#and from what weve seen ezra looks good!

[auntiesoka]

i've oficially created a tumblr account bc twitter is dying. same @ and all. i'll be here annoyed at dave filoni for bringing ahsoka tano and the ghost crew to live action and making them look horrible.

[samanthasroberts]

Pretty Little Liars Recap: Confessions Of A Mid-20’s Drama Queen

Welcome back to another week where I sit through my own personal hell, aka , and try not to put myself into an alcohol-induced coma. And shoutout to all the keyboard warriors who love to type shit in the commentsyall take this show way too seriously.

We start with Mona and Emily discussing Charlotte, who apparently stood Mona up the night of the murder. What kind of loser gets stood up by another chick at a shitty diner?

Emily is like and Monas like, uh no? I feel like thats pretty much the only answer you can give at that point. Emily figures that Mona changed her mind in the trial so that Charlotte would be out of jail and Mona could get to her, which is like real far-fetched.

Mona is like and OKAY thats a line straight out of .

Chris Hanson: Did you know that this was a 13 year old girl? Mona: I, uh, just came to talk to her.

Monas like *what would you do if your son was at home, cryin all alone on the bedroom floor.* and Ems like Monas like, well even if I wanted to kill her, she fucking stood me up so yeah. Of course, this whole conversation is overheard by A.

Aria is like,lets tell the police it wasnt me at the diner! Arias really seen some shit lately. She got burnt and questioned by the police. All Hannas had done to her is getting shitty room service food with a cryptic note. Spencer is like,

Lucas is back. Goddammit. Anyways, he overhears Hanna talking to weird ass Jordan on the phone, and is like Hannas like, Where are you gonna seat him Han? No one wants to sit next to the virginal weird kid from high school. You cant just mix the band geeks with the Plastics, thats not how this works.

Besides, there is this scenario:

Priest: Speak now or forever hold your pe- Lucas: MEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE

Hanna is like, . Wear those ties Lucas, you look like a second place winner at a science fair. He tells Hanna that hes thinking of buying some factory and giving Rosewood a second chance. LOL rookie mistake.

Ali and Snaggletooth are being sexually aggressive in some shit bed and breakfast somewhere in bumfuck nowhere, East Coast. The Ali from Season 3 would have been honeymooning in fucking Paris rn. Oh how the mighty have fallen.

Speaking of falling, Ali trips on her skanky heel and takes a tumble down the stairs, effectively knocking herself out. OKAY, did I not set that up just perfectly?

Alis in the hospital with a concussion, and Snaggle is like, you need to stay in the hospital. Shes like and its like, because thats how injuries work dumbass. The manager of the shit hotel is like and its like duh you know that shit is tampered with.

Ali: I was really happy before I fell, maybe this is my karma Snaggle: Thats not how the Universe works

ARE YOU SURE? Because pretty sure its an established fact that what goes up, must come down. Also, Ali its not karma, you just clearly dont know how to put one foot in front of the other and walk like a normal fucking human.

Snaggle is like, its an accident and he would know all about those, since his face looks like it was a victim of a tragic lawn mower accident. Ali decides to text her friends a selfie of her in the hospital, because concussion photoshoots, so hot right now.

All the Liars are like . They have 3 days to give up the murderer, because A is a psycho. All the girls are shit talking Mona and Hanna comes to her defense, because Hanna is like, such a good friend.

Aria and Ezra are getting ready to go to a dinner with their boss and Ezras talking about how he doesnt like the book ending or some shit. Arias like and that shit is about to go from an Ernest Hemingway to a really quick with Ezras freaky self.

Hanna goes to visit Ali in the hospital and Ali tells her she is going back to Rosewood when she can gtfo of this hospital. Ali has flowers all over the room, because apparently people like her, wtf?, and Ali says that they are all from Snaggle.

Of course, Hanna is looking at all the flowers and sees a very creepy card that has pictures of a staircase, and all of them on it. Either Snaggle is one fucked up dude, or A is just like, really a dick. Honestly, probs both. Obvi, Hanna steals the card.

