Netflix’s Next Big Documentary Spotlights Traumatized Victims of the Deadly Joplin Tornado

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If you’re a fan of the Twister universe or Stranger Things, there’s a new Netflix documentary that could catch your interest.

In March 19th, the new production from Raw TV titled “The Twister: Caught in the Storm” is set to be released. This company has previously created some of the streaming giant’s top-rated factual shows like “The Tinder Swindler” (2022)” and “Anna Nicole Smith: You Don’t Know Me” (2023)“.

Beginning March 19th, a new production called “The Twister: Caught in the Storm” will be available. This is from Raw TV, the company behind hit factual shows on the streaming platform like “The Tinder Swindler” (2022)” and “Anna Nicole Smith: You Don’t Know Me” (2023)“.

Alexandra Lacey, both a director and writer, is focusing her efforts on Joplin, Missouri these days. In May 2011, this small town in the Bible Belt was hit by an extremely destructive EF5 tornado, causing more than 150 fatalities and injuring over a thousand others. Homes, churches, a hospital, and even a high school were leveled to the ground, leaving behind nothing but debris and becoming the most expensive single tornado incident in U.S. history.

In “The Twister,” I found myself immersed in the stories of individuals ensnared within the heart of the tempest. Lacey and her crew interviewed these diverse survivors to relive their harrowing experiences. Among them were a resourceful couple seeking refuge in a freezer, a resilient 17-year-old from the local diner, an unfortunate dropout who was torn from his car and later contracted a flesh-eating fungus, and the once-popular football captain, now a dedicated paramedic.

Lacey shared with The Hollywood Reporter that it was a challenging endeavor to cast the characters and ensure we portrayed them appropriately while making them comfortable enough to share their stories. What particularly moved her was the long-term psychological effects on the people of Joplin, as whenever the wind picks up or sirens sound, it remains incredibly difficult for them.

In a video collection boasting more than 6,000 clips and assisted by a visual effects squad, Lacey guides an intensely personal investigation into the daily struggles of those affected by the tornado. She discusses with THR how she chose her contributors from a town of 50,000 individuals, the influence of PTSD and nature’s fury, and the most poignant interview she has ever conducted: “I believe these children were compelled to mature in a single day rather than over several years. Yet, I think each discovered their unique power that day – their strength, their resilience.

How far back does this story go for you?

Indeed, the topic captures my attention as it’s linked to a tale I encountered during my past profession. I used to work as a television art director and was responsible for designing homes on ABC’s Extreme Makeover: Home Edition. Coincidentally, the year I transitioned into documentary work coincided with the 2011 tornado that struck Joplin. Remarkably, my team from Extreme Makeover traveled to Joplin post-disaster to aid in rebuilding an entire street. This was not long after I relocated to London. Therefore, when I was approached about The Twister project, it felt like coming full circle. This all began around 2023.

This is your first feature-length film. Why did you want to focus on the Joplin tornado?

When tasked with narrating the tale of the catastrophic Joplin tornado, my initial sentiment was a desire to ensure it wasn’t portrayed like a typical natural history documentary – such films about this storm were already in existence. Instead, I aimed to create a film that featured distinctive characters, capable of revealing insights into human nature, hope, and resilience. This way, the focus wouldn’t solely be on the disaster and destruction, but also on the inspiring stories of survival and determination. We began our research to determine who would make up our unique cast of characters.

In a town with a population of 50,000, there are countless heartwrenching and impactful tales of survival and loss. My producer, Carla Grande, skillfully formed connections within the community’s core members, and I joined in establishing relationships as well. Given that the town had been devastated by a disaster, it was crucial to ensure they were aware that our approach would be compassionate and focused on more than just the events of that day, but also their recovery, rebuilding efforts, and any personal transformations experienced. As you might expect, news crews were swarming the town, eager to ask questions. So, it was essential for us to assure them that our focus would be sensitive and that we sought stories not only about what transpired on that fateful day but also about their subsequent journey towards healing. During our conversations with locals, we discovered that the tornado struck on high school graduation day, which seemed significant as many can empathize with the importance of graduation for young adults embarking on adulthood. Consequently, we chose to narrate a coming-of-age story through this natural disaster, focusing on how it impacted the Class of 2011 at Joplin High School, as well as other young people in the town.

