Michelle Yeoh

It's a thrill to see Michelle Yeoh's career thriving, no matter what you end up thinking about her latest project, the action fantasy Everything Everywhere ...

Evelyn is particularly disappointed in Joy for having dropped out of college, but she expresses her displeasure by berating her daughter for getting too fat. It’s a pleasure to watch Yeoh spring to action, her character finding a new lease on life through speed and movement; her every move is rendered with ballerina grace. There’s a distinct and welcome sense of playfulness to Daniels’ style, and they delight in staging the picture’s numerous martial-arts action sequences. Her daughter, Joy (Stephanie Hsu), is in a serious relationship with a woman, a fact Evelyn is reluctant to accept. Yet that summary doesn’t even begin to suggest the multiple directions Daniels take with this story; its digressions shoot out like the spokes of a sputnik chandelier. She may have begun her career as an action star, but she also has a face that holds you.

'We have to stand up for ourselves and be courageous enough to have a voice,' said Michelle Yeoh, star of 'Everything Everywhere All at Once.'

To be funny, to be real, to be sad.’ Finally, somebody understood that I can do all these things.” In “Everything Everywhere All at Once,” which opens wide on Friday, Yeoh portrays Evelyn Wang, an overstretched mother, daughter and soon-to-be-ex-wife dealing with an unwelcome tax audit of her family-owned laundromat. I felt that need to tell their story, but ... not the usual way — because the Daniels presented it in such a psychedelic, crazy, insane, contemporary way.” And I see Evelyn in so many people around me. “We have to stand up for ourselves and be courageous enough to have a voice. She’s earning some of the greatest reviews of her career and dominating the discourse on F ilm Twitter — which has already launched an unofficial Oscars campaign for lead actress on her behalf.

Michelle Yeoh Conquers the Universe(s). Why the Hong-Kong cinema icon took on the role(s) of a lifetime in an absurdist comedy about multiverses — and ended up ...

So while Yeoh was excited to get to play any number of roles in Everything Everywhere All at Once, the starlet and the Shaolin warrior and the long-fingered, futuristic lover and the piñata Evelyn (don’t ask), it was the ordinary Evelyn that drew her in. It can be a lot of duh-duh-duh.” She replicates the sound of flashbulbs going off, she pretends she’s exiting a limo and waving to an imaginary crowd. Her description of the role, however, is a lot more concise: “The damsel in distress.” There’s a slight sigh in her voice when she says the phrase. “You asked me before if I wanted to pivot to action movies out of desire or necessity and survival,” she says. This next chapter of Yeoh’s career is what she sometimes refers to as her “acting” phase, which isn’t to suggest that she wasn’t performing in that run of mid-Nineties martial-arts period pieces and kinetic, go-for-broke blockbusters. “The first thing I thought was, ‘What is my dad going to say?'” she remembers, as her eyes widen and her lip faux-trembles. And once she saw what they did with a story about two men marooned on a desert island — one of which happens to be an extremely flatulent corpse — it was like the key turned in the lock. Yeoh set up a meeting with them while she was in Los Angeles, “at this fancy restaurant in a fancy hotel,” Scheinert says. Still, while Yeoh may have been slightly confused by some of the more outré aspects of what the two Daniels had written, she was intrigued by what was underneath all of the wackiness: a sincere story about an everyday woman in a life that hadn’t turned out the way she’d planned. “Basically, from the very first draft, we knew we wanted her in the movie,” Kwan says, on a Zoom call prior to the festival premiere. Even if you’ve spent decades watching Yeoh spin tofu on her fingers, and engage in wire fu fights on the tops of trees, and jump a motorbike onto a moving train (an actual stunt that Yeoh did herself in 1992’s Supercop), it is safe to say that you have never seen her do anything like this. It’s the day after the opening-night premiere of her new film, Everything Everywhere All at Once, at the SXSW Film Festival and she’s been doing press all day; this is her last interview, Yeoh says, so she’s treating herself to a cocktail.

Michelle Yeoh reveals that she thought Ang Lee was joking when he first described the weapon-filled fight scene in Crouching Tiger, Hidden Dragon.

Although the sequel didn't quite live up to the high bar set by the original, Crouching Tiger, Hidden Dragon remains one of the all-time great martial arts movies and a perfect example of Yeoh's extraordinary talent for fight choreography. I thought he was kidding me when I first walked into where he was prepping for all the research he was doing, I seriously thought he was kidding until I walked onto the set on the final sequence and all the weapons were there and he said, 'I want you to use all of them.' I'm like, 'You're kidding, right?' But he was not. Michelle Yeoh reveals that she initially thought director Ang Lee's idea for one fight scene in Crouching Tiger, Hidden Dragon was a joke.

On the plus, it would be hard to spoil a movie that moves at this sort of frenetic pace, and that works from the Marvel-esque conceit that there is a multiverse ...

