https://tomkuegler.medium.com/why-everything-everywhere-all-at-once-is-addicted-to-color-and-what-it-means-cdb07dd475c0 (Accessed: 26 December 2024)

Backstage. (2022). Interview with the Cinematographer of Everything Everywhere All At Once. Available at: https://www.backstage.com/magazine/article/everything-everywhere-all-at-once-cinematographer-interview-75933/ (Accessed: 26 December 2024)

WIRED. (2022). The Making of Everything Everywhere All At Once. Available at: https://www.youtube.com/watch?v=hFFopPPrGiE&ab_channel=WIRED (Accessed: 26 December 2024)

ThomasFlight. (2022). Cinematography Breakdown of Everything Everywhere All At Once. Available at: https://www.youtube.com/watch?v=VvclV0_o0JE&ab_channel=ThomasFlight (Accessed: 26 December 2024)

[moviesframes]

To Leslie (2022)

Directed by Michael Morris

Cinematography by Larkin Seiple

[tv-moments]

Beef

Season 1, “I Am Inhabited by a Cry”

Director: Jake Schreier

DoP: Larkin Seiple

[placerdiario]

Childish Gambino - Little Foot Big Foot from Hiro Murai on Vimeo.

Director: Hiro Murai EP: Danielle Hinde/Jason Cole Co-Executive Producers: Chad Taylor/Fam Udeorji Producer: Jason Cole Producer: Danielle Hinde Prod Supervisor: Roland Berry Prod Coor: Daniel Brink DP: Larkin Seiple Choreographer: Shay Latukolan Choreo Asst: Lars Bohte Casting Director: Michael Beaudry 1st AD: Gavin Macleod Steadicam: Brian Freesh 1st AC” Matt Sanderson 2nd AC: Jonathan Dec Gaffer: Matt Ardine PD: Page Buckner Sound Mixer: John Rampey Costume Designer: Mary Zophres Lead Make Up: Michele Lewis Make Up Asst: Petrice Bankhead Makeup Asst: Deborah Humphries Make Up (CG): Autumn Moultrie Make Up Asst (CG): Dalia Younan Lead Hairstylist: Andrea Mona Bowman Hair Assist: Yvette Shelton Hair Asst: Kamaaura Eley Hairstylist (CG): Tiffany Daughtry Groomer: Janice Kinjo Stunt Coordinator: Ryan Sturz

CAST: Club Mgr: Quinta Brunson Pipe 1 Dancer: Monyett Crump Pipe 2 Dancer: Rob Bynes Stunt Performer: Xavier Charles Stunt Performer/ Man with gun: Eric Watson Smoking Man: Leopold Murphy Lauahina Man: Landrv Barb

POST: Edited at PARALLAX Edited by Luke Lynch Assistant Editor Victor Dos Santos Executive Producer Graham Zeller Post Producer Eliza Moley Sound Designer: Trevor Gates/ Formosa VFX by Monumental and Square VFX Head of Post Production: Laïla Hamdaoui Post Producer: Elisa Johanna Känd VFX Creative Directors: Mathieu Jussreandot, Colin Journée VFX Production Manager: Julie Delepine On-set VFX Supervisor: Ben Kadie CG Generalists: Victor Dufayard, Laurent Basset Mattepainting: Richard Gomard Compositing: Thomas Jouenne, Adrien “Palmito” Renay, Isabelle Tchoungang Roto: Sancio VFX Color: Alex Bickel

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 6 / 10

Título Original: Everything Everywhere All at Once

Año: 2022

Duración: 129 min

País: Estados Unidos

Dirección: Dan Kwan, Daniel Scheinert, Daniels

Guion: Dan Kwan, Daniel Scheinert, Daniels

Música: Son Lux

Fotografía: Larkin Seiple

Reparto: Michelle Yeoh, Ke Huy Quan, Jamie Lee Curtis, Stephanie Hsu, James Hong

Productora: A24, AGBO, Hotdog Hands, Ley Line Entertainment, Year of The Rat, IAC Films. Distribuidora: A24

Género: Action; Adventure; Comedy; Sci-Fi

TRAILER:

[boardchairman-blog]

**Shots of the Episode**

Beef (2023)

Season 1, Episode 1: “The Birds Don’t Sing, They Screech in Pain” (2023) Director: Hikari Cinematographer: Larkin Seiple