So, there was a purposeful focus on the school.

Fortunately, everyone at Joplin High School was fully supportive. At the time, Kerry Sachetta, now their superintendent, along with Matthew Harding and Sarah Coyne, were instrumental in our efforts. They assisted us in locating yearbooks, identifying students, and gathering more insights about that experience from their unique viewpoints. Since the high school was devastated, as were many other nearby schools, they recognized the importance of telling the story from a youthful perspective. This approach seemed more relatable because it could resonate with anyone, even someone from London who has hopefully never experienced a tornado. As you watch or read about it, you might imagine yourself in the shoes of a teenager affected by such an event, pondering how it could have impacted you personally.

What struck me was how each character seemed to mature dramatically in just a single day, rather than gradually over many years. Yet, it felt as though they discovered their inner magic – their strength, their resilience – on that very same day. They were almost compelled to take on the roles of adults amidst the chaos. So, I’d say, despite the harshness of their ordeal, finding and embracing their maturity could be seen as a silver lining for them.

“I’m curious to learn more about those who weren’t graduating along with us that day. For instance, there were Steven, Chad, Kaylee, and Mac – I wonder what their stories are.”

At the given time, Cecil was 17 and attending his junior year in high school. Our protagonist from out of town is Chad, aged 13. Steven had been expelled from high school at 16 years old, while Mac and Kaylee were 19 and 20, making them recent graduates. When creating this documentary, I prefer to treat it like a movie in terms of storytelling and character development. While incorporating various film genres, we must maintain sensitivity as we’re dealing with real individuals rather than actors.

To make our narrative more engaging, we decided to create a coming-of-age film, but with characters typically found in disaster movies, but in their younger versions. We required storm chasers, weather specialists, and high school characters like the football captain Keegan, who was also the son of the town’s paramedic head – he would help to portray the blue light story and the recovery narrative. By choosing these supporting characters, we wanted Cecil, being a junior in high school, to stand out as unique. During his senior year, he had to attend high school within the mall because they’d lost their original building.

Was a feature-length film daunting for you or exciting?

Creating this film was an exhilarating experience! It was quite a challenge ensuring each character was portrayed authentically and made comfortable enough to share their unique stories. As I embarked on this project, I found myself eager to mold this documentary, aiming for it to resonate with fans of films like “Twisters” (2024), “Twister” (1996), or even “Stranger Things.” We aspire that it will captivate audiences who might not typically watch documentaries. Our hope is that they’ll walk away having learned something new, broadening their perspectives. Personally, I aim to create documentaries that appeal to a wider audience, offering them entertainment while also imparting valuable lessons. In this particular film, Cecil discusses growing up gay in the Bible Belt and his struggles with the belief that the rapture was near, fearing being left behind – an experience that is both enlightening and thought-provoking.

I found one of the most heart-wrenching scenes in this documentary to be where the community, so firmly rooted in faith, seemed to view the tornado as divine retribution.

Cecil shared with me stories about the books titled “Left Behind,” a series of Christian children’s literature that outline survival strategies in a post-apocalyptic world following the rapture. Having been raised on these frightening books, they deeply resonated with him. As he emerged from the storm during the interview and expressed feelings of abandonment, those memories flooded back – fearing he was truly left behind. This was one of the most emotional interviews I’ve ever conducted.

What’s the main lesson or message you’d like viewers to carry with them after watching this movie?

It’s crucial to bring attention to the fact that an alarming number of natural disasters, notably the recent tornadoes in Missouri and neighboring states, have occurred over the past few years. These events underscore the devastating effects of nature’s might on human lives, a point I believe needs emphasis now more than ever. I hope this film not only sheds light on this reality but also inspires viewers with stories of resilience and unity in the face of adversity. Ultimately, it’s my wish that they will take away the message that the strength of our community is vital, and we must stand together.

