Everything Everywhere All at Once

At a screening filled with Oscar voters, Michelle Yeoh, Ke Huy Quan and the directors marveled at the way their quirky film has struck a chord.

“Some of the stuff she said in interviews, she had never said to us,” Kwan said. Yeoh told me the reason she has trouble articulating what “Everything Everywhere” means to her “is because when you really talk about it, suddenly it comes crashing in that you have waited for so many years for something like this. Yeoh excused herself to greet Roger Spottiswoode, who directed “Tomorrow Never Dies,” the 1997 James Bond film that help introduced her to American audiences; meanwhile, the “Star Trek Into Darkness” screenwriter Roberto Orci greeted Quan with a deferential bow. “Yes,” said a mortified Yeoh, burying her face in Kwan’s shoulder. “I’m the canary, nice to meet you,” she said, shaking my hand. [GQ video](https://twitter.com/gqmagazine/status/1511748442518863875?lang=en) when Yeoh cried as she discussed reading the “Everything Everywhere” script, which asked her to play so many more modes than she was used to. “It was an ode to ‘Jackass’ and Stephen Chow movies!” But the bigger “this,” the one that really boggled them, was the fact that they were embarking on a monthslong awards campaign to begin with. I’ve cried so much in the last six months from reading the comments or from people coming up to me,” Quan said. The “this” in question was a tastemaker party with Oscar voters and industry veterans meant to reposition the indie hit as an awards contender. (If “Frost/Nixon” happened to have one, please write in to remind me.) “We did press all through the summer, and then took a break and thought, ‘This will all die down.