Emily facetimes Spencer a video of Mona and Sara Harveys body guard dude chatting it up. Weve all seen , Im expecting some bodyguard three-way action ASAP. Also, how did Emily even remember that body guard? I watch this show every fucking week and make it a point to write down every flaw they have, and even I didnt remember this. Wow, I need to get it together.

Also, them talking looks like any relationship I have ever had: Mona talking shit and the dude sitting there looking awkward. Spencer and Emily follow the bodyguard when he leaves.

Back to Snaggle and Hans. Hanna is like, And Snaggle is like, Im sure you said the same thing about that B and B, you human chipmunk. Hes like and its like cough, cough, lesbianssssss.

Spencer and Emily follow the bodyguard and act like idiots on crack and pretend to hit the bodyguards car. Hes like uhhhh no its fine, and Spencer somehow manages to get information on the papers he is holding. I have seen better body guarding by the fucking preteens in Project X. Seriously who is this dude?

Spencer learns that the documents our shit security guard has are blueprints to Radley, because of fucking course. Do they just hand out blueprints willy nilly in this town? God I hate myself every time I watch this stupid fucking show.

Aria is reading Ezras newest chapter and it flashes back to a conversation with Ezra and Nicole. Ezra is begging Nicole to come with him, but shes like

Anyways, Ezra goes to his typical EZRA MAD, EZRA SMASH mode and basically yells at her and leaves fucking pissed off. And yeah, thats the last time he saw his girlfriend. One girlfriend you took advantage of when she was a teenager, the other you let get kidnapped by terrorists. Let that soak in.

Hes like , and Arias like,

Emily follows the bodyguard to a fucking ice cream truck? Wtf? And hes just casually sitting there, licking a Drumstick, when Sara Harvey drives up and gets something from him. Wait a second, she cant text and grip shit because of her hands, but she can drive? The streets of Rosewood are not safe. Maybe she was the girl who tried to run over Emily at the diner. She wasnt really trying to run her over, she was just making a very sloppy three point turn.

Hanna shows Caleb the staircase card. Caleb is like why did you come to me? And Hanna is like They decide to call As bluff, because that plan has worked every time before.

Spencer is on the phone with Emily, when she is greeted by her boyfriend and his ex. What a time to be alive. They act super weird, and then Hanna makes up some bullshit story about how she killed Charlotte. She starts crying to Spencer and Spencer is like YOOOOO THIS IS HEAVY SHIT.

Then Hannas like PSYCH and tells Caleb Well thats the stupidest shit Ive ever heard. Caleb is like and its like NO WTF HANNA DOESNT KNOW JACK SHIT. LITERALLY ANYTHING AT ALL. NOTHING. SHE KNOWS NOTHING. Why doesnt anyone understand this?

Aria and Ezra are at dinner with the editor and shes like, l Arias like and Ezra is like NAH I GOT U FAM, Ill have it to you by next week. Ezras that dick in every college class who votes against the deadline extension. There is a special place in hell for you.

Hanna and Caleb are pleading their case to Emily and Emilys like And for once, I agree with her. Spencer backs up Caleb and Hanna and is like, *under her breath* . This sounds like every parental argument.

Emily/Dad: We cant support our daughter moving in with her boyfriend Spencer/Mom: We need to support her, because if we dont shell work against us. And I want grandbabies!

Hanna is like and grabs Calebs hand very lovingly. Spencers like and its all v awkward. Spencer does what I would 100% do in this situationmake snarky jealous comments and guzzle a shit ton of red wine. I am Spencer, we are all Spencer (without the bangs, obviously.)

Emily also suggests they visit Ye Old Lizard King Toby and let him know about this whole shindig. Again, this idea never works out.

The editor lady tells her that Liam isnt on the team anymore and Aria is like, uhhhh okay. So I guess that relationship is pretty much dead. Good talk.

Spencer flashes back to a night with Caleb in Europe, talking about art and his foster homes or some shit. Yawn. For once, Spencer actually looks good in a nice dress. You did okay PLL wardrobe, dont get too excited over your one time you didnt fail.

Its a pretty pointless flashback, except it shows major sexual tension between Spencer and Caleb in Europe, which is like right after they both broke up with their significant others. See, I told you it was pointless?

