What song is used in Everything Everywhere All At Once trailer?

The Everything Everywhere All at Once soundtrack includes music by Claude Debussy, Susan Christie and Gioachino Antonio Rossini. This info article contains spoilers and song details for Dan Kwan and Daniel Scheinert’s 2022 movie. Check out Vague Visages’ Soundtracks of Cinema section for more music guides.

Everything Everywhere All at Once stars Michelle Yeoh as Evelyn Quan Wang, a laundromat owner who crosses over into parallel universes. Stephanie Hsu co-stars as Joy Wang, the protagonist’s daughter and a multiverse-threatening villain known as Jobu Tupaki. The storyline follows Evelyn as she learns the truth about her existence and tries to protect her family members from danger. The music ensemble Son Lux (Mean Dreams) scored the 139-minute A24 film; music supervisor Lauren Mikus (On the Verge) picked the featured tunes. Here’s every song in Everything Everywhere All at Once.

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Everything Everywhere All at Once Soundtrack: Every Song in the 2022 Movie

• “Life Can Be So Delicious” by Sunita Mani and Aaron Lazar (00:08:00): The Everything Everywhere All at Once soundtrack song plays during a laundromat sequence. Waymond (Ke Huy Quan) dances with Rick (Biff Wiff). Evelyn watches the TV monitor.
• “Claire de Lune” by Claude Debussy (00:46:00): Evelyn responds to an attack by Deirdre (Jamie Lee Curtis). She lands a blow as time slows down. The music plays again at 01:52:00.
• “Rainy Day” by Susan Christie (00:53:00): Joy emerges from an elevator with a pig. The Everything Everywhere All at Once soundtrack song continues as she smokes a cigarette. Evelyn says, “Why do you look so stupid?”
• “El Corrido De La Gallinita” by Apolinar Méndez (00:54:00): Joy attacks Officer Lucas (Anthony Molinari). She manipulates her head as two cops approach her. Joy gurgles a gun and blows out smoke.
• “William Tell Overture” by Gioachino Antonio Rossini (00:57:00): Evelyn prepares for a physical confrontation with Joy. The Everything Everywhere All at Once soundtrack song plays during a hallway sequence. Evelyn crosses over to a parallel universe.
• “Also Sprach Zarathustra” by Polish National Symphony Orchestra Conducted by Antoni Wit (00:58:00): Evelyn watches her laundromat monitor. Performers on the screen have hot dog fingers. Deirdre says that she is “so moved” by the production.
• “Ave Maria” by Elle Alexander (01:12:00): Gong Gong (James Hong) orders a group of people to find their jumping pads. The operatic tune is sung by a woman. The music drops as Evelyn speaks in Mandarin during a transition sequence.

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The Everything Everywhere All at Once soundtrack also includes:

• “Stutter Apertures” by Ryan Lott
• “Absolutely (Story of a Girl)” by John Charles Hampson
• “Captain’s Table” by Heinz Kiessling
• “Haven’t Been Here for So Long” by Son Lux with Jane Lui
• “Now We’re Cookin'” by Ryan Lott, Randy Newman and Harry Shum, Jr.
• “Gong XI Gong XI” by Cast
• “A Midsummer Night’s Dream, Op. 61 (Wedding March)” by Bertalan Hock
• “Come Recover” by Son Lux
• “Your Day Will Come” by Son Lux
• “This Is a Life” by Son Lux with Mitski and David Byrne

Q.V. Hough (@QVHough) is Vague Visages’ founding editor.

Categories: 2020s, Action, Adventure, Comedy, Soundtracks of Cinema

Tagged as: Action, Adventure, Comedy, Dan Kwan, Daniel Scheinert, Everything Everywhere All at Once, Q.V. Hough

André 3000, Mitski, David Byrne, Moses Sumney and more acts feature on the soundtrack for the new A24 film Everything Everywhere All At Once.

Son Lux have scored the sci-fi action film by Daniel Kwan and Daniel Scheinert. The film is released in the US on March 25 (UK date TBA), while the soundtrack lands on April 8.

Mitski and Byrne duet on a song called ‘This Is A Life’, while André 3000 plays flute across the record. Other contributions come from Randy Newman, Moses Sumney, Nina Moffitt, Chris Pattishall, Rob Moose, yMusic, Surrija, and actor Stephanie Hsu.

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Son Lux shared a statement about their work on the project: “Even though we knew from the moment Daniels asked us to score this film that it would push us in new and unexpected directions, we couldn’t have predicted how much we’d learn from the project.

“What emerged was our most ambitious undertaking to date, over two years in the making, resulting in two hours of new music. It was an opportunity for us to play, to infuse humour into our work, and to experiment from and beyond our various musical backgrounds.”

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