Ironically enough, I drove past a tornado when I was in my youth growing up in Michigan.

Oh, you did?

So I know how tornadoes can come and confront you suddenly, just like that. One of the things that struck me so much about the film is the way that you portray the power of nature. In fact, one of my favorite shots is when Kate sees that waft of air go through the wheat field. So I was wondering if you could talk about how you decided to depict nature as a force in this movie. How did you get that shot?

I was constantly just looking for ways to show not just the tornadoes, but the effects of the tornadoes and storms. And often those are rendered within the details in the space in an environment. That particular shot was a wheat field, an actual wheat field that we used, but we couldn’t get the wind to actually do that. So that is actually CGI that’s helping us with that visual play of the wheat. But there are some other shots where we really had a helicopter go through different wheat fields and we were using some of that as the effects of the way that the wind works.

That moment where inside of her mind she’s seeing a tornado, a cloud that’s forming, and we go through a wheat field and we go up to the sky, for instance — that was stuff that we were getting with our aerial shots and footage.

So yeah, on the side of this movie, a side project within it, was almost like a documentary of just trying to capture weather events and nature and the beauty of nature. We even had this actual storm chaser, Sean Casey, who was going out and filming supercells and storms, hail, things like that for us. So it was a fun process of working. Very few films I feel offer that kind of opportunity to work and nerd out and geek out about something natural.

Yeah. And it’s our world, so it’s just so beautiful to see.

Exactly.