Into the eye of the storm: Breaking down the climactic movie theater scene of ‘Twisters’

As a long-time film critic with a deep appreciation for the art of storytelling and the communal experience of watching movies in a theater, I was both intrigued and concerned when I heard that Jordan Peele’s latest offering, “Nope,” would feature a tornado tearing apart a movie theater. Having lived through several natural disasters and witnessed firsthand the power and devastation they can bring, I couldn’t help but wonder how authentic and respectful the film would be in its portrayal of such an event.

After the acclaimed release of his 2020 film “Minari,” which told the semi-autobiographical story of a South Korean immigrant family in 1980s Arkansas and received six Oscar nominations, director Lee Isaac Chung sought a new challenge and more expansive project.

Chung expresses that for a long time, he’s harbored the dream of creating a large-scale action film or blockbuster production someday. It’s not so much a set objective as it is an cherished aspiration.

Chung’s ambition was boosted by the victories of “Minari.” Following his impressive work on an episode of “The Mandalorian” the previous year, he earned the chance to direct “Twisters,” a follow-up to the 1996 blockbuster “Twister.” Initially hesitant about tackling a big-budget summer film worth $155 million compared to “Minari’s” $2 million, he couldn’t resist the opportunity.

“Watching ‘Minari’ was a deeply moving and challenging experience for me,” Chung explains during our Zoom conversation, acknowledging any potential confusion from his jet-lagged state following the film’s global press tour. “I had thought it would be an enjoyable adventure – we’d be tracking tornados together. But it turned out to be a very different scenario.”

Chung, aged 45, who had grown up accustomed to tornados in rural Arkansas, suddenly found himself facing the consequences of his complacency. Shooting a major summer film in Oklahoma’s Tornado Alley during peak tornado season brought not only chaotic weather conditions on set but also a multitude of logistical issues. Additionally, the looming threat of a Hollywood writers’ and actors’ strike added to the chaos, bringing production to a halt just 17 days before completion.

As a movie critic, I’ve experienced firsthand the intense pressure of film production. It was an exhausting and grueling process that left me rethinking my assumptions about easy shoots. Just because a film tackles a seemingly lighthearted or fun topic doesn’t guarantee an enjoyable production experience.

In the late ’90s, “Twister” originally hit theaters, featuring Bill Paxton and Helen Hunt, amassing nearly half a billion dollars globally. Now, 30 years later, “Twisters” introduces a fresh cast: Daisy Edgar-Jones as a committed scientist pursuing tornado control, and Glen Powell as a daring cowboy eager to ignite them with fireworks. The film opens this Friday, generating positive reviews, and aiming to revive the summer box office with its blend of excitement, romance, and grand spectacle. Universal Pictures handles US distribution, while Warner Bros. oversees international sales.

A huge tornado, representating the peak of a twister’s power, sweeps through a tiny Oklahoma community and menaces a crowded movie house. This scene holds significance as the film industry grapples with its own existential crisis.

The Times held interviews with Chung, Powell, and other members of the “Twisters” team, including tornado expert Kevin Kelleher, to discuss the intricacies behind portraying that gripping scenario. (Be advised: potential spoilers follow.)

A change of venue

As a movie buff, I’d rephrase it like this: In the original script, penned by Mark L. Smith, who wrote “The Revenant,” the story concluded with an EF-5 tornado, the most devastating category, approaching a tiny Oklahoma town. The main characters – Tyler, Kate, and Anthony Ramos’ storm chaser Javi – were spread out trying to rescue people in various locations. However, Chung, who was still figuring out how to connect the dots in the film’s third act, saw potential in focusing the finale around the town’s movie theater.

An event that occurred in Mayfield, Ky. in 2021 served as his motivation: a devastating tornado that took the lives of 24 people. Among the ruins was a photograph taken inside the shattered movie theater, which ignited his creativity.

Chung expressed that the movie theater had an enchanting quality for him, preserving the entire film’s charm. That particular scene resonated with him, symbolizing our collective goal as filmmakers – to captivate audiences and leave them amazed in some way.

No actual theaters were harmed during the shoot

Instead of destroying a real cinema, the filmmakers chose to construct a realistic cinema interior from scratch for filming. They built this set to endure the intense action scenes. The production took place in El Reno, Oklahoma, which was devastated by a tornado in 2013. For exterior shots and as inspiration for their interior design, they utilized the local Centre Theatre.

Chung explained that they duplicated the design and constructed a theater within an Oklahoma City soundstage, which was previously a basketball arena. The stage featured moveable walls for hiding technical equipment like powerful off-camera fans required for simulating tornado damage. Later, part of the ceiling was added digitally in post-production, allowing the team to drop debris on actors while ensuring the rest of the destruction appeared authentic.

As a movie buff, I can tell you that production designer Patrick Sullivan went the extra mile to make the theater setting feel genuine. He obtained seats from a defunct Denver theater as authentic props. To add more charm, he constructed an intricately detailed Art Deco cinema palace, specifically for the scene where it would be destroyed in our film.

