March 28, 2023 • 33 mins
'Missing' is an exciting new crime-thriller movie produced by Sony Pictures. Rasha and Yvette sit down with Directors Will Merrick and Nick Johnson to talk about the film's unique creative direction. 'Missing' is out on Blu-Ray today (March 28), and is also available digitally on Amazon Prime Video.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
You're listening to Facing Evil, a production of iHeartRadio and
Tenderfoot TV. The views and opinions expressed in this podcast
are solely those of the individuals participating in the show
and do not represent those of iHeartRadio or Tenderfoot TV.
This podcast contains subject matter which may not be suitable
for everyone. Listener discretion is advised. Aloha everyone, Welcome back
(00:29):
to Facing Evil. I'm Rasha Paccarrero and I'm evet Genteel.
Today I am so excited to bring you a special
conversation with two incredible filmmakers, Will Merrick and Nick Johnson.
That's right, they are the co directors for the new
movie Missing, starring Nia long Storm, Read, joaquim Dale, Meida
(00:53):
and many more. It's a wild, edge of your seat
thriller with so many twist and turns you will not
see them coming, I promise you. We had the absolute
pleasure and honor of getting to see the movie early
and we got invited to speak with the phenomenal directors
of the film. In fact, I even got to attend
(01:14):
the premiere in San Francisco, which was amazing. But anyway,
we loved this movie and we loved even more talking
with Will and Nick. Absolutely, and before we dive right
into it, you should know that the official Blu Ray
release of Missing is out today March twenty eighth. It
(01:36):
features so much bonus content, including Easter eggs which I
personally love, deleted scenes, and so much more. So go
to the store, order it online, grab it off a shelf,
or you can even find the movie digitally and without
further ado. Let's meet Will Merrick and Nick Johnson. Hey,
(01:58):
thank you, that's awesome to be here. Oh my god.
And I also have to give a shout out to
Katie at Sony Pictures because she's the one who sent
Russian and I an email saying, hey, you know, would
you guys be interested in going to the screening or
the premiere in LA And we were like, oh my god,
we'd love to go, but we're not going to be
able to make it to LA. And she goes, well,
(02:19):
there's one in San Francisco, and I'm like, that's perfect.
So I actually went to the Alamo Drafthouse to watch
your movie, which was it's an epic theater in the
Mission district, but to watch your film on the big
screen was fantastic. So we have to give a shout
out to Katie. Thank you, Katie, thank you. Yes, I know,
(02:41):
And I got to watch it on my iPhone because
I was flying to San Francisco to join my sister.
But then that was like the day, the day that
Missing premiered was the day that like the FAA like
shut everything down for a few hours, so I couldn't fly, right,
I couldn't fly from Portland San Francisco. But it was
almost kind of yeah, but it was almost kind of
(03:03):
epic that I got to watch it. I put it
on my ring light, I flipped it over, and I
just watched the movie is good everywhere. It's good in
the theater because it's good to react with people, but
it's kind of cool at home too because it's on computers,
so it feels voyeuristic. I guess, yeah, yeah, first you're
like okay, computers, like on the screen, like am I
(03:27):
gonna be into this? So fascinating, Like you didn't stop
just waiting for what's to happen next. So that's definitely
always been like the we joke that like at every
step of the way, even even us, we had that
reaction when a niche first pitched us the idea for searching.
It's just like, how can this be good? But I
think that's I think. I think that's the fun of it,
(03:49):
is that like we are taking something that inherently shouldn't
be entertaining, like a Google translation shouldn't be entertaining, or
going through Google accounts should not be entertaining, but we're
trying to turn it into big cinematic set pieces. So yeah,
I think I think that's that's the fun of it.
So thank you and for going to the Almo draft US.
(04:10):
That's so cool. It was a really unique premiere and
it's amazing to hear that you you went. Did you
see that live live stream of US and Nia and
Storm all? We did? My husband Gino and I stayed
after and listen to, yeah, the live stream and saw
you guys there with Nia's you know, Nia long and
Storm read. I mean it was it was epic, like
(04:31):
so epic. Yeah, on facing Evil, Like we always like
to ask all of our guests like what led you
to this career? Like how did you get to this
particular journey? And I guess I'll start with you Nick first?
Why don't you tell us? Yes? So I think, um,
like all of us that work on worked on this movie.
(04:52):
Um in particular me will save a Niche and Natalie,
our producers. I grew up loving just watching movies and
also watching a lot of behind the scenes, you know.
I remember watching the Pirates of the Caribbean Blu Ray
feature making of and being like, Oh, that's so cool.
And so I started making movies with my cousins and
(05:13):
then my friends. When I was in middle school and
then in high school, I had a lot of really
great teachers that taught film in class, not just like lazy,
like I don't want to do anything today, so I'll
put on a movie, but taught film ass as almost
like you would a great novel. And so you know,
I was turned on too like bas Lerman and Cohen
Brothers and started to appreciate film more as like an
(05:35):
art form. And I think that combination of like big
budget blockbuster storytelling of Pirates of the Caribbean mixed with
appreciating like the auteurs of the Cohen Brothers and Paul
Thomas Anderson, I think is kind of what led me
then to USC and ultimately to work with everyone I
think a very similar story. I mean, we all have
this kind of path where we became obsessed. As little kids,
(05:56):
me and my sister made videos where we would fight
like we were in Star Wars or something all over
like the YNCA or something. And I think I just
realized early on that that when my family watched them,
they'd all be like having a great time, like watching
this thing we put together. And then I got in
theater in high school and recruited all those kids to
(06:17):
be in stuff, and at the cast party we would
show the stuff we made, and I think just watching
everybody react and having good time watching these things made
me obsessed with creating movies and you know, just any
kind of cinematic form. And then USC worked out and
became LA and the rest was history. It's it's fun
to just do what I was obsessed with as a
(06:38):
teenager still as an adult. And did you guys go
to school together? You have what? We never met? Yeah,
exactly we So. Will's two years younger than I am,
and our path was kind of strange because I was
in the same year as a niche who directed the
first movie, and I kind of was like a DP
(06:59):
at the time. I didn't really edit much at USC.
And then when I graduated, I kind of started editing
more trailers and then my friends movies like will if
you want to tell your side of that path. I
became an editor quickly at USC because I'm from like
a small town in North Carolina. So I mastered the
editing because that was the only way I could make
(07:21):
something good. It turned into it invaluable skill when I
went to college. And then Die and Zev needed an
editor for a sort of like a Google spec commercial
they were doing while I was still an undergrad, and
an editing professor recommended me, and I guess they liked
(07:41):
working with me because then they brought me back for
the movie we did Searching, which this movie is a
spiritual successor too. And and then Nick and I met
at a coffee being halfway between our houses, and we
talked for about twenty minutes, and then we worked together
for the next ten years. And it's been great. So
it's been ten years, so that not quite and I
guess six years, yeah, six years going on a decade, yeah, yeah.