Caleb goes to drop Hanna off at Lucas place and he asks Caleb on a very awkward man date. Below are the actual quotes:

Lucas: Do you lunch? Caleb: Uh, yeah I lunch. Lucas: Lets lunch!

A whole portion of dialogue that could have been summed up to we should get lunch sometime. Fuck yourself, Freeform.

Lucas shows Hanna the factory he wants to build and is like Shes like If she even THINKS her shit is going to be better than Clothes Over Bros, shes straight trippin. Lucas is like Bitches love companies.

Okay my high school friends will barely buy me a beer, let alone give me a fucking factory.

Ali has a dream of some kind and sees her mom, dressed in a fugly green top and with some bushy ass hair. I know they have leave-in conditioner in heaven, you lazy bitch. She tells Ali that Snaggle will take care of her and that she loves her, yadda yadda. For a loving mother, she also looks like she lowkey wants to strangle the shit out of Ali.

Mona and Sara meet up, the two sketchiest bitches on the block. Sara looks like Miley Cyrus if she ate herself and took makeup inspiration from a raccoon. Seriously there is like 6 pounds of eyeliner on this bitch.

Mona is like and Sara is like Sara is like, . Oh stfu Sara. You look like a balloon shaped like Nick Carter and your only friend is a dude who eats ice cream on a street corner like a fucking poverty stricken 6-year-old.

Ezra and Aria are having tea like a bunch of pussies and Aria drops the A bomb on him. She goes from 0 to 100 real quick and is like I HAVE TO END THIS.

Back to Ali and Snaggle. Lucky us. Ali tells Snaggle to go to his conference in Chicago and that when he gets back theyll resume their daily programing of boning each other (what a fucking gross mental picture.)

Caleb and Hanna present their shit idea to the group, who all agreeits a shit idea. Caleb is like . Hes getting awfully close to Hanna and Spencer looks like she is about to cut a bitch.

Caleb: This isnt a cheer-ocracy Spencer: Youre being a real cheer-tator, Caleb!

The plan starts by Hanna sending a message to A saying leave my friends alone and then a Carly Rae Jepsen-esqe version of Call Me comes on, while the binary code of her text shows up on the screen. A gets the text of that dumbass admitting to murder. Its about to go down.

div.body_middle_part_right .bodypart:nth-child(n+2), a.prevBody{display: none;}

Source: http://allofbeer.com/pretty-little-liars-recap-confessions-of-a-mid-20s-drama-queen/

from All of Beer https://allofbeer.wordpress.com/2018/12/17/pretty-little-liars-recap-confessions-of-a-mid-20s-drama-queen/

[adambstingus]

Pretty Little Liars Recap: Confessions Of A Mid-20’s Drama Queen

Welcome back to another week where I sit through my own personal hell, aka , and try not to put myself into an alcohol-induced coma. And shoutout to all the keyboard warriors who love to type shit in the commentsyall take this show way too seriously.

We start with Mona and Emily discussing Charlotte, who apparently stood Mona up the night of the murder. What kind of loser gets stood up by another chick at a shitty diner?

Emily is like and Monas like, uh no? I feel like thats pretty much the only answer you can give at that point. Emily figures that Mona changed her mind in the trial so that Charlotte would be out of jail and Mona could get to her, which is like real far-fetched.

Mona is like and OKAY thats a line straight out of .

Chris Hanson: Did you know that this was a 13 year old girl? Mona: I, uh, just came to talk to her.

Monas like *what would you do if your son was at home, cryin all alone on the bedroom floor.* and Ems like Monas like, well even if I wanted to kill her, she fucking stood me up so yeah. Of course, this whole conversation is overheard by A.

Aria is like,lets tell the police it wasnt me at the diner! Arias really seen some shit lately. She got burnt and questioned by the police. All Hannas had done to her is getting shitty room service food with a cryptic note. Spencer is like,

Lucas is back. Goddammit. Anyways, he overhears Hanna talking to weird ass Jordan on the phone, and is like Hannas like, Where are you gonna seat him Han? No one wants to sit next to the virginal weird kid from high school. You cant just mix the band geeks with the Plastics, thats not how this works.

