Issue link: https://digital.copcomm.com/i/1526889
1 8 P E R S P E C T I V E | S E P T E M B E R / O C T O B E R 2 0 2 4 Patrick Sullivan: While creating my pitch deck, I knew that I wanted to design the film with a palette of a rustic, worn-in, comfortable Oklahoma Americana and a reverence for the first Twister 1997 film. There was a need for the film to resonate with the younger generation, likely the children of the original Twister fans. Knowing that going in, it was really about nostalgia. It was about the culture of storm chasing, the advancements in technology since 1997, about making it worthwhile to come back and see how science has evolved and how we're chasing tornadoes today. I also wanted to really hit home the emotional cost and human factor. To acknowledge it, take the time to be quiet in the film, and to see the impact on the lives of people in the Midwest who live with this threat every day during summer. As the film opens, viewers are introduced to Kate, she's out on that amazing bluff and viewers gather that she's an expert at reading storms, with an ability like Bill's in the 1997 film. How can she just open her hand, releasing dandelion seeds into the wind, as Bill did with a handful of roadside dirt, and S h o o t i n g t h e B r e e z e o n T W I S T E R S B Y PAT R I C K S U L L I VA N , P R O D U C T I O N D E S I G N E R , A N D O A N A B M I L L E R , S U P E R V I S I N G A R T D I R E C T O R Patrick Sullivan, Production Designer, and Oana B Miller, Supervising Art Director, chat about the making of Twisters. A. MAC-N-CHEESE HOUSE. BUILT ON LOCATION IN CHICKASHA, OK, IN AN EMPTY LOT. SET PHOTO. A