(08:08):
Rounding up, I love the dynamic that the two of
you have because I feel like just watching Missing and
knowing your involvement in Searching and the path that you
both were on at USC and everything you've just shared
with us, you almost seem like you are siblings and
you become family doing this right. Absolutely. Yeah. Somebody came
(08:28):
to us one of the shoot days and said, I've
never worked with twins before. We were like, oh wow,
not just siblings, twins. To be fair to them, we
had masks on because it was during COVID, so it
did so us were obscured. So you know it's plausible
that we're siblings. Yeah for sure. Yeah. Yeah, Well, for
(08:48):
our listeners that can't see you right now like we can,
you're both very very handsome young men, but you definitely
look related. For sure. I can see why they would
make the mistake when you spend I think a lot
of time with someone as we have, like we just
for the last six years really have been I've seen
each other almost every day and in rooms just going
(09:09):
to stir crazy. We've developed like a secondhand language I
think with each other that is sibling esque. Yeah. When
we were in the trenches trying to finish missing and
I was like looked out the window, I was like,
do you ever feel that all this just world is
just so just like and it was like, I know
exactly what you mean. I already know. Yeah, this is
(09:55):
the question that I really want to ask. So there
was Searching, was it Searching Run? Then Missing? Yeah? Is
it a trilogy or is it not? Not really? Not really? Yeah,
So I would say Run Run is not in the
same format, and I would say Missing was always developed
as like a sequel to Searching. That's how we thought
(10:18):
of it. We call it searching too. For the longest time,
we knew that we wanted it to work operate on
its own, but we had always kind of seen it
as like the standalone sequel to Searching. Run doesn't really
share any similarities to either too, other than we have
like an obsession with Easter eggs and like constant like
(10:39):
these threadlines, and so they do exist in the same
universe seven a niche cinematic universe, whatever that is. When
you watch Missing, you're looking at a world where the
events of Run actually did take place, but as movies
they're not related. Gotcha, But I you know, one of
the things that I noticed, like the mother in each
(11:01):
film is like the star so to speak. You know,
everything is surrounded by that. Is that a personal choice
by a niche or by you guys, can you share
a little bit about that. I mean, all three movies
do really have family kind of at their core, and
that was present. I mean, Searching was all about family,
and to us that was as much a core part
(11:23):
of the story as being told on computer screens. It
has to be about family and how sort of your
connection with family is still central to your life even
with technology. And so that was given to us in
the treatment by a Niche and Sev for this movie.
So they came up with that, but we wouldn't have
done it any different ourselves if we could have, Like
(11:45):
if you ever meet Sev or a Niche, like, family
is such a massive part of their lives. They love
their families so much and they've got really strong ties
with their families and their siblings. Just knowing the films
that a Niche made at USC they were they always
had this tremendous heart to them. So I think that's
(12:07):
something that a Niche has always been interested in and
wanted to do. So I think that's how that's made
its way into the core of these movies. I think
the part that really resonated with me and Nick as well.
I know, because we've talked about. It is just the
idea that this movie kind of reflects how when you're
growing up you learn to understand who your parents are
as people in a deeper way. When you're a kid,
(12:29):
they're just your parent, and then when you grow up,
you'd see them as a more nuanced person. And it
was really cool that in the story from its inception here,
that's kind of at the core of the mystery. Without
giving anything away, I was so struck by the relationship
between Nia's character and Storm's character and between other family
(12:52):
characters in the film, and I could not stop crying.
I was crying because I got triggered in bad ways
and in good ways, and I think that's where the
two of you were going with it, and you were
given this beautiful, beautiful platform, and I have to just
thank you because I'm the scaredy cat. I'm the one
that can't watch it, Like my sister watched it first
(13:14):
since I missed the screening, and I saw it the
next day and I'm like, can I handle it? Am
I gonna be able to handle it? She's like, You're okay,
but you're going to be triggered, Like what did it
take you went from being editors together on Searching. How
did that conversation go where they were like, all right,
we want you to direct Missing. It was quite a leap.
It took a leap of faith, I think on Seven
(13:35):
and Niche and Natalie's part, on Sony's part as well,
and on all the actors part, because again we didn't
have any real directorial experience to point to or draw on.
I think the good thing was that because Searching was
such a post heavy movie and we were brought on
(13:55):
before there was even a script. Really there was just
a treatment, so we were used to kind of developing
and workshopping, kind of pseudo helping write something like this,
and we had developed the language from the very beginning,
so the visual language, So Will and I were very
confident that we could do this again. We knew exactly
(14:16):
how to make it, and I think that gave everyone
else the confidence that these guys know how to do this.
And then I think when it came time to actually
to write it, we had previous experience dealing with Seven
A Niche, and they knew how we thought. They knew
like our notes on story and how we thought about
story and structure and characters, so they were confident we
(14:37):
had the ability to do that, and we had actually
been hired to do something for Paramount before this actually
as as writers, and so Will and I had already
done that and had demonstrated that we had the ability
to carry a project to fruition or a script, and
so that also, I think gave everyone the confidence that
(14:57):
we could do that. So yeah, I was definitely leap
for us personally, But I think as we got going,
we started to become a little bit more confident, like, no, like,
we know exactly how to make this, to the point
where by the time we got to set, we knew
exactly the shots that we needed and it felt kind
of natural to just to be doing that are organic.
You know, when I went to the screening here in
(15:19):
San Francisco, and I stayed afterwards, you know, for the
Q and A, and I remember and Nio was saying, like,
you're gonna do what? Like, how are we going to
shoot this? You know, Poornia really had to trust us, right,
But she did, she really did, and she was so
you know, gratefully like surprise and how it turned out,
(15:42):
and like she said, it was the best one of
the best experiences of her life. How do you feel
about her saying that, you know, Nia long like my
all time favorite love Jones, Like, come on, she's a
lleed legend, right. Yes, it's crazy that we crossed paths
with her. Is it's so interesting to think of all.
She was one of the later people that we cast,
(16:03):
and I just love so much that she's in this
movie because she's just the perfect person to play Storm's
mom for one thing, and just you just got to
watch the movie you'll see why. Yeah. The thing about
Nia is um. If you've ever met Nia or seeing
her an interview, she has a motherly warmth to her,
like she in some ways I remember her talking to
me about like something in my life, like she felt
(16:26):
like a mom to me and will sometimes you know Um,
And she had that relationship with Storm off camera as well.