Besides, there is this scenario:

Priest: Speak now or forever hold your pe- Lucas: MEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE

Hanna is like, . Wear those ties Lucas, you look like a second place winner at a science fair. He tells Hanna that hes thinking of buying some factory and giving Rosewood a second chance. LOL rookie mistake.

Ali and Snaggletooth are being sexually aggressive in some shit bed and breakfast somewhere in bumfuck nowhere, East Coast. The Ali from Season 3 would have been honeymooning in fucking Paris rn. Oh how the mighty have fallen.

Speaking of falling, Ali trips on her skanky heel and takes a tumble down the stairs, effectively knocking herself out. OKAY, did I not set that up just perfectly?

Alis in the hospital with a concussion, and Snaggle is like, you need to stay in the hospital. Shes like and its like, because thats how injuries work dumbass. The manager of the shit hotel is like and its like duh you know that shit is tampered with.

Ali: I was really happy before I fell, maybe this is my karma Snaggle: Thats not how the Universe works

ARE YOU SURE? Because pretty sure its an established fact that what goes up, must come down. Also, Ali its not karma, you just clearly dont know how to put one foot in front of the other and walk like a normal fucking human.

Snaggle is like, its an accident and he would know all about those, since his face looks like it was a victim of a tragic lawn mower accident. Ali decides to text her friends a selfie of her in the hospital, because concussion photoshoots, so hot right now.

All the Liars are like . They have 3 days to give up the murderer, because A is a psycho. All the girls are shit talking Mona and Hanna comes to her defense, because Hanna is like, such a good friend.

Aria and Ezra are getting ready to go to a dinner with their boss and Ezras talking about how he doesnt like the book ending or some shit. Arias like and that shit is about to go from an Ernest Hemingway to a really quick with Ezras freaky self.

Hanna goes to visit Ali in the hospital and Ali tells her she is going back to Rosewood when she can gtfo of this hospital. Ali has flowers all over the room, because apparently people like her, wtf?, and Ali says that they are all from Snaggle.

Of course, Hanna is looking at all the flowers and sees a very creepy card that has pictures of a staircase, and all of them on it. Either Snaggle is one fucked up dude, or A is just like, really a dick. Honestly, probs both. Obvi, Hanna steals the card.

Emily facetimes Spencer a video of Mona and Sara Harveys body guard dude chatting it up. Weve all seen , Im expecting some bodyguard three-way action ASAP. Also, how did Emily even remember that body guard? I watch this show every fucking week and make it a point to write down every flaw they have, and even I didnt remember this. Wow, I need to get it together.

Also, them talking looks like any relationship I have ever had: Mona talking shit and the dude sitting there looking awkward. Spencer and Emily follow the bodyguard when he leaves.

Back to Snaggle and Hans. Hanna is like, And Snaggle is like, Im sure you said the same thing about that B and B, you human chipmunk. Hes like and its like cough, cough, lesbianssssss.

Spencer and Emily follow the bodyguard and act like idiots on crack and pretend to hit the bodyguards car. Hes like uhhhh no its fine, and Spencer somehow manages to get information on the papers he is holding. I have seen better body guarding by the fucking preteens in Project X. Seriously who is this dude?

Spencer learns that the documents our shit security guard has are blueprints to Radley, because of fucking course. Do they just hand out blueprints willy nilly in this town? God I hate myself every time I watch this stupid fucking show.

Aria is reading Ezras newest chapter and it flashes back to a conversation with Ezra and Nicole. Ezra is begging Nicole to come with him, but shes like

Anyways, Ezra goes to his typical EZRA MAD, EZRA SMASH mode and basically yells at her and leaves fucking pissed off. And yeah, thats the last time he saw his girlfriend. One girlfriend you took advantage of when she was a teenager, the other you let get kidnapped by terrorists. Let that soak in.

Hes like , and Arias like,

Emily follows the bodyguard to a fucking ice cream truck? Wtf? And hes just casually sitting there, licking a Drumstick, when Sara Harvey drives up and gets something from him. Wait a second, she cant text and grip shit because of her hands, but she can drive? The streets of Rosewood are not safe. Maybe she was the girl who tried to run over Emily at the diner. She wasnt really trying to run her over, she was just making a very sloppy three point turn.

Hanna shows Caleb the staircase card. Caleb is like why did you come to me? And Hanna is like They decide to call As bluff, because that plan has worked every time before.

