‘Everything Everywhere All At Once’ Creators Officially Returning With

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There’s No Business Like Snow Business — The Collider Movie Quiz!The Daniels Are Bringing Their Next Sci-Fi Masterpiece to IMAX What Is ‘The AI Doc: Or How I Became an Apocaloptimist’?

Four years after Everything Everywhere All at Once came out of nowhere to triumph at the box office and at the Oscars, the Daniels (Daniel Kwan and Daniel Scheinert) are making their next movie. Now, we have a better idea of when we can expect to see it and what it will be. Collider’s Steve Weintraub spoke with Kwan at South by Southwest in Austin, Texas, where his new documentary, The AI Doc: Or How I Became an Apocaloptimist, was screened before its theatrical debut.

Kwan revealed that the Daniels’ next movie is set to begin production this summer and will be out for the 2027 holiday season. Details are sparse right now, but like their breakthrough hit, it will be a science fiction action comedy. No title, plot, or cast has yet been announced for the film, which will be their third film (after Everything Everywhere All at Once and their 2016 debut film, the human-corpse buddy comedy Swiss Army Man), and their first in what will be nearly six years, by the time it hits theaters. Kwan promises that the film will be worth the lengthy wait, telling Collider:

“We’re about to shoot this summer, and it is coming out, if all things go to plan, next November of 2027. The only thing you need to know is we are trying to do what we have always done, which is listen very deeply to what is happening in the world and try to internalize that and make something really fun and entertaining that kind of reflects that story back to the world. So, one of the reasons why it’s taking so long is because what we’re feeling and what we’re hearing from the world is very complex and really nuanced, and there’s so much paradox. To kind of reconcile all those things and put them into one movie, it takes time. Some trees grow really quickly within a couple of years, some trees take a very long time, and sometimes the work that we do takes a little bit longer.
Again, it’s going to be fun sci-fi, action comedy with a big heart. Very existential. All those things that you would hope that one of our movies would be. But as the world gets more complex, I believe one of my jobs as a storyteller is to meet the world where it’s at.”

There’s No Business Like Snow Business — The Collider Movie Quiz!

Tomorrow is the last day of winter, so let’s dash through a one-horse-open-sleigh of movies that feature sledding, skiing, and/or a snowball fight.

The Daniels Are Bringing Their Next Sci-Fi Masterpiece to IMAX

Everything Everywhere All at Once (2022)

And if you thought the Daniels went big in Everything Everywhere All at Once, they’re going bigger this time…and on the biggest screen possible. Everything Everywhere All at Once had a successful IMAX run, although it wasn’t shot in that format. Recent advances in technology have made the once cumbersome IMAX cameras more portable, enabling more filmmakers to shoot natively on the super-sized format. This year, Christopher Nolan‘s The Odyssey will become the first narrative film ever shot entirely in 70mm IMAX. The hotly anticipated Dune: Part Three will also be largely shot in IMAX, as director Denis Villeneuve recently discussed at the unveiling of the film’s first trailer. Kwan, likewise, is enthusiastic about the format and intends for the new movie to be optimized for the biggest and best screen possible. “IMAX all the way. I love going to see a film in that large of a format,” said Kwan. He went on to describe the experience of an IMAX film, saying:

“I always think of theaters as a wine — you can drink wine out of a proper glass, or you can drink it out of a paper cup. There’s nothing wrong with drinking out of a paper cup; I do that all the time. Or drinking straight out of the bottle. But when you have the opportunity to drink it out of a glass that is designed to get their aromas and get the color, and the whole experience is designed for this specific vessel, it just really elevates the whole thing. So, theaters, you’re literally looking up; it actually triggers something in your brain to trigger awe, and you can’t get that on your couch. It’s the awe, and it’s the fact that you are watching with a community. So, we’re shooting this movie in the large format specifically for, and not all of it, but the majority of it our plan is to shoot for the IMAX screen and to bring people together and give them a big event. It’s a big action movie, which we’re really excited about. So, that’s the IMAX thing.”

On the subject of technology, Kwan also discussed his approach to film-making technology and how his own attitude to it has been shaped by his experiences producing The AI Doc. The AI discussion has dominated much of the cinematic discourse for the past few years; the mere suggestion that a film may have used generative AI in its production ignites controversy among cinephiles and creatives, many of whom consider the technology to be anathema to art itself. And while Kwan is disdainful of “AI slop,” he doesn’t believe the issue of AI is an insurmountable one, although he doesn’t reveal if he, too, has become an “apocaloptimist.” He told Collider:

“Then, as far as how this documentary has affected my approach to technology within my work, it’s made me really realize how important it is for us to… I can have my own individual feelings and my own individual red lines and my own individual definitions for how I want to relate with this technology, but if we don’t all get on the same page and find those red lines together as a creative community, as an industry, beyond Hollywood, the global industry, we’re going to have a lot of issues. Because, like you said, it’s a race to the bottom, where we are going to have more and more AI slop flooding our media landscape, and we’re going to have a lot of people out of jobs. All of these things are problems that I can’t solve on my own, but I do believe that if we come together, we may have a chance.”

To find consensus on the ethics of AI usage, Kwan has also helped form the Creators Coalition on AI, an industry think tank that he hopes will “set the table for conversations to bring our industry together, bring our creative community together, to make those hard decisions so that we are the ones setting the terms for how these tools are used and not the tech companies and not the incentives, basically.”

What Is ‘The AI Doc: Or How I Became an Apocaloptimist’?

Directed by Oscar-winning documentary filmmaker Daniel Roher (Nalvany) and Oscar-shortlisted Canadian up-and-comer Charlie Tyrell (My Dead Dad’s Porno Tapes), The AI Doc follows Roher’s quest to understand how artificial intelligence will shape the future in the wake of learning his wife and fellow filmmaker, Caroline Lindy (Your Monster), is pregnant with their first child. Is it a threat to humanity, or the key to a new age of peace and prosperity? You’ll have to find out on March 27, when The AI Doc hits theaters.

Kwan is producing The AI Doc alongside Jonathan Wang, who also produced Everything Everywhere All at Once and Swiss Army Man, and Roher’s frequent collaborators Shane Boris and Diane Becker. It will be distributed by Focus Features in the US, and by Universal internationally.

The Daniels’ untitled new film will shoot this summer and will be released in November 2027. Stay tuned to Collider for future updates.