I think she sees Storm as being like a young
version of her almost in a weird way, like she
can see you know, when Nia started, I think she
was she was like pretty young when she was she
was starting out, so she has a lot of experience there.
(16:48):
One thing that a lot of our actors have described,
and I know John Joe described this on Searching, is
that everyone has to like relearn their jobs. Everyone is
relearning how to act. Like when you are just sitting
in front of a screen and looking around, and in
a Nia's case, you know, there would be times where
there'd just be one camera, like she said, like fifteen
(17:09):
twenty feet away, and it's like, wait a minute, where's
my coverage? Where am I looking at? What's my eyeline?
It's almost like you're blocking a stage play or something.
And then you're just asking everyone, the actors, the studio
execs who are at video Village. You're asking everyone, Hey,
it's gonna look kind of weird at video Village, and
she's gonna be this big wide that trust us, Like,
(17:30):
please just trust us when we're gonna be creating coverage
and cutting in and it's gonna look okay. And I
think like that took a lot of risk on all
of our actor's parts, especially someone as established and experiences Nia.
But one of the most rewarding things was when she
first saw the movie and she like liked it. It
(17:51):
was such a relief because it was like, thank you,
thank you for trusting us, And I'm so glad we
pulled it off because we were asking a lot of
them I think, yeah, just have to ask you guys, like,
(18:24):
with all the technology, does this stuff really work? Is
it going to solve cases that it has? I think
a couple of times we're sort of morally agnostic about technology.
I guess where we're kind of in all of its power,
but we don't know if it's good or bad. Yeah.
I think what makes this end Searching cool is is
(18:47):
we really wanted to commit to the idea that this
could really happen. Like it's we're past nineties kind of
hacker beat beat boop boop kind of computer movies, and
we're where the cool thing is everything in this movie.
There might be a couple little less important moments in
this movie where where we stretch, like how easy it
would be to guess somebody's password, for instance, but not
(19:10):
by much. It's all it all could happen. Yeah. Yeah. Also,
when you make a a movie that takes place entirely
on devices technology, Whereas in the nineties, technology was a
plot device or just a way to get from point
A to point B. In our movie, technology is our set.
It's where the movie takes place, and so you owe
(19:33):
the audience a higher degree of versimilitude and I think
when we were writing the movie, it was always about Okay,
let me pull up my Google account and see how
I would actually do this if I was in this situation.
For the most part, we really tried to not bend
those rules and try to keep it really grounded. So
(19:54):
I know, like also, when we were writing the movie,
we were listening to true crime podcasts. We were listening
to a lot of real cases and researching real cases
and seeing how in a modern day things are solved,
and so we wanted to always be respectful to like
those victims and never really like incite them in the
movie or anything. We don't want to like draw any
(20:16):
more attention to those families. But I think we were
definitely aware that this stuff, that technology is used and
used that as inspiration as well sometimes. And it's cool
because June is eighteen years old and she's like better
than the than the police in some way, is it, yeah,
because of this yeah, yeah, yeah. And Storm is such
an incredible actress. I we haven't had the opportunity, you know,
(20:39):
to work with her or meet her yet, but we're
really close to Chris Pine, who played her father, and
that was just as plausible to me you know, Chris
being her dad, as Nia being you know, her mom,
and it just im one degree away from Nia long
and Storm thank you. You know, my sister and I
(21:00):
or both you know, huge movie buffs and love the
history of it and we love being on set. I
would love to know, Well, let's start with you, and
then I'd love to know, Nick, what was your absolute
favorite part about being on set? I know that you
only you know you were filming for what like twenty
some days and then editing for two three years, But
(21:20):
I want to know what was that most magical moment
like on set for you. I think my favorite part
about being on set was just after working so much
to just get any little project off the ground, as
when we were kind of beginning to try to make movies,
and seeing how hard all that was, just to show
(21:41):
up and see all these people who were so great
at their jobs and see this whole kind of machine
come into place to make something happen, and seeing everybody
work toward the same goal, it was honestly kind of overwhelming.
At first. It was like, what are we doing directing
this thing with all these trailers and stuff pulled up?
But it was just really cool to just work with
(22:02):
all the people. Really, I think my favorite part on
set was probably seeing the actors bringing nuance and life
to the characters, because I think we had been writing
alone in isolation during the pandemic in our own respective
houses for so long, and then we had cut an
(22:22):
animatic of the movie which was just me and Will
like performing very poorly all the line, and it just
had no life to it at all. And then all
of a sudden, coming on set and seeing Nia our
Storm or Joachim who plays Hobby come in and breathe
life into these roles, and all of a sudden you
(22:43):
realize some of those things that you had written actually
do have like a lot of humanity to them or
emotion underneath that we had just kind of become a
numb too while writing. I think that was one of
the coolest things, was to see all of that stuff
come to life. Yeah. Joachim, Oh my god, he was
my heart. I mean everyone kind of has seen him
(23:04):
in something, you know, I Will and I Will and
I were really familiar with him from I Love twenty
four growing up me too, so he was in twenty four,
but he's in Desperado. I mean, he's just he's had
such an incredible career. He trained with Lee Strasburg, He's
trained with Stella Adler. He is a legend. He's just
(23:24):
been around for so long, and it was really incredible
to get to know him and see how he works.
He is a truly phenomenal, world class actor. I hope that,
like I want to continue seeing him and stuff and
roles that aren't just like the bad guy that he
seems to always be. He's such a sweetheart in real life.
He was perfect for the role and I have such
(23:48):
deep admiration for him as an actor as like a craftsman,
and I love him in Storm, how they interact and
you know, oh my god, you know, the two of them,
they're never in the same scene physic right, They weren't
in the same room ever when we were shooting. And
one really great thing that that Joachim and Storm wanted
(24:09):
to do was be there for each other when they
were doing their scenes. So Joakim, you know, came to
La to read with her during her scenes, and then likewise,
Storm called in when we were shooting in Colombia to
perform all of her scenes with him. And and that's
why that works it's because they were able to see
each other, see how they're going to act, and then
real chemistry. Yeah, we're very gracious as actors, you know,
(24:33):
basically donate their time and make sure you know, they
had a scene partner. I don't think it would have
worked without that. What would you tell like young writers
and directors that are coming up that are you know,
pounding the pavement wanting to get their their script, you know,
scene or what advice would would both of you give,
(24:53):
you know, I think you really have to love the
act of doing it. Yes, I think one of my
favorite film akers, David Lynch, Oh Dad met him personally,
personal hero of mine. His song is the theme song
for our previous podcast, Root of Evil. We both loved him.
