‘Twisters’ Director Lee Isaac Chung Talks Steven Spielberg’s Big Assist and How ‘Star Wars’ Helped Him Land the Job

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I’ve been through a rollercoaster of emotions in my filmmaking journey. At one point, I hit rock bottom and considered giving up on my dreams entirely. The weight of failure was heavy on my shoulders, and I struggled to find any sense of purpose or meaning in my work. I wrestled with the feeling that I was a complete failure as a professional, and I began to accept that this might be the end of my career.

Around early 2019, “Twisters” director Lee Isaac Chung was contemplating the possibility that his filmmaking career had reached its end. He’d acknowledged the signs a year prior and wrote a semi-autobiographical script called “Minari.” However, everything shifted in February 2019 when Plan B decided to produce this story about Chung’s childhood on their Arkansas farm. A24 came aboard as distributors a few months later, and in July of the same year, Chung – who was teaching in South Korea at the time – found himself on set in Tulsa, Oklahoma, reliving many memories from his boyhood through the film’s production. (Chung persistently convinced “Twisters” to shoot in Oklahoma as well, and the main character’s childhood home in “Minari” is owned by an extra.)

At the 2020 Sundance Film Festival, Minari made its debut and was met with critical acclaim, receiving both the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award. The film was released in theaters in December 2020 and went on to earn six Oscar nominations for Chung’s direction and original screenplay. In 2021, at the 93rd Academy Awards, Youn Yuh-jung won the award for best supporting actress for her performance in the film.

Following the remarkable achievement of “Minari,” Chung found himself with numerous opportunities for the first time in his career. Before joining “Twisters,” he intentionally took a detour to a distant galaxy and acquired skills in visual effects (VFX) during his stay.

“I’m deeply passionate about ‘Star Wars’ and a self-proclaimed geek when it comes to this universe, particularly ‘The Mandalorian.’ I had the opportunity to meet with Jon Favreau, the creator, and we discussed the film ‘Minari.’ He appreciated the movie, and during our conversation, I expressed my interest in writing an episode for the show. To my surprise, he agreed!” Chung shared with The Hollywood Reporter.

Following the completion of “Chapter 19: The Convert” in season three of “The Mandalorian,” Chung was chosen to direct another episode for Jon Watts and Christopher Ford’s “Skeleton Crew” Star Wars project. Impressed by his work, Kathleen Kennedy recommended him to her husband Frank Marshall, who was searching for a director for the upcoming Lucasfilm production – a long-awaited sequel to Jan de Bont’s 1996 film “Twister.” Chung shares, “[Kennedy] acted as my advocate with [Lucasfilm]. I was deeply moved by her support.”

Chung entered the office to present his unique version of “Twisters” to Marshall, EP Ashley Jay Sandberg from The Kennedy/Marshall Company, and Steven Spielberg. During his pitch, he skillfully combined clips from de Bont’s “Twister” with a pivotal scene from “Minari.” In this scene, the Yi family encounters their first tornado warning. This part of “Minari” may have resonated with Spielberg, as his film “The Fabelmans” includes a scene where his stand-in family pursues a tornado in New Jersey.

Spielberg and cinematographer Dan Mindel later played a role in helping Chung obtain permission to film “Twisters” using 35mm film, an uncommon choice in modern-day blockbuster production.

In my experience, shooting on film felt like a challenging endeavor, yet I sympathize with the studio’s perspective. They aim to minimize uncertainties during production, and film can sometimes seem an uncertain variable. However, I’m deeply passionate about film. It was only after collaborating with cinematographer Dan Mindel and having Steven Spielberg advocate for me that I gained the opportunity to continue working with this medium I cherish so much.

In a recent chat with THR, Chung shared his experience of creating a sequel to a franchise that doesn’t heavily rely on its past instalments. He reminisced about an incident on the set of “Twisters” when he got an early peek at David Corenswet’s portrayal of Superman/Clark Kent.