Did you stay in Joplin for the shoot?

Indeed, for approximately several months, I found myself residing in Joplin, making repeated trips into and out of the city throughout the year, about five or six times in total. Our residence was situated directly within the area where the tornado had touched down. Despite its size, Joplin maintains a cozy small-town ambiance. The people of the Midwest are genuinely warm and kindhearted.

Have there been moments when you or your team found things challenging? It makes me curious about your individual experiences given the lasting effects that were experienced.

The filming for our documentary took place in Joplin, yet we deliberately chose not to capture the visual aspects in Joplin itself. Instead, we filmed these elements in an entirely different state out of respect and sensitivity. However, when it came to our shoot in Joplin, we ensured that our team underwent PTSD training beforehand to support the contributors. What truly resonated with me was the enduring psychological toll on the people in Joplin. Whenever the wind picks up or sirens wail, it’s incredibly tough. The most frequent question I received was, “Why would anyone choose to stay in Tornado Alley after such an event?” However, what I discovered from the locals is twofold. Firstly, they are bound together by a shared trauma experience, as each one can empathize with the struggles of the others and the losses they’ve suffered. Secondly, I believe Joplin is more than just a tornado-prone area; it’s a unique place where multiple farming communities converge and unite.

Let’s discuss the visual aspects too. It seems like you are deeply immersed in that disorder. Can you explain how this effect was achieved?

In our exploration of the testimonies from our characters, we found ourselves right in the heart of the storm. We faced a conundrum: how could we represent these critical moments visually? Since there’s no archive from within the storm, we couldn’t rely on something like a ‘Twister’ or Hollywood-scale budget. Instead, we needed to think outside the box. Inspiration came from the Joplin citizens who described their experiences during the storm as feeling like slow motion. This led me to consider using super slow motion for our additional visual elements. I felt this approach would make them stand out distinctly from the archival footage without overshadowing it, creating a layered effect that would immerse the audience in the storm alongside the characters. We opted for a Phantom camera and shot at a high frame rate. The result is a serene scene as flour drifts upwards, debris swirls around – chaos in real-time, but when slowed down, it takes on an almost dreamlike quality.

As a dedicated fan, I can’t help but wonder about your process when selecting footage for your work. With such a vast collection spanning news reels and personal devices, could you share some insights into how you navigate the creative choices involved in deciding what pieces make the final cut and what gets left behind?

Since unearthing an untouched collection of Betamax tapes featuring Playboy model Anna Nicole Smith for our documentary “Anna Nicole Smith: You Don’t Know Me,” which was previously on Netflix, I have developed an unquenchable thirst for discovering hidden gems in archives, especially material that has never been seen before. From the very beginning, my producer and I were relentless in our pursuit of archives. Carla carried a drive with her wherever she went, hoping to find photos, films, or videos from people in Joplin. She approached news channels and searched through their back catalogs for any potential gems. We amassed approximately 6000 clips of archive material. This ranged from cell phone footage, home videos, news footage, and security camera footage. We were able to gain access to all the security camera footage from the high school building and surrounding schools, which provides a vivid illustration of the immense power of that wind as it swept through the area. Many of these clips are previously unseen, making this an especially thrilling venture, particularly the archive shared by Kaylee and Mac that takes us into the heart of the storm.

I’d like to take a moment to acknowledge my editor, Nic Zimmerman, and assistant editor, Sladana Tegeltija. With over 6000 clips at our disposal, it was truly amazing to witness their diligence in handpicking the most outstanding segments. Their organization skills were remarkable, making the process seamless. By the end of it, Nic seemed to have an exhaustive understanding of every clip we had. His vision is truly inspiring, and his editing style is not only creative but also deeply emotional.

You’re still so in the thick of this documentary. But what would you like to do next?

I am developing another Netflix feature right now… but I can’t speak about yet.

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2025-03-20 02:25