I love his music, I love everything he does. But
(25:15):
he always talks about like the act of like doing
of like he just loves doing, loves making things. And
I always think about that spirit of just making things
that if you love it enough, then all the work
that you have to put in to make it, because
you have to put in a lot of work to
make it in this industry. Will and I were doing
literally sixteen hour days on searching coming home sleeping, waking up,
(25:37):
going back to the office, and he did that for
an extended period of time. We were very young, young
on missing. We were grinding at the office and working
literally twenty four to seven. I'd come home, I'd log
into my computer and continue working, and I would be
miserable if I didn't love doing the thing, you know
(25:58):
what I mean. I think and I both just love
making movies. We love writing, we love working in after effects,
you know, we love we love the act of doing
these things. So I think the number one thing is
if you gotta love to do it, if you don't
love doing it, If if what you want to do
is just be a filmmaker or go to a premiere, like,
(26:19):
you're gonna be kind of miserable because you're gonna put
in a lot of work in the interim to get there.
So I think that's one major thing. And I think
also when you're setting out to craft stories or tell something,
I think it really helps out. A screenwriter tell me
that to use corners of yourself as the way you
put it, so you're not always making a biographical you know,
(26:41):
peace or whatever. But I think it's really important to
find little true corners of yourself, little things that you
can relate to. So, for instance, in this movie, Will
and I both have sisters, and we love our sisters,
we love our moms. We drew a lot on like
just how emotionally we feel about our sisters and how
we serve our sisters and our moms interacting with each other.
(27:02):
So it's important to always find those corners of yourself
and find those capital t truth moments like for instance,
a Niche, a Niche came up with the voicemails beat,
which I won't I won't tell anyone what happens to
avoid spoilers, but that's a really emotional moment and that
came from him just listening to voicemails from his mom.
(27:23):
So I think audiences can tell those things when you
put something that's really truthful to yourself. So if you're
starting out writing or whatever, I think look for those
things that you're like, wow, that real feels really true
and emotional, like how do I put this into a
into something? Yes, those are both great advice. Yeah, well,
(27:43):
every episode of Facing Evil. So we are Hawaiian born
and raised in Hawaii, and the word imua means to
move onward and upward right or but really, especially for
us doing facing evil, it's about finding the light in
the dark right, or overcoming or healing. I would love
to know what was the wolf for you? And if
(28:07):
you don't want to say what it was for you,
what do you think it would be for your audience
who hasn't watched Missing yet? And again I'm going to
say this Till the Cows Come Home. You can own
it on digital March seventh or on Blue Way March
twenty eight. We were starting to write this movie the
week COVID hit, and I think trying to create the
movie through that and doing a lot of work without
(28:30):
our team around that we usually you know, without being
able to see each other or see all the people
we were working with, really sort of made me at
least realize how much I need those people around me
in order to function normally. And seeing them slowly come
back was one good thing, but also just learning to
be more mindful and appreciative of people, and to understand
(28:53):
that it's always good to appreciate what's good about people
as much as you possible we can, even in a
stressful situation like some of this was getting through with
COVID yeah, yeah, no, I agree with that wholeheartedly, and
I think to bring it back to the movie as well. Specifically,
that is what June's journey is is like through all
(29:15):
of this. Part of the fun of this movie is
it's a detective mystery where she's looking for her mom,
but at the same time, there's this other layer of
she's finding out who her mom is and learning to
appreciate her for who she is, and learning that in
the time of darkness and in this time of like
like I've lost my mom and I'm losing you know,
(29:35):
like a someone I love, you actually learn how much
you do love that person, how much you appreciate them.
And neither of them will ever ever give up. Neither
of them would ever will ever let the other one
go as long as they can do something. That's the
power of the film. That is the power of the film.
And you know, when I left the theater that night,
(29:57):
I was so emotional, you know, for so many different reasons,
but it was the power of staying connected. We would
love to give you this opportunity, of course, again, we
know March seventh, it's on digital and blue ray on
March twenty eighth, But what's next for the two of you,
please tell me you're still working together, and please tell
(30:19):
our listeners where they can find you, and of course
fine missing of course, Yeah, So Will and I are
definitely still working together. We hope to work together indefinitely
going forward. And I think we also love working with
seven Nisha Natalie, and they've got some projects going on
that we may be a part of as well. In
(30:39):
terms of missing, like you said, you can find it
on Blu ray and I just want to plug that
some some blue rays come out where they have like
special features. These special features we've seen them are like
really good. Like if I were if I were a viewer,
like I'd be really excited for these special features. That
kid in me that gets to watch all those like
behind the scenes this is this is like the one
(31:01):
where it's really worth checking out. And then in terms
of where to find us, we're both mostly on Instagram.
So my Instagram's at Underscore Nick D. Johnson and Will
what's your Instagram? And I'm Will dot Merrick. Well, for
me personally, it's just been the ultimate honor having you
(31:23):
both on facing evil. You both are just brilliant, like
deeply grounded human beings. That I know you're going to
do kill it. You're going to continue to kill it.
Missing was fantastic on every every single level. So I
can't wait for what's next. So mahalo nuila for being
here with us. Thank you so much. This was like
(31:46):
a real joy meeting you and talking about the movie. Yeah,
this is really fun. Really appreciate it. Yeah, you guys
are great. Thank you so much. Well that's our show
for today. We hope you enjoyed this discussion with Will
Merrick and Nick Johnson, directors of the new movie Missing.
(32:11):
The movie is now available digitally and on Blu Ray
release out today. We always love to hear what you think,
so find us on social media or email us at
Facing Evil pod at Tenderfoot dot tv. And one small
request if you haven't already, please find us on iTunes
and give us a good rating and review. If you
(32:32):
like what we do, your support is always cherished. Until
next time, Loha, Facing Evil is a production of iHeartRadio
(32:56):
and Tenderfoot TV. The show is hosted by Russa Peccarero
and a Vetchantile. Matt Frederick and Alex Williams our executive
producers on behalf of iHeartRadio with producers Trevor Young and
Jesse Funk, Donald Albright and Payne Lindsay our executive producers
on behalf of Tenderfoot TV, alongside producer Tracy Kaplan. Our
(33:18):
researcher is Carolyn Talmidge. Original music by Makeup and Vanity Set.
Find us on social media or email us at Facing
Evil pot at tenderfoot dot tv. For more podcasts from
iHeartRadio or Tenderfoot TV, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows
You're listening to Facing Evil, a production of iHeartRadio and
Tenderfoot TV. The views and opinions expressed in this podcast
are solely those of the individuals participating in the show
and do not represent those of iHeartRadio or Tenderfoot TV.