I was captivated by Patrick’s creation of an enchanting, retro-style movie theater. The conversation around its potential demise added to my fascination, as we repurposed pieces from shuttered theaters in our discussions.

Nailing the science

Chung wanted both an engaging narrative and accurate portrayal of tornados in his film. To achieve this, he brought on board meteorologist expert Kevin Kelleher, a consulting alumnus from the National Oceanic and Atmospheric Administration who had previously contributed to the original “Twister” production.

Chung requested Kevin to thoroughly examine and put our movie’s science through rigorous testing. Several aspects of our scientific narrative are based on discussions I had with him.

In the film “Twister,” the makers took some creative licenses, starting with the concept of a hypothetical technology. This technology is depicted as able to control tornados through the use of a unique chemical that absorbs the moisture fueling the storm. Kelleher remarks with a chuckle that this idea is more suitable for movies than reality, and he’s keeping his fingers crossed while awaiting meteorological experts’ opinions on the film.

He aimed to create a technically accurate film for himself, striving for scientific rigor. However, he acknowledges that currently, there’s no known research capable of controlling tornados. For now, such achievements remain elusive.

Tornados are given a ranking on the five-point Enhanced Fujita scale based on the extent of damage they cause instead of wind speed. EF-5 tornados are uncommon, accounting for approximately 1% of all tornados. The most recent recorded EF-5 tornado struck Moore, Oklahoma in 2013, leaving 24 fatalities and causing $2 billion in damages. In terms of destruction that an EF-5 tornado could inflict on a movie theater, according to Kelleher, the movie portrayal is realistic.

In my opinion, the portrayal of the aftermath of the wall collapsing felt authentic. Exposing us like that, with no protection, allowed the force of nature to take its toll. If that tornado had continued at full strength, it would have reduced the theater to mere bricks, leaving those inside with no chance for survival. I personally didn’t find that scenario far-fetched.

I’ve had the unfortunate experience of witnessing the destructive power of tornadoes firsthand. Let me tell you, they are no joke. Therefore, I strongly advise against attempting to drive into one, as some characters do in certain movies. Believe me, it’s not a safe maneuver. In fact, it’s practically impossible to navigate a truck through the swirling chaos of a tornado. They make it look easy on screen, but trust me, you can’t get in and out of those things at will. So heed my warning: don’t even think about trying it at home.

Breaking the fourth wall, literally

During a week-long shoot for the theater scene, both actors and extras faced demanding physical challenges. They dealt with intense wind machines, creating deafening noise, as well as flying debris and intricate stunt sequences. These included wire work and being lifted by the storm, affecting people and building components.

During an interview over Zoom from London, Powell described how various components come together to create that stunning magic trick: wind machines, ice blowers, smoke, and men tossing leaves and water in buckets. The experience is quite intense, with crew members pelting you with debris of all kinds. However, since tornadoes aren’t delicate and the characters are going through it, one should embrace the chaos as well.

Although the circumstances weren’t ideal for him, Ramos believed that employing real-life effects significantly enhanced the believability of the actors’ performances. “The wind and water battering us, the need to shout due to the actual noise,” Ramas explained, “provided us with valuable resources. Without those elements, it would have been more challenging to convincely simulate it.”

As the set continued to deteriorate daily during filming and an impending actors’ strike loomed, creating a strong sense of urgency, Brandon Perea, who portrays a storm chaser in “Nope,” felt the importance of getting every scene right.

“The roof is collapsing, the screen is coming undone, and we have a limited number of chances for things to unravel since they can’t be fixed once broken,” Perea explains. “It was an instance where I felt like I was living in a grand production, unwilling to miss a single scene.”

For the background actors, who were locals, huddling together to endure a tornado wasn’t an unfamiliar experience. Our assistant director inquired, “Has anyone gone through something like this before?” according to Chung. Surprisingly, almost everyone nodded in agreement. Quite remarkable!

Riding out Hollywood’s storm

In the face of significant changes in consumer behavior and business structures in the film industry due to streaming services, Chung intentionally placed the culmination of his film in a movie theater being destroyed by a tornado. His goal was to evoke the unique and cherished experience of watching a movie together on a large screen that cannot be replicated through digital streaming.

Chung expresses, “I’ve rarely pondered as much about the future of filmmaking as I have with this project. It was a heavy burden, considering the role our film plays in enticing audiences back to theaters. We’re not claiming to single-handedly revive cinemas, but I strongly believe that filmmakers who value the communal experience of cinema have an obligation to put forth their best efforts and demonstrate why it’s worthwhile to share these moments with a large group.”

When the storm struck, Chung found an extra layer of significance in the Centre’s chosen movie – the 1931 “Frankenstein” classic. Like “Twisters,” this film explores themes of human arrogance and the unforeseen consequences of our efforts to master nature.

“According to Chung, ‘Twisters’ goes beyond being a typical disaster film. We portray tornadoes as if they have distinct personalities, transforming them into monsters. The finale’s reference to ‘Frankenstein’ serves as an exciting addition to this concept.”

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2024-07-18 18:03