‘Everything Everywhere All at Once’ Producer on What Rapper Lil Jon Had to Do With Decision to Take Party Bus to Oscars

The makers of Everything Everywhere All at Once had a celebratory solution for the task of transporting everyone everywhere all at once on Oscar night: a fleet of party buses.

The best picture-winning team hit the town in supersized rides, traversing from the 95th Oscars to afterparties including Vanity Fair’s event at the Wallis Annenberg Center for Performing Arts in Beverly Hills and A24’s private bash at Soho House West Hollywood.

More from The Hollywood Reporter

Days before the show, producer Jonathan Wang touched down on the blue carpet at the Spirit Awards (where the film dominated the show by winning seven of the eight awards it was nominated for), where he explained the decision to THR. “We’ve rented a party bus to get the whole cast and crew together so we could all show up together,” he noted, with an asterisk that “the legendary icons with big beautiful gowns” (aka, star Michelle Yeoh) would have to ride separately due to their ensembles.

Wang said the more the merrier for the big night, and what a night it turned out to be as the film earned seven Oscars including best picture, actress, director, editing, supporting actor, supporting actress and original screenplay. As the buses rolled through the city, the one with Wang and directors Daniel Kwan and Daniel Scheinert at one point blasted Queen’s “We Are the Champions.”

As for the party bus plan, Wang credited Kwan, one-half of the Daniels directing duo, for the idea. “One-hundred percent — Dan Kwan loves a party bus, who doesn’t?” Good point, but also worth pointing out that the idea has roots in their awards show past. “We took a party bus to the VMAs [in 2014] when we were nominated for [DJ Snake and Lil Jon’s] ‘Turn Down for What,'” he said in reference to the viral video that was directed by Daniels and won a trophy at MTV’s big show. “So this was a nice bookend from the VMAs to now.”

A version of this story first appeared in the March 16 issue of The Hollywood Reporter magazine. Click here to subscribe.

Click here to read the full article.