‘They Really Fell From the Sky’: Jan de Bont Defends Twister’s Practical Effects

As a filmmaker with a deep passion for authenticity and pushing boundaries, I can truly appreciate the unforgettable experiences of Janusz Kaminski. His dedication to integrating actors into their own dangerous stunts and action sequences revolutionized cinema, especially in iconic movies like “Die Hard.” The connection between the foreground and background created an energy that made audiences feel like they were right there in the moment.

I’m really excited about the upcoming release of the new movie “Twisters,” which brings back fond memories for me. You see, I grew up in a town where tornadoes were a common occurrence during storm season. I can still remember the feeling of fear and anticipation that would grip our community whenever a tornado warning was issued.

During the summer of 2020, while hosting Vulture’s Friday Night Movie Club screening and live-tweeting of the 1996 blockbuster “Twister,” we considered contacting Jan de Bont, the film’s director. De Bont played a significant role in the American action cinema revival during the late 1980s and 1990s. He not only directed “Twister” and his debut film “Speed,” featuring the budding stars Keanu Reeves and Sandra Bullock, but also served as cinematographer for films like “Die Hard” and “The Hunt for Red October.” In an interview with Helen Hunt for Vulture, she shared tales of the chaotic production of “Twister,” with de Bont’s commitment to employing authentic effects for several storm sequences and his insistence on intermingling dialogue and action scenes, which usually meant that such scenes could not be carried out by stunt doubles. We had an engaging conversation about these topics and more.

Twister seems to be one of the rare films from the 1990s where the effects still hold up, for the most part.
We weren’t sure at the time if we could even make the movie, because of the difficulty of the effects. And it took a long time — the hardware and the software had to be designed for the movie. It was like two steps forward and one step backward, but it was exciting. One of the scenes we did as a test, to see if we could make it believable, was the opening with the farm and the family going into the shelter. Another test we did was a shot from the inside of a car, because there would be so many images [like that] — seeing something come at you from the storm and hit the windshield, all while you’re moving forward in a real car. It looked so real. It was such a great effect — something coming right toward the camera, and it really hits the windshield. The studio people were totally stunned at how effective it was. That ultimately decided whether the movie was made. Nothing else. Not the script.

As someone who has spent years studying and experiencing the thrill of storm chasing, I can attest to the importance of having dialogue that matches the intensity and excitement of the action. When I worked on the script for “Twister,” I was amazed to learn that it was inspired by “His Girl Friday.” While the basic structure of a couple trying to get back together and their constant bickering was present, Michael Crichton and his wife Anne-Marie Martin knew they needed more.

The film’s numerous establishing and expository scenes are a turnoff for me, making it less engaging right from the start. I expressed my disapproval, stating, “No, that will ruin the movie. Not every detail needs to be explained.” It frustrates me that the studio and producers insisted on this approach, which was their custom. In retrospect, I regret not being able to remove more of the exposition. However, just as we don’t need to understand the intricacies of fighter pilots’ rocket systems while watching them engage in combat, the workings of the movie’s background details can often be irrelevant to our enjoyment.

What were the other challenges of the screenwriting process? Weren’t there lots of different writers that came on?
We had good writers, but all the versions I read were like versions of older action movies. Because that’s what they knew. They didn’t understand that the idea of this movie was that action events are taking place in the background of dialogue scenes. It wasn’t like you have a dialogue and then there’s some action. It’s not sit-down dialogue scenes. So really, the pacing was always off, and also, the [storm chasers] didn’t feel real. I met those guys. These guys do this at the University of Oklahoma, and they’re like grad students. They look very much like the group we ultimately assembled in the cast. That’s how they talked. A lot of that we had to improvise on the set.

During action sequences in a film, the dialogue and character interactions present an additional difficulty for actors since they must perform while executing physical actions. In my film “Speed,” I aimed to have the actors carry out their own stunts, although not all are capable or willing. For instance, there’s a scene towards the end where Helen and Bill [Paxton] are in a car during a hailstorm. It is important to note that this hailstorm was genuine: We utilized two massive trucks with powerful wind machines that released ice cubes at the actors. Consequently, it is real hail, and it can cause harm if you’re in a moving vehicle. I informed Bill, “Listen, those machines don’t spit out hail of uniform size. Some pieces are larger.” Naturally, some pieces were bigger, and they hit him on the head. He was meant to duck more frequently, but he didn’t.

