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A scene from the climax of "Twisters." "People really connected with the characters," Shropshire says. P H OT O : N E T F L I X movie house), Shropshire was tasked with meeting the adrenaline-filled expectations of the original "Twister," the hit movie about storm chasers released in 1996. This time around, "Twisters," directed by Lee Isaac Chung, centers on the love/ hate relationship between a brilliant mete- orologist (Daisy Edgar-Jones) and a brash, hotshot storm chaser in a pickup truck (Glenn Powell). The pair chase down several deadly tornadoes as their romance blooms. "Teri was one of my closest partners on the film; I couldn't have gotten through production without her," Chung told Cin- eMontage. "I had her involved from the very beginning, even during pre-production. She helped vet the script, letting me know what we'd need in the edit to tell our story. Our schedule was a spirited sixty days of pro- duction, with the second unit cranking on many of those days. I cannot overstate how much work Teri did to ingest and translate our footage into assemblies for an antsy director, all while keeping tabs on key shots we needed to film and dailies from the lab we needed to review. "Teri's editing room was our laboratory, and it was the safest room in Hollywood for me. Despite a rushed editing schedule due to visual effects turnovers, Teri would protect my time and make sure that I had the chance to creatively play with our mate- rial," Chung added. "Many days I would lose faith in what we filmed, but I'd show up the next day and find that Teri had stayed up and rescued very problematic scenes. Her brilliance surprised me, but I learned it should be no surprise; Teri is a master of her craft. Her crew has told me privately how much they love working with her. The culture of her editing room is wonderful—family-style meals, open doors, and lots of laughter. I feel I echo many of her team members by saying that working with Teri has been one of the biggest highlights of my career," Chung said. Shropshire, also known for her work on such films as "Eve's Bayou" and "The Woman King," sat down with CineMontage to discuss the challenges and triumphs of her editorial process and the collaborative spirit with her director and editorial team that brought "Twisters" to life. CineMontage: Teri, tell us how you got involved with "Twisters" and how you met director Lee Isaac Chung? Shropshire: I met Lee Isaac Chung—he goes by Isaac—at an event for the Motion Picture Academy's Gold Program, where we were both coming on board as mentors. As the evening progressed, the mentees gravitated towards each other to chat and take pictures, leaving us mentors standing around. Isaac and I started talking. He asked, "What are you up to these days?" I mentioned that I had worked on "The Woman King" the previous year and was just coming off that experience, taking a bit of time off. He said he saw the film and liked it a lot. I asked what he was working on and he said he was in pre-production on "Twisters." I said, "Twister Twister"? He laughed and said, "Yeah, but it's not a sequel; they're looking to reboot the film." I thought that was really cool. Then he said something that blew me away: "You know, it's interesting that I'm meeting you like this because my editor Harry Yoon, who cut 'Minari,' isn't available for this project—he's committed to something else. 41 W I N T E R Q 4 I S S U E F E A T U R E 'I couldn't have gotten through production without Teri.'