“Did the producers notice the tornado warning scene in ‘Minari’ and request a discussion as a result? Could this have been the origin of everything?”

In my presentation, I included a segment from “Twisters” along with clips from “Minari” to emphasize the connection between the two films. However, I’m not sure if the panel at Kennedy/Marshall fully grasped this relationship. What they were primarily interested in was finding a filmmaker who hails from that region and can accurately portray the sense of place. My past collaborations with Kathleen Kennedy on Lucasfilm projects provided valuable references for my qualifications, making a significant impact during the selection process.

She endorsed you to her partner, Frank Marshall, who produced Twisters.

Yeah, I was very touched by that. She was happy with what I had done for them. 

Did the two Star Wars projects serve as a trial run for you in this larger industry? Were they intended as a preparation or prelude to more significant opportunities?

I’ve had some unexpected twists and turns in my career path. When I accepted certain jobs in the past, people advised me to “take steps,” but in truth, I was pondering what I truly desired at that moment and if I could pursue it right away. I’m a self-proclaimed Star Wars aficionado and unapologetic nerd about that universe. The Mandalorian series struck a chord with me, capturing the essence of Star Wars in an enchanting manner. Eager to explore this opportunity, I arranged a meeting with Jon Favreau. We discussed my film, Minari, which he appreciated. Towards the end of our conversation, I dared to ask, “Would you consider letting me write an episode for you?” To my astonishment, he agreed! I double-checked with my agent to ensure it wasn’t a misunderstanding. The experience left me in awe and solidified my belief that following your passions can lead to remarkable opportunities.

Instead of serving as just a decent starting point, creating a valuable experience for Twisters, this project proved to be an exceptional learning experience in the realm of visual effects (VFX) and constructing a narrative through well-planned set pieces and action sequences. This approach went beyond the conventional understanding of a script based on a three-act structure. The entire process proved to be an invaluable education.

I recently chatted with Michael Sarnoski, who transitioned from making “Pig” to directing “A Quiet Place: Day One.” During our conversation, he shared that he felt a tad uneasy about jumping from an independent project to a franchise film. While the move from indie to major studio has long been a trend, the current recruitment of independent filmmakers for franchises is more common due to the popularity of pre-branded entertainment. Did you experience any hesitation in making this transition?

In essence, I’m puzzled as to why people keep asking me about it, yet I find the question intriguing, despite its challenging nature. I can’t decipher if they expect me to guard a particular aspect of myself or if they believe I should remain consistent with my previous work. Rest assured, I hold Michael in high regard. I was deeply impressed by “Pig,” but haven’t seen his latest production. I don’t adhere strictly to the auteur theory and take it lightly. Consequently, working on a large-scale studio project doesn’t faze me. Quite the contrary, it feels like an achievement to tackle such a significant assignment. The success of these projects is crucial for our industry, as many jobs depend on their prosperity and preserving the cinematic experience for audiences. Therefore, I view this responsibility as a privilege and an exhilarating shift in my perspective.

As a filmmaker with several projects under my belt, I can relate to the situation you find yourself in. Having the same production date as a highly acclaimed film, like Oppenheimer, can be both an opportunity and a challenge. The fact that it was shot on film adds another layer of complexity.

For me, asking to shoot on film didn’t have the same easygoing feel. Instead, it seemed like a struggle. I get why they were hesitant; reducing risks in production is important to them, and film can sometimes introduce uncertainties. Yet, despite their perspective, I hold a deep affection for film. Having shot my first two features on film during film school, it’s an essential part of my filmmaking journey. With Dan Mindel as my DP and Steven Spielberg advocating for me, I was granted the opportunity to continue working with film. Therefore, their support played a significant role in my ability to carry on with this medium that I cherish.

It’s uncommon to find films being shot on film these days, making it an appealing feature for movie promotions. Does this make you feel disappointed as well?

I’m disappointed about that. It’s a matter of personal preference, but I find movies filmed on film more captivating when it comes to their visuals. In the realm of cinema, nothing beats the experience of watching a film on a large screen for me. The way film brings colors, settings, and faces to life is truly something I cherish. Therefore, yes, I do feel sad about this.

