Daniel Kwan, who co-directed Best Picture hopeful Everything Everywhere All At Once alongside Daniel Scheinert, has opened up about backlash against the film and other nominees ahead of the 2023 Oscars on Sunday night. In a memo posted to Twitter, the director had a request for all fans of the film, while also throwing shade at its critics.
Everything Everywhere All At Once was released exactly one year ago at the 2022 SXSW Film Festival, winning over critics with a zany-yet-heartwarming tale of an immigrant family. Michelle Yeoh and Ke Huy Quan starred as two Chinese-American parents who, in order to save the universe, had to fight their own daughter (Stephanie Hsu) as she attempted to destroy the world.
It has been exactly one year since our film premiered at SXSW. I tried (and failed) to sum up all of my feelings in a far too sincere instagram post you can go and find if you’re curious (or bored). pic.twitter.com/8yyWAVgXip
While commemorating the anniversary of his film, Kwan also shared he’d be taking a break from social media post-Oscars. But since the film has a particularly large fanbase on social media, before leaving Twitter, Kwan asked enthusiasts to remain calm during the ceremony.
“The last thing I ask of any fans of our film is to be gracious and kind tomorrow,” Kwan wrote, “especially if we don’t pick up any awards that you might have felt we deserved.”
He continued: “I love every one of the films we are up against for different reasons. More importantly, I have grown to love the people behind each of the films as I have gotten to know them this year. I already have everything I could ever want, and there is no need to be angry on our behalf.”
Though the film is certainly in the lead to take home the award for Best Picture (thanks to wins at the SAG Awards, the BAFTAs, and more), with a good shot at other categories like Best Actress, Directing, and Writing, Kwan also suggested that too many wins could be a bad thing.
“No movie deserves to sweep, no matter how good it is, and I am rooting wholeheartedly for my fellow nominees,” Kwan shared. “Thank you for coming along with me on this wild ride, all of your support has meant the world to me.”
The Oscars are almost here, and we’ll soon find out which lucky actors, directors, writers, crew members, and films will be honored with Hollywood’s biggest honors. Award-season watchers have spent months poring over the movies, speculating who will join the exclusive club of Academy Award winners. This year’s crop of nominees includes an unprecedented number of first timers in the acting categories, including Brendan Fraser, Barry Keoghan, and Stephanie Hsu. In total, 16 of the 20 acting nominees received the nod for the very first time. Some, like Paul Mescal, have said they aren’t expecting to win (he even told the Evening Standard in February that he’s rooting for Colin Farrell instead).
Meanwhile, almost the entire main cast of “Everything Everywhere All at Once” is nominated, with Michelle Yeoh, Ke Huy Quan, and Jamie Lee Curtis joining Hsu in the acting categories. The movie has 11 nominations in total, and now that the Oscar precursor awards are over, it’s in a position to have a historic night at the award show.
Illustrated by Justin Metz instagram.com/just.metz
Have you heard about Aperture 2025?
It may sound like a Roland Emmerich sci-fi movie, but it’s actually more frightening. And much more controversial. It’s the Academy of Motion Picture Arts and Sciences’s latest initiative to make Hollywood more equitable and diverse—more woke—by changing the rules by which films are eligible for Best Picture nominations. Here’s how it works: Starting in 2024, producers will be required to submit a summation of the race, gender, sexual orientation, and disability status of members of their movie’s cast and crew. If a particular movie does not have enough people of color or disabled people or gays or lesbians working on the set—and what is “enough” will be determined by a knotty tangle of byzantine formularies—then that movie will no longer be eligible for an Oscar.
Not surprisingly, the plan is not being universally applauded in Hollywood. Critics say it’s invasive, anticreative, opens the door to privacy issues, and is spectacularly unfair to actors and crew members, who may want to keep their sexual orientation or health profiles to themselves, not to mention to producers and directors who have enough to worry about while shooting a movie than to be saddled with the thankless task of tallying up the identity markers of their creative partners.
“I mean, why aren’t animals in this?” sneers one industry insider. “What if the main character is a horse?”
Unfortunately, Aperture 2025 isn’t the only Academy initiative to recently raise eyebrows in Hollywood. In February, Oscar organizers triggered a civil war in Hollywood over a plan to pretape many of the below-the-line categories—film editing, makeup and hairstyling, original score, production design, the short-film selections—and roll edits of those awards into the live broadcast. Predictably, many Academy members (especially film editors, makeup and hairstylists, and production designers) balked at the change, but at least that one was designed to address an actual existential threat to the ceremony: that it’s become so long and boring that huge swaths of the audience have begun tuning out.
“The Academy was out of touch with the public when it was mostly white, and it remained so when it became somewhat less white.”
Last year, the Oscars drew an all-time low of 9.85 million viewers—less than what an episode of TheBig Bang Theory used to get. Granted, the pandemic and the resulting dearth of theatrical releases contributed to the decline, but the truth is, Oscar ratings began plummeting long before COVID-19. At its height in the 1990s, the ceremony was pulling in as many as 55 million viewers in the United States. Even into the 2000s, it was drawing at least 40 million. But by the 2010s, the numbers started falling into the 30 millions and, by that decade’s end, had dropped further, into the 20 millions. The audience for the last pre-pandemic Oscars, in February 2020, was 23.6 million, less than half of its one-time peak.
There’s no shortage of theories to explain why viewers are turning off to the Oscars: The shrinking of movie actors as cultural icons (as TikTok and Instagram stars become the ascendant media gods); the reluctance of the Academy to update the ceremony, which has remained substantially unchanged since it was first broadcast in 1953; the growing chasm between the esoteric tastes of the Academy’s voting members (who this year nominated Drive My Car, a Japanese drama about a grieving theater director putting on a production of Uncle Vanya in Hiroshima) and the preferences of the wider theatergoing public (who likes Spider-Man).
Whatever the reason, the conclusion is inescapable: The Oscars are tanking. And no matter how well-intentioned Aperture 2025 may be, the initiative isn’t going to fix that problem. On the contrary, at this rate, by 2025, filmmakers with even the most equitable and diverse sets may not give a damn whether their films are eligible for an Oscar or not because hardly anyone will be watching.
FRONT-ROW SEATS Meryl Streep and other luminaries at the 90th Academy Awards ceremony, where she was up for the 2018 Best Actress award for her portrayal of editor Katharine Graham in The Post. (TODD WAWRYCHUK/AMPAS VIA ZUMA WIRE/ZUMAPRESS.COM)
THE ACADEMY—and Hollywood—has faced existential crises before. Back in the 1950s, when the cathode-ray tube first crackled to life, the industry convinced itself that television would eventually murder the movies. The studios concocted all sorts of wacky gimmicks—CinemaScope and Cinerama, 3-D, even Smell-O-Vision—to keep audiences in theaters and stave off cinema’s seemingly inevitable extinction.
