Couldn't make it to our early screening of Missing? Fear not! You can watch the full Q&A with stormreid and the filmmakers right here:
If you missed out on Collider’s early screening and Q&A of the Searching follow-up film Missing starring Storm Reid, no worries! Perri Nemiroff moderated the post-screening interview with directors Will Merrick and Nicholas Johnson, Reid, and producers Natalie Qasabian, Sev Ohanian, and Aneesh Chaganty, and we've got the full conversation for you right here.
ANEESH CHAGANTY: I've known these guys since I was in college. Will Merrick edited some of my earliest work that started my career, and we've been working together since then. They edited Searching, they edited Run, and when you've seen Searching, you don't just edit this movie, you are one of the core filmmakers of this movie. And they learned everything, it was no question.
It's a really special thing to have such a large group of people who are key collaborators on a production like this.
REID: I knew going in, because I had watched Searching when the opportunity came about, and I knew that it was going to be really good, but the technical aspect was gonna be challenging, and everything is shot through a computer, shot through a ring camera. It's not traditional.
I like that tease! Will and Nick, I have to go back to you because I want to follow up on the pre-vis thing. Who played who when you were acting it out for the pre-vis? What scene was the most fun?QASABIAN: I've already given it to Home Video.JOHNSON: We were cooped up in our houses at the peak of the pandemic, it's just cabin fever, and acting out every role. Will went up on his roof to act out the Javi scene.JOHNSON: Totally unnecessary, by the way. Totally unnecessary.
Some very good people to team up with there. How long was the script and how long did the script wind up being if you add in all of the things we see on screen in addition to the main action? REID: No, I think the script did an amazing job of painting the picture that they wanted to create, and I clearly saw their vision when I was reading it. Like I said before, I was on the edge of my seat and I was just so excited to be reading it, and all the twists and turns were really intriguing, but I try to be as intentional as possible when choosing projects, and I felt that even though this was a thriller and, yes, a movie that is made for the big screen, it has intention, it has purpose.
REID: These guys are so fun to work with, like the biggest balls of energy. I think it was fun. I mean, I didn't have any problem working with them. If Storm feels the urge to do something differently on set, is there freedom for you to change where things are positioned on a screen in post-production?
I want to back up a little bit and go back to the very beginning of the story. I'll give this one [to] Aneesh and Sev because you guys have story-by credits here. What was idea number one? Was it strictly, "We need to make another Searching?" Was it a specific character? What was the thing that started it all?
These guys have brought such -- in the editing room early on [we were] basically like, "If Searching was Sam Raimi’s Spider-Man, what we're trying to do, or what these guys are trying to do, is do Into the Spider-Verse.” Make it fresher, fun, more active, more thrilling.
OHANIAN: When Aneesh and I were writing the story, we wrote ourselves into a corner, and then she has this big realization, this big eureka moment, that was those guys. And I remember when they pitched that to us, we were like [mind blown gesture].CHAGANTY: It's so good. It was like, "Wow, let's make a whole movie around that.”I'm obsessed with detailed production design.
JOHNSON: But I think it goes hand in hand with the fact that we wanted this to feel more youthful, and so we wanted to inject some color into it. Like my room, I have all these flux bulbs in my room. That's how I live. So we wanted to make something that felt real to how teenagers live these days.We've already talked about the alien invasion subplot Easter egg here.
CHAGANTY: We had so many conversations that would end with, "Okay, in one hour we're ending with a title, guys. We're not leaving this meeting without a title." We had that meeting week after week after week after week after week, and eventually, we're just like, "What do we do?" When the title Missing came up, it was just like, "That makes total sense."QASABIAN: Someone pitched it in our team.
QASABIAN: No general idea of a story, but all the time things happen, I think just in our daily lives, and we'll literally write it down and be like, "If we do a third one, this has to go in." So I think we go through our lives now thinking about good screen beats because it's been such a commitment.
REID: Thank you for your question. I think this was the most challenging thing that I have ever done as an actress. And I have done green screen before, and it is hard because you're essentially doing the same thing. You are having to imagine the unimaginable sometimes. But I think there is such a physicality that you have with green screen most times. It's usually stunts and you're able to move around.
OHANIAN: Oh, man, thank you. That's a great question. I've been fortunate to produce a bunch of other movies outside of Searching and Missing. I was a producer on Judas and the Black Messiah. I was producer on Creed III, which is coming out March 3rd, but obviously watch this movie first. This comes out January 20th. I've been lucky enough to start working on even bigger projects, like some Marvel stuff I'm working on. I worked on Space Jam.
OHANIAN: There's this thing that Nat does where she goes, "Who saw that moment? Raise your hands." Or, "Who didn't see that moment?" We're always trying to find that right calibration of just enough people who saw it, and then a couple of people who didn't, and that's when you kind of know.OHANIAN: Bro, come on, man.
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