It was refreshing to see a new take on things in this sequel, unlike many legacy films that rehash familiar themes. While there were elements reminiscent of Dorothy’s return, the “I’m not back” line, Bombers t-shirt, and movie theater scene, your production didn’t feel overly reliant on past successes. Was this deliberate choice a significant draw for audiences?

Certainly!

Yeah, there’s some really subtle stuff. Even something like James Paxton’s cameo won’t register for most people until they read about it after the fact. So you walked that fine line very well for this type of film.

We value those things as they blended seamlessly into our project without drawing extra attention, yet they held significant importance for us during the process.

I can only imagine the pressure of collaborating with industry veterans like Frank Marshall and Steven Spielberg. Their impressive resumes are enough to intimidate even the most seasoned professionals. Yet, they seemed to have found a way to make me feel at ease during our working sessions. Perhaps they recognized my potential or maybe they had faith in my abilities. Either way, their welcoming demeanor allowed me to focus on contributing my best to the project without being overwhelmed by their esteemed presence.

Right from the get-go, Frank and Steven treated me with equal respect and camaraderie, just like we were all fellow filmmakers. Although Frank is a director and Steven is a legendary one, their demeanor towards me shifted during our conversations. They regarded me as a collaborative storyteller, which was an instant confidence boost for me. This made me feel at ease while brainstorming and planning. They emphasized that their role as producers on this project was to support me in my directorial endeavors and bring my film’s vision to life. Consequently, I view them as directors’ producers when they produce movies.

David Corenswet plays, quite literally, a stick-in-the-mud character. 

(Laughs.) Yeah.

As a longtime fan of Cary Elwes’ acting abilities, I must admit that I’m truly intrigued by the contrasting roles he is set to portray. In this current project, his character seems reminiscent of Dr. Jonas Miller from “Ghost.” However, his upcoming role as Superman promises to be a complete transformation.

While we were shooting, he held tryouts for Superman and David had this unique ability to embody a character’s essence even when the cameras weren’t rolling. He didn’t completely immerse himself like a method actor, but there was a hint of Superman in his demeanor. Upon his return from LA auditions, I noticed a change – Clark Kent’s gentle smile and conversational tone were now those of Superman. This subtle transformation made me suspect he had landed the role. When I saw him as Superman earlier, something clicked within me, confirming my hunch that he was the ideal candidate for the part.

During the scene where Tony (Anthony Ramas) drove off in the truck, leaving a mud bath in his wake, David’s temper flared in one take. He spun around to face the camera with fury, tearing off his shirt in the process. It was quite amusing when I witnessed this backstage. For us, it represented pure anger as Scott, but looking back, it seemed like a hint of Superman’s future actions. So, David skillfully blended both characters for us.

Reflecting on my own journey in filmmaking, I remember a pivotal moment not so long ago when I was on the brink of giving up on my dreams and abandoning the industry altogether. The pressure to succeed and the constant setbacks had taken a toll on me. But just as I was about to throw in the towel, I received an offer that would change everything – the opportunity to direct “Twisters.”

I can relate to the speaker’s feeling of being in an impossible situation and struggling with the idea of giving advice. My own experiences have taught me that sometimes, despite our best efforts, things don’t go as planned. I remember a time when I felt like my career had come to a dead end and that quitting was the only option. It was a dark moment for me, filled with self-doubt and feelings of failure.

Through my experiences, I’ve discovered that overcoming failures and finding inner peace have significantly boosted my resilience during my projects. This process was challenging yet rewarding, providing me with the necessary anchor to navigate through difficulties. My advice is to seek this anchor for yourself. It has become invaluable to me as I continue to work, allowing me to put problems into perspective and ensure that my team members have a positive experience. Ultimately, the importance of finding this inner peace goes beyond just achieving success in making a movie.

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Twisters opens in movie theaters on July 19.

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2024-07-17 20:27