Producer Ashley Jay Sandberg on Reviving The 90s Disaster Movie “Twisters”

Ashley J. Sandberg, producer and executive producer of the summer blockbuster Twisters, didn’t start out with dreams of Hollywood. Growing up in Baltimore, Maryland, she was captivated by blockbusters like The Wizard of Oz, The Goonies, Raiders of the Lost Ark, and Back to the Future. 

These coming-of-age stories opened up worlds far beyond her corner of Baltimore, setting her on a path that would eventually lead her to produce one of 2024’s most anticipated disaster films. Her journey to Hollywood wasn’t direct. “I thought I was going to be a news broadcast and film studies major,” she recalls. 

Sandberg’s passion for film led her to Pepperdine University in California. “I convinced my parents that Pepperdine was, you know, not that far away in California,” she laughs. “Somehow they finally agreed to let me come out here. My first time I’d ever been to Southern California was my first day of school and university.”

As she progressed through her studies, Sandberg found herself increasingly drawn to her film classes. By the time she graduated, she knew she wanted to pursue a career in the film industry, even if she wasn’t entirely sure what that would look like.

“For the early part of my twenties, I was waiting tables, working on sets, and learning everything that I could about the business,” Sandberg says. This hands-on experience gave her a solid foundation in physical production, but she soon realized her true interest lay in development.

Ashley Jay Sandberg

“I looked at different companies that maybe made the films that I was really excited about. For me, that was the films that both Frank Marshall and Kathy Kennedy were making.”

The Kennedy/Marshall Years

Sandberg’s big break came when she landed an entry-level job at Kennedy/Marshall, the production company of Frank Marshall and Kathleen Kennedy (Raiders of the Lost Ark, The Curious Case of Benjamin Button). “They told me it was a one year commitment, no growth,” she remembers. “Twelve years later, I was still at the company and overseeing their production and development.”

This experience proved invaluable, allowing Sandberg to work alongside some of the industry’s most respected producers. “I often tell people to follow what you’re curious about because you don’t know where that’s going to lead,” she advises. During her time at Kennedy/Marshall, Sandberg learned the importance of problem-solving, fixing problems, and efficiency. 

Sandberg’s role at Kennedy/Marshall evolved over time. “I just was reading everything I could while I was there and then offered some thoughts and notes,” she says. “Through time, my role progressed into what I ended up doing before I went on to produce Twisters.”

Eventually, Sandberg’s journey to producing Twisters began when screenwriters Mark L. Smith and Joseph Kaczynski approached Kennedy/Marshall with an idea for a modern-day take on the 1996 film. 

Collaborating on Twisters

“We approached Steven Spielberg and he said, ‘Let’s hear what you have to say about it.’” Once the script was written, one of Sandberg’s key priorities was ensuring scientific accuracy. “The biggest thing for us was getting the science right and to have it feel that it’s based in science theory and not science fiction,” she explains. To achieve this, they brought in consultant Kevin Kelleher to work closely with the writers.

“Kevin Kelleher told me a story about Kathy Kennedy, who produced the first Twister,” Sandberg recalls. “At the time, there wasn’t a lot of funding going into weather research. He asked her not to show it really fancy, but to show it as it really is so people know. After the film came out, University Of Oklahoma became the number one meteorology school in the nation.”

When it came time to choose a director for Twisters, Sandberg knew they needed someone who could bring both heart and authenticity to the project because Twisters couldn’t only rely on big spectacle. Her choice? Lee Isaac Chung, the acclaimed director of Minari.

“Isaac’s from Arkansas. If you’ve watched Minari, there are scenes where they discuss a tornado incident with his family. And there’s so much heart in it.”

Daisy Edgar-Jones, Glen Powell & Lee Isaac Chung. Photo by Melinda Sue Gordon/ Universal Pictures, Warner Bros. Pictures & Amblin Entertainment

Sandberg’s decision to bring Chung on board demonstrates her commitment to blending spectacle with genuine emotion. “If you go back and think of disaster films or any big scale film, those are the ones you continue to watch again and again and again,” she says. “The reason you go back to watch these films is because you care about what’s happening to these characters. You find yourself in them.”

Advice for Aspiring Filmmakers

For those looking to break into the industry, Ashley Jay Sandberg emphasizes the importance of persistence and flexibility. “There is no one path to get you to your end goal,” she says. “Everyone’s path is so different.”

She also stresses the value of creating tangible work. “If you can go and make something or write it – go do it,” she advises. “One, it’s good for you. And two, it’s really great to have a calling card or a sample to show people. I really want to champion as much as I can, new filmmaker, fresh voices, new voices,” she says. “And if I can help open the door, some for people to get in and their product speaks for itself, absolutely.”

Sandberg encourages aspiring filmmakers to get their work noticed. “It’s really important for exposure,” she iterates. “We need to make sure people are seeing what you’re making or you’re writing, whether it’s entering it into film festivals, getting it on The Blacklist, or really promoting it helps because you need people to see the work that you’re doing.”

She also points out that success can come from unexpected places. “A lot of projects are actually coming from short films that are out there,” Sandberg notes. “I remember Parker Finn who did Smile, he did a short of Smile first. A friend of mine who was over at Paramount at the time saw that short, optioned it, and then they made it into a feature length that was originally supposed to be just for streaming. But when they tested it, it tested so well that it then went on have a theatrical run and did really well.”

This interview has been condensed. Listen to the full audio version here. 

by Brock Swinson

Freelance writer and author Brock Swinson hosts the podcast and YouTube series, Creative Principles, which features audio interviews from screenwriters, actors, and directors. Swinson has curated the combined advice from 200+ interviews for his debut non-fiction book 'Ink by the Barrel' which provides advice for those seeking a career as a prolific writer.

Follow me View profile Website