This podcast contains subject matter which may not be suitable
for everyone. Listener discretion is advised. Aloha everyone, Welcome back
(00:29):
to Facing Evil. I'm Rasha Paccarrero and I'm evet Genteel.
Today I am so excited to bring you a special
conversation with two incredible filmmakers, Will Merrick and Nick Johnson.
That's right, they are the co directors for the new
movie Missing, starring Nia long Storm, Read, joaquim Dale, Meida
(00:53):
and many more. It's a wild, edge of your seat
thriller with so many twist and turns you will not
see them coming, I promise you. We had the absolute
pleasure and honor of getting to see the movie early
and we got invited to speak with the phenomenal directors
of the film. In fact, I even got to attend
(01:14):
the premiere in San Francisco, which was amazing. But anyway,
we loved this movie and we loved even more talking
with Will and Nick. Absolutely, and before we dive right
into it, you should know that the official Blu Ray
release of Missing is out today March twenty eighth. It
(01:36):
features so much bonus content, including Easter eggs which I
personally love, deleted scenes, and so much more. So go
to the store, order it online, grab it off a shelf,
or you can even find the movie digitally and without
further ado. Let's meet Will Merrick and Nick Johnson. Hey,
(01:58):
thank you, that's awesome to be here. Oh my god.
And I also have to give a shout out to
Katie at Sony Pictures because she's the one who sent
Russian and I an email saying, hey, you know, would
you guys be interested in going to the screening or
the premiere in LA And we were like, oh my god,
we'd love to go, but we're not going to be
able to make it to LA. And she goes, well,
(02:19):
there's one in San Francisco, and I'm like, that's perfect.
So I actually went to the Alamo Drafthouse to watch
your movie, which was it's an epic theater in the
Mission district, but to watch your film on the big
screen was fantastic. So we have to give a shout
out to Katie. Thank you, Katie, thank you. Yes, I know,
(02:41):
And I got to watch it on my iPhone because
I was flying to San Francisco to join my sister.
But then that was like the day, the day that
Missing premiered was the day that like the FAA like
shut everything down for a few hours, so I couldn't fly, right,
I couldn't fly from Portland San Francisco. But it was
almost kind of yeah, but it was almost kind of
(03:03):
epic that I got to watch it. I put it
on my ring light, I flipped it over, and I
just watched the movie is good everywhere. It's good in
the theater because it's good to react with people, but
it's kind of cool at home too because it's on computers,
so it feels voyeuristic. I guess, yeah, yeah, first you're
like okay, computers, like on the screen, like am I
(03:27):
gonna be into this? So fascinating, Like you didn't stop
just waiting for what's to happen next. So that's definitely
always been like the we joke that like at every
step of the way, even even us, we had that
reaction when a niche first pitched us the idea for searching.
It's just like, how can this be good? But I
think that's I think. I think that's the fun of it,
(03:49):
is that like we are taking something that inherently shouldn't
be entertaining, like a Google translation shouldn't be entertaining, or
going through Google accounts should not be entertaining, but we're
trying to turn it into big cinematic set pieces. So yeah,
I think I think that's that's the fun of it.
So thank you and for going to the Almo draft US.
(04:10):
That's so cool. It was a really unique premiere and
it's amazing to hear that you you went. Did you
see that live live stream of US and Nia and
Storm all? We did? My husband Gino and I stayed
after and listen to, yeah, the live stream and saw
you guys there with Nia's you know, Nia long and
Storm read. I mean it was it was epic, like
(04:31):
so epic. Yeah, on facing Evil, Like we always like
to ask all of our guests like what led you
to this career? Like how did you get to this
particular journey? And I guess I'll start with you Nick first?
Why don't you tell us? Yes? So I think, um,
like all of us that work on worked on this movie.
(04:52):
Um in particular me will save a Niche and Natalie,
our producers. I grew up loving just watching movies and
also watching a lot of behind the scenes, you know.
I remember watching the Pirates of the Caribbean Blu Ray
feature making of and being like, Oh, that's so cool.
And so I started making movies with my cousins and
(05:13):
then my friends. When I was in middle school and
then in high school, I had a lot of really
great teachers that taught film in class, not just like lazy,
like I don't want to do anything today, so I'll
put on a movie, but taught film ass as almost
like you would a great novel. And so you know,
I was turned on too like bas Lerman and Cohen
Brothers and started to appreciate film more as like an
(05:35):
art form. And I think that combination of like big
budget blockbuster storytelling of Pirates of the Caribbean mixed with
appreciating like the auteurs of the Cohen Brothers and Paul
Thomas Anderson, I think is kind of what led me
then to USC and ultimately to work with everyone I
think a very similar story. I mean, we all have
this kind of path where we became obsessed. As little kids,
(05:56):
me and my sister made videos where we would fight
like we were in Star Wars or something all over
like the YNCA or something. And I think I just
realized early on that that when my family watched them,
they'd all be like having a great time, like watching
this thing we put together. And then I got in
theater in high school and recruited all those kids to
(06:17):
be in stuff, and at the cast party we would
show the stuff we made, and I think just watching
everybody react and having good time watching these things made
me obsessed with creating movies and you know, just any
kind of cinematic form. And then USC worked out and
became LA and the rest was history. It's it's fun
to just do what I was obsessed with as a
(06:38):
teenager still as an adult. And did you guys go
to school together? You have what? We never met? Yeah,
exactly we So. Will's two years younger than I am,
and our path was kind of strange because I was
in the same year as a niche who directed the
first movie, and I kind of was like a DP
(06:59):
at the time. I didn't really edit much at USC.
And then when I graduated, I kind of started editing
more trailers and then my friends movies like will if
you want to tell your side of that path. I
became an editor quickly at USC because I'm from like
a small town in North Carolina. So I mastered the
editing because that was the only way I could make
(07:21):
something good. It turned into it invaluable skill when I
went to college. And then Die and Zev needed an
editor for a sort of like a Google spec commercial
they were doing while I was still an undergrad, and
an editing professor recommended me, and I guess they liked
(07:41):
working with me because then they brought me back for
the movie we did Searching, which this movie is a
spiritual successor too. And and then Nick and I met
at a coffee being halfway between our houses, and we
talked for about twenty minutes, and then we worked together
for the next ten years. And it's been great. So
it's been ten years, so that not quite and I
guess six years, yeah, six years going on a decade, yeah, yeah.
