Why We All Have a Stake in Twisters’ Success

As a film critic with a deep appreciation for indie cinema and a soft spot for movies that capture the raw power of nature, I was both intrigued and skeptical when I heard that Lee Isaac Chung, the brilliant mind behind the Sundance favorite “Minari,” was taking on the challenge of directing a blockbuster like “Twisters.” Having grown up in a small farming community in rural Arkansas, much like the setting of Chung’s earlier work, I couldn’t help but be curious about how his unique perspective would translate to a larger-scale production.

Film producers don’t work in isolation when creating movies. Even those with minimal budgets aim for their creations to reach audiences. Movies serve as a means of expression, connection, and discovering shared experiences or bridging gaps amidst differences. Consequently, filmmakers who garner significant attention with low-budget films usually aspire to broaden their scope by working on larger projects, featuring greater financial resources and prominent actors, in an endeavor to engage and resonate with a wider audience.

One surprise indie sensation from 2020 was the semi-autobiographical drama “Minari” by Lee Isaac Chung. This heartfelt film tells the story of a Korean-American family attempting to start a farm in rural Arkansas. The moving portrayal earned six Academy Award nominations, with grandma Youn Yuh-jung’s performance as a swearing, card-playing Korean grandmother winning for Best Supporting Actress. Chung’s success led him to an exciting new project: this summer will see the launch of “Twisters,” his modern take on Jan de Bont’s 1996 thriller “Twister” about nature run amok in Oklahoma. In “Twisters,” Daisy Edgar-Jones and Glen Powell portray rival storm chasers racing through Tornado Alley, but despite their contrasting roles—one as a dedicated researcher and the other a YouTube sensation—they share more similarities than they realize.

The film “Twisters” had a production budget of $200 million, while “Minari” only cost $2 million. This means that Chung is the latest director to move from indie success to attempting a blockbuster. However, this transition raises questions for moviegoers. Do we view filmmakers as artists who are selling out by aiming for wider audiences and larger profits? Or are they simply taking a bold step forward? With the future of cinema on the big screen uncertain, is such an endeavor a sign of hope or just a futile attempt?

Individuals who frequently engage with independent films often deeply value indie filmmakers. Uninfluenced by the pressures of major studios, they are typically the ones pushing boundaries and creating intriguing content. It’s disheartening when a filmmaker seems to compromise their artistic integrity. All of a sudden, we feel betrayed as if they have switched allegiance, leaving us behind. As consumers, we all get swayed by financial incentives to some extent. However, we hold creative individuals to higher standards and expect them to remain true to their artistic vision.

In the film industry, having a diverse cast can be a potential obstacle, particularly if the goal is to create more intelligent and advanced mainstream movies. For instance, consider Rian Johnson, whose debut film “Brick” in 2005 gained enough recognition to pave the way for larger-scale productions. His career reached new heights when he was given the opportunity to direct a “Star Wars” film with the release of “Star Wars: Episode VII—The Last Jedi” in 2017. However, die-hard fans of the franchise expressed their disapproval. They criticized Johnson for deviating from the established storyline and characters, but their complaints went further. They accused the movie of being “woke,” a term that has become increasingly controversial and ominous. As Emily St. James pointed out in her 2017 Vox article analyzing fan reactions, the film featured a diverse group of young heroes: a white woman, a black man, an Asian woman, and a Latino man. In contrast, the villains were two white men. This didn’t sit well with fans who had long dominated the franchise.

Despite bringing in decent box office revenues for “The Last Jedi,” this Star Wars installment is often criticized by fans as a disappointment. However, I strongly believe that this film is truly remarkable. It’s full of heart and humor, making it an emotionally rich addition to the franchise. Rian Johnson’s unique style brilliantly complements the foundation established by George Lucas decades ago. As movie enthusiasts, we should encourage such thoughtful interpretations when talented directors take on beloved franchises.

Modern big-budget filmmaking isn’t for the weak-hearted. Chloé Zhao, with her austere and low-budget approach, won three Oscars in 2021 for “Nomadland,” including Best Picture and Best Director. Frances McDormand also took home the award for Best Actress. However, by then, Zhao’s next project, “Eternals” for Marvel, was already underway. With a heavy reliance on green-screen special effects and an impressive cast that included Gemma Chan, Angelina Jolie, and Salma Hayek, expectations were high. But when it was finally released in November 2021, neither critics nor Marvel fans were impressed. In a 2022 interview with Empire magazine, Zhao suggested that the pandemic had left audiences wanting something other than a film about existential crisis for both humanity and God. While this may sound like an understatement, Zhao was onto something. Her passion for thought-provoking ideas and her intimate filmmaking style were at odds with Marvel’s production methods, though that’s a challenge Marvel must face, not Zhao. Independent filmmakers who broaden their horizons often learn valuable lessons about the types of films they don’t want to make.

As a cinema enthusiast, I’d put it this way: Indie filmmakers without an Oscar under their belt can use a big-budget production as a ticket to broader recognition. For instance, Colin Trevorrow kicked off his career with the delightful 2012 sci-fi comedy “Safety Not Guaranteed.” However, it was his subsequent work on “Jurassic World” that catapulted him into fame. Some filmmakers climb the ladder of success by creating progressively more complex films over the years. In the early 2000s, Greta Gerwig was a regular collaborator with indie auteur Joe Swanberg. She then transitioned from mumblecore to directing the blockbuster “Barbie,” sandwiched between the critically acclaimed “Lady Bird” and “Little Women.”

Does a skillful director like Chung, who is known for his delicate touch, manage to apply his unique perspective to larger productions with substantial expectations? It benefits studios, such as Universal in the case of “Twisters,” to hire filmmakers like Chung to helm major films. His involvement adds prestige to a production that might otherwise be perceived as an ordinary blockbuster. While some viewers may find “Twisters” an enjoyable summer entertainment, others may hold higher expectations.

I believe there are exceptional individuals among us, just like Edgar-Jones’ character, Kate, and Helen Hunt’s Jo from the original story. Both women are born and raised in Oklahoma with a relentless dream of minimizing tornadoes’ destructive power and saving lives. In my perspective, I see myself cheering them on in their quest.

Chung has a deep commitment to filmmaking, particularly in creating intense weather scenes. However, his characters’ preoccupation with chasing wild storms isn’t sufficient for him; they also need to show profound concern for the destruction these weather events cause. The movie “Twisters” presents an endearing narrative, allowing viewers to enjoy the typical disaster-movie thrills of witnessing people and objects being violently hurled into the air and vanishing. Chung struggles to harmoniously blend these contrasting aspects.

There’s no denying his deep connection to the film’s location. The making of “Minari” was inspired by Chung’s childhood: his family, originally from Korea, relocated from Atlanta to a secluded farm in rural Arkansas when he was young. Although “Minari” was filmed in Oklahoma, similar to “Twisters,” the setting holds immense familiarity and comfort for Chung. The landscape, enhanced with digital tornadoes, remains raw and alive, presenting a vast, rustic terrain of red-dirt roads and skies adorned with somberly beautiful gray clouds.

As someone who cherishes the experience of watching movies in theaters, I acknowledge the significance of Twisters’ success from an economic perspective. With expected earnings ranging from $50 million to $55 million upon its North American release this weekend, the film industry’s prosperity is intertwined with our enjoyment of the cinematic art. Even if you harbor resentment towards the industry at times, it’s essential for those who value movies on the big screen to recognize our shared investment in its longevity.

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2024-07-17 19:08