As a fan, I’d describe it this way: Driving through the cornfield later on, the trucks I’m in are low and slow. The corn towers over us at seven feet tall, and authenticity is key for us. So, when jumping out of the car, I want to capture the actors’ genuine reactions. No stunt doubles allowed – their presence would break the immersion.

As a film enthusiast, I can tell you firsthand about the breathtaking, authentic performances we witnessed on set. It wasn’t just in specific scenes, but even during the chaotic windstorms. We had two massive jet engines mounted on large trucks, running at full capacity while debris was hurled towards the actors. Of course, we used soft debris for safety reasons. However, feeling and seeing that debris being blasted by those powerful winds from the jet engines was a force to be reckoned with. Consequently, there was no need for acting. The elements themselves elicited genuine reactions from us. We merely responded to the raw power of the wind, making every moment feel real and unscripted.

During their car ride, combines would actually rain down from the sky instead of being digitally created. We’d securely drop these combines from helicopters above the road as the vehicle passed below, resulting in genuine surprise and fear from the actors due to the authenticity of the experience. The combines weren’t just dropping a few feet; they plummeted to the left and right, necessitating evasive maneuvers from the driver. While it appeared perilous on the ground, the procedure was always safe in reality. By using longer lenses, we could make the distance between the car and the falling combines appear even closer, enhancing the sense of immediacy and thrill for the audience. The combines would typically be about 20 to 30 feet away from the vehicle, which may seem quite close but is simply awe-inspiring to witness in person.

https://youtube.com/watch?v=watch?v=KKbpI1CeCOY

I remember when I first thought of Keanu Reeves as an action hero, it brought me back to the thrilling days of Speed. He wasn’t always on board with stunts or action scenes, in fact, he was terrified of them. He saw himself more as a dramatic actor, aspiring for roles in theater. Convincing him to do what I wanted was no easy feat.

The essence of that film, you know, lies in its authenticity. Every detail in “Speed” is genuine. I specifically selected actors for the bus scenes who had ridden Los Angeles buses and could relate to the experience. They didn’t grow tired of it; instead, they engaged in conversations and observed their surroundings. These actors brought a unique charm to the production that cannot be replicated with professional extras.

In this scenario, Sandra takes the wheel and truly controls the bus as events unfold around her. She’s in charge of steering, pressing the gas pedal, and applying the brakes. Although there’s a safety stunt driver on top of the bus ready to intervene if needed, Sandra remains unaware of his presence. She’s fully immersed in her driving experience.

In your experience, you’ve collaborated with several actors who subsequently achieved great success. Can you share what it was like working with Philip Seymour Hoffman on “Twister”? Did you intuitively sense that he would rise to such acclaimed heights?

During the 90s, action films reached their peak and truly shined – it all began towards the end of the 80s with groundbreaking movies like Die Hard. Films such as Speed and Twister significantly contributed to this era of action cinema renaissance. For me, that was an exceptional period in filmmaking. We were eager to breathe new life into traditional action films, and we managed to infuse them with a level of intensity never experienced before.

I’ve heard so much about cinematic authenticity, but let me share my personal experience with Roar, that wild 1981 film shot with real lions, infamous for being the most perilous production in movie history. I was the cinematographer on set, and yes, I got attacked by a lion.

During this filming session on a lake, both Tippi Hedren and her daughter, Melanie Griffith, were pursued by a pack of lions in a small boat. I was stationed near one of the cameras, positioned in a hole for a panning shot towards the women in the boat. As they screamed in terror, a lion discovered me and reached into the hole, brutally scalping my head. My vision was obstructed by hanging skin and uncontrollable bleeding. I recalled being instructed to make myself as large and loud as possible, so I stood up, unsure of the lion’s whereabouts, turning around frantically. Unfortunately, my assistant passed out next to me, while trainers focused their attention on the action in the boat. Tippi’s screams were mistaken for part of the scene, causing a delay before help arrived with fire extinguishers to scare off the lions. I required hospitalization for an extended period due to infection risks from my injuries.

After that incident, I found myself unable to stop working due to the disturbing nightmares I continued to experience. In these dreams, I was haunted by the terrifying image of a lion’s teeth gnawing on my skull, creating an unbearable scratching sound that echoed in my ears. The sensation was so vivid and persistent that it felt like stereophonic sound, with the teeth assaulting both sides of my head. I woke up night after night, tormented by these terrifying images. My doctor suggested that I visit the place again to confront my fears, which is why I eventually returned for a brief period.

2024-07-22 18:49

‘They Really Fell From the Sky’: Jan de Bont Defends Twister’s Practical Effects

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