(08:08):
Rounding up, I love the dynamic that the two of
you have because I feel like just watching Missing and
knowing your involvement in Searching and the path that you
both were on at USC and everything you've just shared
with us, you almost seem like you are siblings and
you become family doing this right. Absolutely. Yeah. Somebody came
(08:28):
to us one of the shoot days and said, I've
never worked with twins before. We were like, oh wow,
not just siblings, twins. To be fair to them, we
had masks on because it was during COVID, so it
did so us were obscured. So you know it's plausible
that we're siblings. Yeah for sure. Yeah. Yeah, Well, for
(08:48):
our listeners that can't see you right now like we can,
you're both very very handsome young men, but you definitely
look related. For sure. I can see why they would
make the mistake when you spend I think a lot
of time with someone as we have, like we just
for the last six years really have been I've seen
each other almost every day and in rooms just going
(09:09):
to stir crazy. We've developed like a secondhand language I
think with each other that is sibling esque. Yeah. When
we were in the trenches trying to finish missing and
I was like looked out the window, I was like,
do you ever feel that all this just world is
just so just like and it was like, I know
exactly what you mean. I already know. Yeah, this is
(09:55):
the question that I really want to ask. So there
was Searching, was it Searching Run? Then Missing? Yeah? Is
it a trilogy or is it not? Not really? Not really? Yeah,
So I would say Run Run is not in the
same format, and I would say Missing was always developed
as like a sequel to Searching. That's how we thought
(10:18):
of it. We call it searching too. For the longest time,
we knew that we wanted it to work operate on
its own, but we had always kind of seen it
as like the standalone sequel to Searching. Run doesn't really
share any similarities to either too, other than we have
like an obsession with Easter eggs and like constant like
(10:39):
these threadlines, and so they do exist in the same
universe seven a niche cinematic universe, whatever that is. When
you watch Missing, you're looking at a world where the
events of Run actually did take place, but as movies
they're not related. Gotcha, But I you know, one of
the things that I noticed, like the mother in each
(11:01):
film is like the star so to speak. You know,
everything is surrounded by that. Is that a personal choice
by a niche or by you guys, can you share
a little bit about that. I mean, all three movies
do really have family kind of at their core, and
that was present. I mean, Searching was all about family,
and to us that was as much a core part
(11:23):
of the story as being told on computer screens. It
has to be about family and how sort of your
connection with family is still central to your life even
with technology. And so that was given to us in
the treatment by a Niche and Sev for this movie.
So they came up with that, but we wouldn't have
done it any different ourselves if we could have, Like
(11:45):
if you ever meet Sev or a Niche, like, family
is such a massive part of their lives. They love
their families so much and they've got really strong ties
with their families and their siblings. Just knowing the films
that a Niche made at USC they were they always
had this tremendous heart to them. So I think that's
(12:07):
something that a Niche has always been interested in and
wanted to do. So I think that's how that's made
its way into the core of these movies. I think
the part that really resonated with me and Nick as well.
I know, because we've talked about. It is just the
idea that this movie kind of reflects how when you're
growing up you learn to understand who your parents are
as people in a deeper way. When you're a kid,
(12:29):
they're just your parent, and then when you grow up,
you'd see them as a more nuanced person. And it
was really cool that in the story from its inception here,
that's kind of at the core of the mystery. Without
giving anything away, I was so struck by the relationship
between Nia's character and Storm's character and between other family
(12:52):
characters in the film, and I could not stop crying.
I was crying because I got triggered in bad ways
and in good ways, and I think that's where the
two of you were going with it, and you were
given this beautiful, beautiful platform, and I have to just
thank you because I'm the scaredy cat. I'm the one
that can't watch it, Like my sister watched it first
(13:14):
since I missed the screening, and I saw it the
next day and I'm like, can I handle it? Am
I gonna be able to handle it? She's like, You're okay,
but you're going to be triggered, Like what did it
take you went from being editors together on Searching. How
did that conversation go where they were like, all right,
we want you to direct Missing. It was quite a leap.
It took a leap of faith, I think on Seven
(13:35):
and Niche and Natalie's part, on Sony's part as well,
and on all the actors part, because again we didn't
have any real directorial experience to point to or draw on.
I think the good thing was that because Searching was
such a post heavy movie and we were brought on
(13:55):
before there was even a script. Really there was just
a treatment, so we were used to kind of developing
and workshopping, kind of pseudo helping write something like this,
and we had developed the language from the very beginning,
so the visual language, So Will and I were very
confident that we could do this again. We knew exactly
(14:16):
how to make it, and I think that gave everyone
else the confidence that these guys know how to do this.
And then I think when it came time to actually
to write it, we had previous experience dealing with Seven
A Niche, and they knew how we thought. They knew
like our notes on story and how we thought about
story and structure and characters, so they were confident we
(14:37):
had the ability to do that, and we had actually
been hired to do something for Paramount before this actually
as as writers, and so Will and I had already
done that and had demonstrated that we had the ability
to carry a project to fruition or a script, and
so that also, I think gave everyone the confidence that
(14:57):
we could do that. So yeah, I was definitely leap
for us personally, But I think as we got going,
we started to become a little bit more confident, like, no, like,
we know exactly how to make this, to the point
where by the time we got to set, we knew
exactly the shots that we needed and it felt kind
of natural to just to be doing that are organic.
You know, when I went to the screening here in
(15:19):
San Francisco, and I stayed afterwards, you know, for the
Q and A, and I remember and Nio was saying, like,
you're gonna do what? Like, how are we going to
shoot this? You know, Poornia really had to trust us, right,
But she did, she really did, and she was so
you know, gratefully like surprise and how it turned out,
(15:42):
and like she said, it was the best one of
the best experiences of her life. How do you feel
about her saying that, you know, Nia long like my
all time favorite love Jones, Like, come on, she's a
lleed legend, right. Yes, it's crazy that we crossed paths
with her. Is it's so interesting to think of all.
She was one of the later people that we cast,
(16:03):
and I just love so much that she's in this
movie because she's just the perfect person to play Storm's
mom for one thing, and just you just got to
watch the movie you'll see why. Yeah. The thing about
Nia is um. If you've ever met Nia or seeing
her an interview, she has a motherly warmth to her,
like she in some ways I remember her talking to
me about like something in my life, like she felt
(16:26):
like a mom to me and will sometimes you know Um,
And she had that relationship with Storm off camera as well.
I think she sees Storm as being like a young
version of her almost in a weird way, like she
can see you know, when Nia started, I think she
was she was like pretty young when she was she
was starting out, so she has a lot of experience there.
(16:48):
One thing that a lot of our actors have described,
and I know John Joe described this on Searching, is
that everyone has to like relearn their jobs. Everyone is
relearning how to act. Like when you are just sitting
in front of a screen and looking around, and in
a Nia's case, you know, there would be times where
there'd just be one camera, like she said, like fifteen
(17:09):
twenty feet away, and it's like, wait a minute, where's
my coverage? Where am I looking at? What's my eyeline?