Still, Daniels (working with producers that include "Avengers" duo the Russo brothers) have delivered the kind of imaginative, uncompromising effort that can get people excited about movies. Meeting with an IRS agent (Jamie Lee Curtis, buried under unflattering makeup), Evelyn is suddenly pulled into the multiverse, apprised that she's the one person who can stop an "agent of chaos" that represents a threat to them all. Nor does it help that the movie could excise 20-30 minutes and not lose much, certainly in the way of clarity.

Everything Everywhere All At Once is a heartfelt story about forgiveness and family, a genre-bending, mind-bending trip through the multiverse and ...

Michelle Yeoh talks to Paul Giamatti about her singular career and why her new movie might be its pinnacle.

But it gets to a point where I have to remember, “You’re not Superwoman.” They always say, “You don’t understand us.” And in a way, we don’t, because they live in a world that moves so fast. So going from one form of movement to another took a little bit of adjustment, but it was relatively easy because I’m used to remembering steps and motion, and then it was just learning how to transfer the energy differently. The second I saw that, I was like, “It looks like a butt plug. YEOH: I don’t, but I have six godchildren, so they’re pretty much like my kids. But there’s just the right amount of references to you being a martial arts star. A child that is a mystery to you. When my character is going through the multiverse and trying to learn all these skills, the one thing the Daniels told me was, “Don’t look like you know what you’re doing.” I was like, “I’ve spent years mastering that calm, serene look. They knew where they were going and each move was critical to the next step. I’m not just saying this to kiss your ass, but it was one of my favorite things that I’ve seen in a long time. I had absolutely no idea what I was about to see, which is the best way to see this movie. It must have been like that on the page.

https://youtu.be/DHOSiFzcHJ8 Hollywood has too many sins to list—not least how swiftly it discards women the minute they sprout a single grey hair.

Michelle Yeoh has been a star for decades. American audiences will know her as a warrior in Crouching Tiger, Hidden Dragon or an icy matriarch in Crazy Rich ...

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Legendary Malaysian actor Michelle Yeoh became emotional while describing her role in the psychedelic martial arts movie “Everything Everywhere All at Once.

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The star tells Cosmo about her own acting multiverse—from playing a hibachi chef to a dominatrix—in her latest movie. ... Let's state the facts: Michelle Yeoh is ...

And watching that talent, the range of talent that she has, and thinking, "Wow, she is going to have such an incredible career ahead of her." So we now we are coming to terms with the fact that there is a chasm because we can't communicate as fast as you can. Look at Ke. He's got the courage to come back after 20 years of having to stay away from something that he loves and is so good and so passionate about. We look at each other and go like, "Yeah, we have hot dogs, and we're having to do a love dance. She empowered me to be out there, to throw caution to the wind, and just love every minute of it. That was the first time I was a hibachi chef, learning to spin that egg with so many people watching, and it was like, "Oh, no. All these kinds of things that we cannot even [imagine]. But it's a sci-fi movie, so we have the liberty to go for the things that you can only dream of. If you looked at just the close-up of the two of them, we saw the couple in love. And that's the journey we want the audience to go on as well. And as we all know, with the diaspora, the American dream is not always a beautiful dream. We always held each other's hands and said, "We're in this together, we know what we're doing." And when it was presented to me, it was like, I've been waiting for this opportunity for a long time.

How do you film an emotional scene during a pandemic, over Zoom, using green screen and still make it work? By. Therese Lacson. -. 04/08/2022 4:30 pm.

Just to shift gears a little bit, you’ve worked on a lot of these very large IP universe stories like Star Trek, and you’ve been in the MCU. I just wanted to know what is it like working on those types of projects versus this smaller project, where you’re just working with a very close group of people and you don’t have a lot of that noise, so to speak, hanging over your head? There was one big day of green screen that I had to shoot in London. Ke had shot it in LA, and the directors were on Zoom from their whole different homes. Your performance was amazing, and I really want to thank you for speaking with me and taking the time! But we also have to be mindful now the door is more open, and more opportunities are there, we have to grab them and treat them and nurture them and make sure that it is done well. But then they suddenly realize it’s not just about the Asian faces, it is about good storytelling and about a good story. Would it have meant that it was the downfall of all these other storytellers that had so many stories to tell? Especially in this day and age of the previous generation and this generation and trying to figure out and understand all the things that you have and are capable of doing. And I think what the beauty of it was the people, they get it because they hear it. But I think that was it, we wanted it to sound and be authentic, because this whole family was real. I think that The Daniels do it on purpose, they wrote this so that we would slip and fall as they pull the rug out from under your feet. We are only now beginning to, I dare not even say understand, but scratch the surface of all the different identities and possibilities that you all are facing and are carrying. At the end of the day, it’s love and not giving up on family, on the people that you love.