As They Re-created Storms, ‘Twisters’ Crew Faced a Real One

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In his role as a digital effects artist, Snow yearned for the opportunity to replicate the destructive tornadoes shown in the 1996 movie “Twister.

Snow stated to The Hollywood Reporter that the tool set was developing so rapidly during that period that he wished we had a chance to redo it, as technology advanced at such a rapid pace.

Approximately three decades after the initial release, Snow stepped into his role as visual effects supervisor for this year’s solo sequel, Twisters, featuring Daisy Edgar-Jones and Glen Powell. Unlike previous times, the obstacle wasn’t technical constraints but rather meeting the expectations of discerning viewers. “After all,” Snow explains about the special effects, “the audience today is far more visually sophisticated when it comes to understanding what tornadoes look like compared to when they saw the original film. That was a challenge we were determined to meet.

In the production of the movie, ten tornadoes were ultimately generated, though six were officially created, with the final, fire-igniting storm being so intricate that it needed to be divided into multiple stages. Director Lee Isaac Chung demanded a grounded and unique feel for each tornado within the film’s intense action sequence. The visual effects team collaborated with meteorologists to ensure their simulation tools were both scientifically sound and capable of handling various storm types, from wide wedge tornadoes to narrow cones. Using Houdini, computational fluid dynamics software, and a custom tool from Industrial Light & Magic, the VFX team replicated airflow, temperature changes, buoyancy, gravity, moisture density, vapor dissipation, and other factors influencing a storm’s visual appearance.

The VFX team conducted field research as well, by dispatching a group of storm chasers equipped with movie cameras to capture storms in action. Remarkably, they managed to film a few tornadoes. Regrettably, none of these made it into the final cut, but some stormy skies were utilized in the production. According to Snow, this was beneficial for our visual effects team as they could examine intricate details with high-quality, high-resolution footage – far superior to what you’d find on YouTube. This enabled us to create incredibly realistic tornadoes, which was our main objective.

As a gamer narrating my experience during the filming of this project in Oklahoma, the heartland of Tornado Alley, I’d say it was a double-edged sword. The frequent storms, be they tornados or hailstorms, often forced us to halt production. In an uncanny twist, we were shooting a scene at a farmers market near the film’s conclusion when a massive storm rolled in and flattened our set. Here’s where things got interesting: we were planning to destroy that same set for the movie, so we found ourselves rebuilding the set that the hailstorm had leveled, only to demolish it once again!

Instead of saying “On the other hand,” we could rephrase this sentence as “However, the location provided some significant practical benefits.” This maintains the original meaning and flows smoothly in natural, easy-to-read language. The rest of the paragraph remains unchanged to emphasize the author’s explanation of the positive aspects of the location for filming.

Just as the weather’s unpredictability makes it challenging to forecast accurately, even the most precise calculations about a storm can’t guarantee absolute accuracy. As Snow explains, there’s an element of luck involved because you’re essentially using math to model complex phenomena. This uncertainty adds a touch of mystery, like discovering a hidden gem, when working with these tools. In a similar vein, we experience unexpected successes in filming live action, where serendipity plays a role.

As a devoted fan, I can’t help but feel that the emotional depth and nuance brought by human actors in franchises such as ours can’t be replicated by AI, no matter how sophisticated it becomes. Even with rapid technological advancements, I don’t envision a world where artificial intelligence replaces the tender touch of human involvement in storytelling like this one.

Snow expresses that while technology may evolve between the original film and the current one, a key element that remains constant is the need for artistic direction. He emphasizes that technology should always support the story, and it’s the artistry – what makes things appear real, beautiful, and engaging to viewers – that will continue to be essential, even 30 years from now. If this focus on artistry were to fade, he wonders if there would still be a reason to watch the movie.

Originally published as a solo issue in The Hollywood Reporter’s January edition, this narrative can be yours by subscribing to their magazine. Click here for subscription details.

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2025-01-12 21:55