It's almost like you're blocking a stage play or something.
And then you're just asking everyone, the actors, the studio
execs who are at video Village. You're asking everyone, Hey,
it's gonna look kind of weird at video Village, and
she's gonna be this big wide that trust us, Like,
(17:30):
please just trust us when we're gonna be creating coverage
and cutting in and it's gonna look okay. And I
think like that took a lot of risk on all
of our actor's parts, especially someone as established and experiences Nia.
But one of the most rewarding things was when she
first saw the movie and she like liked it. It
(17:51):
was such a relief because it was like, thank you,
thank you for trusting us, And I'm so glad we
pulled it off because we were asking a lot of
them I think, yeah, just have to ask you guys, like,
(18:24):
with all the technology, does this stuff really work? Is
it going to solve cases that it has? I think
a couple of times we're sort of morally agnostic about technology.
I guess where we're kind of in all of its power,
but we don't know if it's good or bad. Yeah.
I think what makes this end Searching cool is is
(18:47):
we really wanted to commit to the idea that this
could really happen. Like it's we're past nineties kind of
hacker beat beat boop boop kind of computer movies, and
we're where the cool thing is everything in this movie.
There might be a couple little less important moments in
this movie where where we stretch, like how easy it
would be to guess somebody's password, for instance, but not
(19:10):
by much. It's all it all could happen. Yeah. Yeah. Also,
when you make a a movie that takes place entirely
on devices technology, Whereas in the nineties, technology was a
plot device or just a way to get from point
A to point B. In our movie, technology is our set.
It's where the movie takes place, and so you owe
(19:33):
the audience a higher degree of versimilitude and I think
when we were writing the movie, it was always about Okay,
let me pull up my Google account and see how
I would actually do this if I was in this situation.
For the most part, we really tried to not bend
those rules and try to keep it really grounded. So
(19:54):
I know, like also, when we were writing the movie,
we were listening to true crime podcasts. We were listening
to a lot of real cases and researching real cases
and seeing how in a modern day things are solved,
and so we wanted to always be respectful to like
those victims and never really like incite them in the
movie or anything. We don't want to like draw any
(20:16):
more attention to those families. But I think we were
definitely aware that this stuff, that technology is used and
used that as inspiration as well sometimes. And it's cool
because June is eighteen years old and she's like better
than the than the police in some way, is it, yeah,
because of this yeah, yeah, yeah. And Storm is such
an incredible actress. I we haven't had the opportunity, you know,
(20:39):
to work with her or meet her yet, but we're
really close to Chris Pine, who played her father, and
that was just as plausible to me you know, Chris
being her dad, as Nia being you know, her mom,
and it just im one degree away from Nia long
and Storm thank you. You know, my sister and I
(21:00):
or both you know, huge movie buffs and love the
history of it and we love being on set. I
would love to know, Well, let's start with you, and
then I'd love to know, Nick, what was your absolute
favorite part about being on set? I know that you
only you know you were filming for what like twenty
some days and then editing for two three years, But
(21:20):
I want to know what was that most magical moment
like on set for you. I think my favorite part
about being on set was just after working so much
to just get any little project off the ground, as
when we were kind of beginning to try to make movies,
and seeing how hard all that was, just to show
(21:41):
up and see all these people who were so great
at their jobs and see this whole kind of machine
come into place to make something happen, and seeing everybody
work toward the same goal, it was honestly kind of overwhelming.
At first. It was like, what are we doing directing
this thing with all these trailers and stuff pulled up?
But it was just really cool to just work with
(22:02):
all the people. Really, I think my favorite part on
set was probably seeing the actors bringing nuance and life
to the characters, because I think we had been writing
alone in isolation during the pandemic in our own respective
houses for so long, and then we had cut an
(22:22):
animatic of the movie which was just me and Will
like performing very poorly all the line, and it just
had no life to it at all. And then all
of a sudden, coming on set and seeing Nia our
Storm or Joachim who plays Hobby come in and breathe
life into these roles, and all of a sudden you
(22:43):
realize some of those things that you had written actually
do have like a lot of humanity to them or
emotion underneath that we had just kind of become a
numb too while writing. I think that was one of
the coolest things, was to see all of that stuff
come to life. Yeah. Joachim, Oh my god, he was
my heart. I mean everyone kind of has seen him
(23:04):
in something, you know, I Will and I Will and
I were really familiar with him from I Love twenty
four growing up me too, so he was in twenty four,
but he's in Desperado. I mean, he's just he's had
such an incredible career. He trained with Lee Strasburg, He's
trained with Stella Adler. He is a legend. He's just
(23:24):
been around for so long, and it was really incredible
to get to know him and see how he works.
He is a truly phenomenal, world class actor. I hope that,
like I want to continue seeing him and stuff and
roles that aren't just like the bad guy that he
seems to always be. He's such a sweetheart in real life.
He was perfect for the role and I have such
(23:48):
deep admiration for him as an actor as like a craftsman,
and I love him in Storm, how they interact and
you know, oh my god, you know, the two of them,
they're never in the same scene physic right, They weren't
in the same room ever when we were shooting. And
one really great thing that that Joachim and Storm wanted
(24:09):
to do was be there for each other when they
were doing their scenes. So Joakim, you know, came to
La to read with her during her scenes, and then likewise,
Storm called in when we were shooting in Colombia to
perform all of her scenes with him. And and that's
why that works it's because they were able to see
each other, see how they're going to act, and then
real chemistry. Yeah, we're very gracious as actors, you know,
(24:33):
basically donate their time and make sure you know, they
had a scene partner. I don't think it would have
worked without that. What would you tell like young writers
and directors that are coming up that are you know,
pounding the pavement wanting to get their their script, you know,
scene or what advice would would both of you give,
(24:53):
you know, I think you really have to love the
act of doing it. Yes, I think one of my
favorite film akers, David Lynch, Oh Dad met him personally,
personal hero of mine. His song is the theme song
for our previous podcast, Root of Evil. We both loved him.
