Andrew Jarecki

But when I do open them, there's always like a deck of

And the deck literally will say to you, you know, here are the main characters and we've already made agreements with them and this is what they're going to say.

And then, you know, here's what your plot line is going to be.

And I just think like, now that should be an AI film.

Like you already know what it is and you should just AI that thing.

And some people watch it.

But the whole idea is the journey, right?

The whole idea is that we don't know what's going to happen.

When I was making Capturing the Freedmen, I thought I was making a film about professional children's birthday party entertainers in New York City.

And then it turned out to be something that was radically different from that because you discover something along the way.

When we were making The Jinx, we knew that Bob Durst wanted to talk.

And that was interesting enough for me and Zach.

what we found the fact that he wanted to talk enough that it would lead us down enough paths that we would discover evidence and he would get arrested for murder the day before the last episode it was totally unpredictable um and that's why you do it right i mean it's it so um in this case we had just gotten a text message from one of the men inside

And I guess the only precursor of that was that we had been looking at all of the pro se lawsuits filed by prisoners, you know, lawsuits that are filed without the benefit of a lawyer.

But these guys are kind of incredible lawyers.

Some of them are really extraordinary sort of jailhouse lawyers, but very, very sophisticated.

And we had been looking at all these lawsuits and,

because we wanted to see who are the guards that are coming up repeatedly in these lawsuits.

And we had found this one guard named Rod Gadsen, Roderick Gadsen, and he was named in, I think, 24 different brutality suits.

And you have to understand, like, bringing one of these lawsuits in prison is, it's the most optimistic thing