|U.S. Bank Tower|
|Events||War of 1996|
The U.S. Bank Tower was a skyscraper in Los Angeles.
It was the first structure that was destroyed during the first phase of the War of 1996, which leads to the total destruction of Los Angeles. Prior to it, due to the City Destroyer hovering directly over the Bank Tower, a crowd of alien enthusiasts and eccentrics, which included an exotic dancer named Tiffany, believed the invaders harbored benevolent intentions. Therefore, they gathered on top of the building to greet the visitors while ignoring the authorities urging them to evacuate. Because of their refusal, Tiffany and the other people remained on the U.S. Bank Tower, in which they are immediately killed.
The Ceremony Edit
City Destroyer deploying its weaponEdit
Behind the ScenesEdit
- The top third of the building was replicated as an eighteen-foot tall, seven-foot wide miniature and was detonated with a series of successive, overlapping explosions by pyrotechnician Joseph Viskocil and his crew.
- In The Art and Making of Independence Day: Resurgence, Karl Walter Lindenlaub recalled the shooting of the Bank Tower scene as one of the most logistically complicated sequence of the entire shoot:
|“||We shot that in one evening with two helicopters in the air and seven camera crews on different rooftops, but each rooftop had lighting rigs that we specifically put there so that we would film from the air and could actually see those people on the roofs. We had come up with different ways to design lighting for these rooftops, they had to be made safe, and they were rigged for two weeks. On the day, we had a sort of command station at the tallest building which, in those days, was the First Interstate Bank. On the rooftop we had a crew shooting actors and extras, and on the floors below we had some other cameras and some windows taken out, and then Roland had a console with video transmissions from each camera on these rooftops. There had to be a video link via satellite link so we could see what all the other camera crews were doing. We had a camera on a helicopter that was like a police helicopter that was in the shot. All this had to be practised and co-ordinated and practised again, and then we had a window of twenty-five minutes where the sky still had a little bit of blue, but the city lights and street lights were on. We call that "magic hour," and in that period we had to shoot that sequence. It was really exciting.||”|