Larkin Seiple
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“Day Car Work on Stage is Really Tough”: DP Larkin Seiple on Wolfs
It seems strange to call a $100-plus million dollar Brad Pitt and George Clooney movie a return to a director’s roots, but in a way that’s exactly what Wolfs is for Jon Watts. Like his breakthrough feature Cop Car—a spartan and sinewy 2015 neo-noir made for $800,000 that impressed Marvel enough to land Watts a trio of entertaining Spider-Man movies—Wolfs is a lean, propulsive story that unfolds in a single day with no use for superfluous exposition. Clooney and Pitt star as lone wolf fixers who reluctantly team up when a tough-on-crime district attorney (Amy Ryan) ends up with a […]
by Matt Mulcahey on Oct 4, 2024 -
“TV Shows are Like Better Funded Independent Films”: DP Larkin Seiple on Beef
In the new Netflix series Beef, a struggling contractor (Steven Yeun) and an affluent entrepreneur (Ali Wong) become embroiled in an escalating feud following a road rage incident. The series fits snuggly into a very specific quadrant of cinematographer Larkin Seiple’s wheelhouse— hard-to-classify A24 projects. Though his filmography includes sports biopics (Bleed for This), thrillers (Cop Car) and prestige dramas (To Leslie and Emmy-nominated work on Gaslit), Seiple’s most distinct work has come in A24’s Swiss Army Man, Everything Everywhere All at Once and now the studio’s Beef. With the full series streaming on Netflix, Seiple spoke to Filmmaker about Incubus clinching […]
by Matt Mulcahey on Jun 8, 2023 -
“The Silliest Use of IMAX in the History of IMAX”: DP Larkin Seiple on Everything Everywhere All at Once
“A messy but fun way to make something very stupid but very beautiful.” That’s how cinematographer Larkin Seiple describes the process of creating the multiverse-jumping singularity that is Everything Everywhere All at Once, a mixture of the silly and profound that careens through alternate realities populated with hot dog fingers, butt plugs and raccoon versions of Ratatouille while imploring us to embrace the fleeting moments of grace offered up by the universe in the face of our cosmic insignificance. Michelle Yeoh stars as Evelyn, a harried laundromat owner whose marriage, mother-daughter relationship and IIRS audit all crater simultaneously. Into that personal […]
by Matt Mulcahey on May 23, 2022 -
“All These Different Michelles Are the Stars of Their Different Stories” The Daniels on Their Michelle Yeoh-Starring Everything Everywhere All At Once
The multiverse threatens to swallow up Evelyn, a wife, mother, and laundromat owner in Everything Everywhere All At Once. Written and directed by The Daniels (Daniel Scheinert and Daniel Kwan), the film is a spectacular showcase for Michelle Yeoh, one of the great icons of Asian cinema. Like their earlier feature Swiss Army Man, EEAAO is by turns experimental and defiantly audacious. But it also taps into a commercial sensibility that finds a way to combine social media supercuts, Russo brothers spectacle, and old school Hong Kong filmmaking. In addition to Yeoh, the cast includes Jamie Lee Curtis, Stephanie Hsu, […]
by Daniel Eagan on Mar 24, 2022 -
DP Larkin Seiple Breaks Down Every Shot from Childish Gambino’s “This Is America “
Since its May 5th launch, Childish Gambino’s “This Is America” video has been viewed more than 215 million times on YouTube, a testament to the power of the internet as mass medium. According to Variety, the average ticket price for the first quarter of 2018 is $9.16; using that math, a music video shot in two days with nine rolls of film has been viewed by as many people as Avengers: Infinity War. “I was a bit shocked at the scale and speed of the reaction. It was released on a Saturday evening and on Sunday morning I woke up to […]
by Matt Mulcahey on May 31, 2018 -
“A Fart to the Heart”: DP Larkin Seiple on Swiss Army Man
A few years ago I worked on a promo for a Jerry Springer-hosted dating show set in a soundstage-built TSA screening line. The concept involved potential dates in the queue afflicted with, shall we say politely, peculiarities – including a gentleman with a flatulence problem. For the sake of authenticity, the shoot’s assistant director emulated gaseous emissions during the takes – sometimes using the double palms of the hands method, other times opting for the tried and true armpit technique. The giggles spread like a contagion – to grips, to camera assistants, to set dressers. So as much as I […]
by Matt Mulcahey on Jul 12, 2016
