Andrew Jarecki

And you see the same kind of twitches.

You see the early phases of what his... So I think that stuff is extremely valuable.

In this film, I think that we had so many...

you know, there was 10 pounds of flour in a two-pound bag always.

It was always so hard to convey the tapestry of how we got here and try to incorporate everything from the slave labor to the parole to why they weren't letting people out of the system, how they put people in the system, how people are when they're in the system, and then also try to have a narrative thread that was going to

bring people along you know because we used to have this expression just in the storytelling process um i always have a blackboard in my office and i and i at the very beginning of this when we started to see what we had i wrote this like mnemonic device i said um smitwit knows and and that stood for how do we not make the saddest movie in the world that no one ever sees

And it was a real concern because, you know, you're dealing with this very dark material.

So we knew it had to have a very compelling narrative.

It needed to have, you know, we needed to have a story.

And that's like, you know, you got to keep telling yourself what is the story.

So you can only have enough room for this archival material to,

Yeah, you do as much as you can.

And also some of those people, you know, it's kind of a deprived economy.

And a lot of these families of people who are incarcerated just, you know, they don't have like extra room in their house where they have all the photo albums or they have a millimeter video or whatever.

Well, I mean, you know, as a young storyteller, I think you're going to evolve.

You know, you're going to learn more about how to tell these stories.

And I'm looking forward to that.

But I think, you know, a little goes a long way.

We do see pictures of him as a child.

And I think that's extremely powerful.