Spencer is on the phone with Emily, when she is greeted by her boyfriend and his ex. What a time to be alive. They act super weird, and then Hanna makes up some bullshit story about how she killed Charlotte. She starts crying to Spencer and Spencer is like YOOOOO THIS IS HEAVY SHIT.

Then Hannas like PSYCH and tells Caleb Well thats the stupidest shit Ive ever heard. Caleb is like and its like NO WTF HANNA DOESNT KNOW JACK SHIT. LITERALLY ANYTHING AT ALL. NOTHING. SHE KNOWS NOTHING. Why doesnt anyone understand this?

Aria and Ezra are at dinner with the editor and shes like, l Arias like and Ezra is like NAH I GOT U FAM, Ill have it to you by next week. Ezras that dick in every college class who votes against the deadline extension. There is a special place in hell for you.

Hanna and Caleb are pleading their case to Emily and Emilys like And for once, I agree with her. Spencer backs up Caleb and Hanna and is like, *under her breath* . This sounds like every parental argument.

Emily/Dad: We cant support our daughter moving in with her boyfriend Spencer/Mom: We need to support her, because if we dont shell work against us. And I want grandbabies!

Hanna is like and grabs Calebs hand very lovingly. Spencers like and its all v awkward. Spencer does what I would 100% do in this situationmake snarky jealous comments and guzzle a shit ton of red wine. I am Spencer, we are all Spencer (without the bangs, obviously.)

Emily also suggests they visit Ye Old Lizard King Toby and let him know about this whole shindig. Again, this idea never works out.

The editor lady tells her that Liam isnt on the team anymore and Aria is like, uhhhh okay. So I guess that relationship is pretty much dead. Good talk.

Spencer flashes back to a night with Caleb in Europe, talking about art and his foster homes or some shit. Yawn. For once, Spencer actually looks good in a nice dress. You did okay PLL wardrobe, dont get too excited over your one time you didnt fail.

Its a pretty pointless flashback, except it shows major sexual tension between Spencer and Caleb in Europe, which is like right after they both broke up with their significant others. See, I told you it was pointless?

Caleb goes to drop Hanna off at Lucas place and he asks Caleb on a very awkward man date. Below are the actual quotes:

Lucas: Do you lunch? Caleb: Uh, yeah I lunch. Lucas: Lets lunch!

A whole portion of dialogue that could have been summed up to we should get lunch sometime. Fuck yourself, Freeform.

Lucas shows Hanna the factory he wants to build and is like Shes like If she even THINKS her shit is going to be better than Clothes Over Bros, shes straight trippin. Lucas is like Bitches love companies.

Okay my high school friends will barely buy me a beer, let alone give me a fucking factory.

Ali has a dream of some kind and sees her mom, dressed in a fugly green top and with some bushy ass hair. I know they have leave-in conditioner in heaven, you lazy bitch. She tells Ali that Snaggle will take care of her and that she loves her, yadda yadda. For a loving mother, she also looks like she lowkey wants to strangle the shit out of Ali.

Mona and Sara meet up, the two sketchiest bitches on the block. Sara looks like Miley Cyrus if she ate herself and took makeup inspiration from a raccoon. Seriously there is like 6 pounds of eyeliner on this bitch.

Mona is like and Sara is like Sara is like, . Oh stfu Sara. You look like a balloon shaped like Nick Carter and your only friend is a dude who eats ice cream on a street corner like a fucking poverty stricken 6-year-old.

Ezra and Aria are having tea like a bunch of pussies and Aria drops the A bomb on him. She goes from 0 to 100 real quick and is like I HAVE TO END THIS.

Back to Ali and Snaggle. Lucky us. Ali tells Snaggle to go to his conference in Chicago and that when he gets back theyll resume their daily programing of boning each other (what a fucking gross mental picture.)

Caleb and Hanna present their shit idea to the group, who all agreeits a shit idea. Caleb is like . Hes getting awfully close to Hanna and Spencer looks like she is about to cut a bitch.

Caleb: This isnt a cheer-ocracy Spencer: Youre being a real cheer-tator, Caleb!