I love his music, I love everything he does. But
(25:15):
he always talks about like the act of like doing
of like he just loves doing, loves making things. And
I always think about that spirit of just making things
that if you love it enough, then all the work
that you have to put in to make it, because
you have to put in a lot of work to
make it in this industry. Will and I were doing
literally sixteen hour days on searching coming home sleeping, waking up,
(25:37):
going back to the office, and he did that for
an extended period of time. We were very young, young
on missing. We were grinding at the office and working
literally twenty four to seven. I'd come home, I'd log
into my computer and continue working, and I would be
miserable if I didn't love doing the thing, you know
(25:58):
what I mean. I think and I both just love
making movies. We love writing, we love working in after effects,
you know, we love we love the act of doing
these things. So I think the number one thing is
if you gotta love to do it, if you don't
love doing it, If if what you want to do
is just be a filmmaker or go to a premiere, like,
(26:19):
you're gonna be kind of miserable because you're gonna put
in a lot of work in the interim to get there.
So I think that's one major thing. And I think
also when you're setting out to craft stories or tell something,
I think it really helps out. A screenwriter tell me
that to use corners of yourself as the way you
put it, so you're not always making a biographical you know,
(26:41):
peace or whatever. But I think it's really important to
find little true corners of yourself, little things that you
can relate to. So, for instance, in this movie, Will
and I both have sisters, and we love our sisters,
we love our moms. We drew a lot on like
just how emotionally we feel about our sisters and how
we serve our sisters and our moms interacting with each other.
(27:02):
So it's important to always find those corners of yourself
and find those capital t truth moments like for instance,
a Niche, a Niche came up with the voicemails beat,
which I won't I won't tell anyone what happens to
avoid spoilers, but that's a really emotional moment and that
came from him just listening to voicemails from his mom.
(27:23):
So I think audiences can tell those things when you
put something that's really truthful to yourself. So if you're
starting out writing or whatever, I think look for those
things that you're like, wow, that real feels really true
and emotional, like how do I put this into a
into something? Yes, those are both great advice. Yeah, well,
(27:43):
every episode of Facing Evil. So we are Hawaiian born
and raised in Hawaii, and the word imua means to
move onward and upward right or but really, especially for
us doing facing evil, it's about finding the light in
the dark right, or overcoming or healing. I would love
to know what was the wolf for you? And if
(28:07):
you don't want to say what it was for you,
what do you think it would be for your audience
who hasn't watched Missing yet? And again I'm going to
say this Till the Cows Come Home. You can own
it on digital March seventh or on Blue Way March
twenty eight. We were starting to write this movie the
week COVID hit, and I think trying to create the
movie through that and doing a lot of work without
(28:30):
our team around that we usually you know, without being
able to see each other or see all the people
we were working with, really sort of made me at
least realize how much I need those people around me
in order to function normally. And seeing them slowly come
back was one good thing, but also just learning to
be more mindful and appreciative of people, and to understand
(28:53):
that it's always good to appreciate what's good about people
as much as you possible we can, even in a
stressful situation like some of this was getting through with
COVID yeah, yeah, no, I agree with that wholeheartedly, and
I think to bring it back to the movie as well. Specifically,
that is what June's journey is is like through all
(29:15):
of this. Part of the fun of this movie is
it's a detective mystery where she's looking for her mom,
but at the same time, there's this other layer of
she's finding out who her mom is and learning to
appreciate her for who she is, and learning that in
the time of darkness and in this time of like
like I've lost my mom and I'm losing you know,
(29:35):
like a someone I love, you actually learn how much
you do love that person, how much you appreciate them.
And neither of them will ever ever give up. Neither
of them would ever will ever let the other one
go as long as they can do something. That's the
power of the film. That is the power of the film.
And you know, when I left the theater that night,
(29:57):
I was so emotional, you know, for so many different reasons,
but it was the power of staying connected. We would
love to give you this opportunity, of course, again, we
know March seventh, it's on digital and blue ray on
March twenty eighth, But what's next for the two of you,
please tell me you're still working together, and please tell
(30:19):
our listeners where they can find you, and of course
fine missing of course, Yeah, So Will and I are
definitely still working together. We hope to work together indefinitely
going forward. And I think we also love working with
seven Nisha Natalie, and they've got some projects going on
that we may be a part of as well. In
(30:39):
terms of missing, like you said, you can find it
on Blu ray and I just want to plug that
some some blue rays come out where they have like
special features. These special features we've seen them are like
really good. Like if I were if I were a viewer,
like I'd be really excited for these special features. That
kid in me that gets to watch all those like
behind the scenes this is this is like the one
(31:01):
where it's really worth checking out. And then in terms
of where to find us, we're both mostly on Instagram.
So my Instagram's at Underscore Nick D. Johnson and Will
what's your Instagram? And I'm Will dot Merrick. Well, for
me personally, it's just been the ultimate honor having you
(31:23):
both on facing evil. You both are just brilliant, like
deeply grounded human beings. That I know you're going to
do kill it. You're going to continue to kill it.
Missing was fantastic on every every single level. So I
can't wait for what's next. So mahalo nuila for being
here with us. Thank you so much. This was like
(31:46):
a real joy meeting you and talking about the movie. Yeah,
this is really fun. Really appreciate it. Yeah, you guys
are great. Thank you so much. Well that's our show
for today. We hope you enjoyed this discussion with Will
Merrick and Nick Johnson, directors of the new movie Missing.
(32:11):
The movie is now available digitally and on Blu Ray
release out today. We always love to hear what you think,
so find us on social media or email us at
Facing Evil pod at Tenderfoot dot tv. And one small
request if you haven't already, please find us on iTunes
and give us a good rating and review. If you
(32:32):
like what we do, your support is always cherished. Until
next time, Loha, Facing Evil is a production of iHeartRadio
(32:56):
and Tenderfoot TV. The show is hosted by Russa Peccarero
and a Vetchantile. Matt Frederick and Alex Williams our executive
producers on behalf of iHeartRadio with producers Trevor Young and
Jesse Funk, Donald Albright and Payne Lindsay our executive producers
on behalf of Tenderfoot TV, alongside producer Tracy Kaplan. Our
(33:18):
researcher is Carolyn Talmidge. Original music by Makeup and Vanity Set.
Find us on social media or email us at Facing
Evil pot at tenderfoot dot tv. For more podcasts from
iHeartRadio or Tenderfoot TV, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows
Popular Podcasts
1. The Podium
The Podium: An NBC Olympic and Paralympic podcast. Join us for insider coverage during the intense competition at the 2024 Paris Olympic and Paralympic Games. In the run-up to the Opening Ceremony, we’ll bring you deep into the stories and events that have you know and those you'll be hard-pressed to forget.
2. In The Village
In The Village will take you into the most exclusive areas of the 2024 Paris Olympic Games to explore the daily life of athletes, complete with all the funny, mundane and unexpected things you learn off the field of play. Join Elizabeth Beisel as she sits down with Olympians each day in Paris.
3. iHeartOlympics: The Latest
Listen to the latest news from the 2024 Olympics.