The plan starts by Hanna sending a message to A saying leave my friends alone and then a Carly Rae Jepsen-esqe version of Call Me comes on, while the binary code of her text shows up on the screen. A gets the text of that dumbass admitting to murder. Its about to go down.

div.body_middle_part_right .bodypart:nth-child(n+2), a.prevBody{display: none;}

from All Of Beer http://allofbeer.com/pretty-little-liars-recap-confessions-of-a-mid-20s-drama-queen/ from All of Beer https://allofbeercom.tumblr.com/post/181188109727

[viralhottopics]

The Epic Story of O.J.: Made in Americas Creation

When Ezra Edelman set out to make the documentary O.J.: Made in America, he had one goal: To make a five-hour movie about howthe 1995 O.J. Simpson murder case became a flashpoint for talking about race and the American criminal justice system. Not only didhe hit his goal, but he overshot that runtime by about three hours.

“No sane person would do this,” Edelman says now, sitting in a lounge in New York’s Post Factory, where his doc was edited. Talking about it now its like ‘This is fucking crazy.’ The whole thing is a huge leap of faith. You have no knowledge of what exists from an archival standpointyou dont know anything. You just go, ‘Lets try to tackle this to the best of our abilities.’”

In the end, he took some 800 hours of footagesome from archive material, some from interviews with 72 peopleand boiled it down into one single 467-minute movie. It took him more than two years. But he didnt do it alone. In fact, it wasnt even entirely his idea. We spoke with Edelman and his creative partners to get the story ofhow they created the wildly ambitious documentary.

February, 2014: The Beginning

Connor Schell, executive producer and senior VP, ESPN Films: Weve been producing a series of documentary films at ESPN called 30 for 30 since 2009. In that time, we gained more of a foothold in documentary filmmaking, working with various directors, and tackling topics of real cultural importance where sports is your window in. I certainly knew Ezras work and Id been thinking about O.J. Simpson for a long time, but our pursuit of wanting to do something on O.J. Simpson always started from, Well, how do you conceive of something thats not obvious? This is territory thats very well-covered, be that in books, articles, or other documentary films. Obviously, theres a section of this story thats from [the murder of Nicole Brown and Ron Goldman in] June 1994 to [Simpson’s acquittal in] October of 1995 that, if you make a project about O.J. Simpson, youre going to have to cover. But I was always interested in the full picture. What came before and what came after. And where could O.J.s story take you? That led to a few conversations between Ezra and I and he conceived of this approach and of this film.

Edelman:The thing he first said was We want to make a five-hour film. Thats what interested me. That was before he even told me what it was about. When he told me what it was about I was not that interested. My thought was What can I add to this story? They had already done a film on O.J.June 17, 1994, Brett Morgens rendition of the day of the Bronco chase. Connor wanted to do something more challenging and that jibed with something I wanted to do.

Schell:We were interested in the context, in the story of race, of celebrity, and how O.J. helps you tell that story. We started the conversation about a really long movie by saying OK, when you get to that period, why was it so meaningful? Why did it mean so much to white American and black American and why did they view it so differently? Thats a story were really interestedin telling and therefore, it needs to be long.

April 2014: The Research

Because Edelmans movie details thehistory of the relationship between the the Los Angeles Police Department and African-American communities long before Simpson was a student the University of Southern California, his team had to find footage of events like the Watts riots and families from the South moving to LA.

Edelman: From there it was a few months of me just reading. That’sall I did: I got up and I read. Jeffrey Toobins bookThe Run of His Life, Lawrence Schillers bookAmerican Tragedy. This great book by Lou Cannon called Official Negligence, which is about the history of the LAPD. But the first thing I did, was address the practical question of How the fuck do we get this done? So that meant just calling Caroline [Waterlow, the movies producer] and being like Caroline, so theres this thing. Its going to be big. I think itll be interesting. It might not be so fun, but I can think of no other person who I would want to help me craft this.

Caroline Waterlow:I remember we had pizza. My initial reaction was O.J.? You feel like its a story that surely we know about. All the films Ive worked on have been predominantly archival, historical docs, so the idea of being able to get into the early context and history became interesting to me quickly. Then my job was to hire people to figure out how to do that. This is not a job for a young associate producer whos like just starting out. You cant ask them, “So, can you call the former DA of Los Angeles?” We needed really experienced people who knew what they were doing.

Edelman: She found all the people for the team and from there it was just the combination of experience and alchemy.

Edelman and and Waterlow soon brought on producer Tamara Rosenberg, who was tasked with tracking down all of the docs sources, and producer Nina Krstic, who had to find and create a database of 500-600 hours of archival footage.

Tamara Rosenberg: I got a phone call from Caroline first and I was like, O.J.? Nothing in my resume points me towards that subject. But then I had my first meeting with Ezra and he already had an outline of what he wanted to do and it was very apparent to me that that wasnt going to be any other O.J. story. This was going to be differentand great.

Nina Krstic:His enthusiasm was a clincher. Also, it was like, “How can you refuse such a challenge?” How do you find archive of that that someone has never seen before? I think it was a challenge Id dreamed about my whole life and there it was.

Edelman: [Deadpan] I just want, for the record, to note how much both of them talked about my enthusiasm.

Schell: He jokes about it, but when hes engaged, its all he can think or talk about. Hes in.

Edelman: Which I imagine is comforting for an executive. [Laughs.]

August 2014: Building the Story

Edelman: With this large of a canvas, there was a need and an ambition to tell O.J.s story with some sort of thoroughness. I was interested in telling the story of what happened to him after the trial; at the same time, I wanted to tell this other story about therelationship between the black community and the police department in LA, and that that was going to inform this greater story about race in America. Then there was this story about him as a cultural icon that existed on this other level. But it all came back where we were going with the trial. It feels like the ultimate American Studies paper.

O.J. Simpson arrives next door to Watts a year after the riots, but hes in this really white, conservative, apolitical place, right next to a place that had just burned out of frustration. You see all these parallel tracks and its like, ‘Isnt this everything we were talking about with the trial years later?’ Thats a core place to start the story.director Ezra Edelman

O.J. becomes famous for football, and thats all he has to do to get noticed. Then right down the coast theres a community of people in Watts that were so frustrated and outraged with how they were being treated by the police that this sort of ends up inciting the riots in 1965. And this is what this community is doing to have their voices heard. So theres this juxtaposition. Then O.J.arrives next door to that like a year later, but hes in this really white, conservative, apolitical place, right next to a place that had just burned out of frustration. You see all these parallel tracks and its like, Isnt this everything we were talking about with the trial years later?

Waterlow: There was a big bulletin board that I had made. That was the first place that we started building timelines of O.J.s life and what was going on in the world. Then just names. [Prosecutor] Marcia Clark, of course, but also the names of childhood friends. It was just a board of a million names.

Edelman: It was organized chaos. I was looking for first-person voices:people who lived through this history at every point, whether its O.J.s football career or the LAPD. When you look at the people who are the most important and impactful people in the film, youre like I didnt know who any of these people were. I was standing on a train platform somewhere in Connecticut, and Tamaracalled me up and she was like, So I just talked these guys, I dunno, they were a couple of O.J.s childhood friends… and I had never heard of them, but thats exactly where this whole thing comes together. Every time that happens, its like a small victory.

Rosenberg:My character list is a 100-page Word document. In there are people we did interview, people who were maybes, and just people we looked at, and people who just said no. It was a big casting job. It was a constant dialogue with Ezra. As he felt ready to tackle a certain period of O.J.s life, then we started populating those areas with people. So it would be OK, were ready to talk about his USC years, and then I would go on the hunt for his team players from those years.

We had a great PA on the team, who was very good at tracking people down. I would just send names to him, and he would triangulate and I dont know what to find people. He would post on message boards. I dont even know what he did and I dont want to know. He would just send me a phone number and be like I have a good feeling about this one.”Then it was just a job of calling them and saying Hey, this is what were doing and really trying to impress upon them that this was not just another O.J. doc, and that was hard because a lot of these people had approached by the press before, so we were guilty by association.

Waterlow: And then as soon as we found a person it was a matter of Is there any footage of that amazing USC game? and Nina [Krstic] would have to get involved.

Nina Krstic: When I got started in September the first goal was: find every single interview with O.J. And then it was filling in the historical stuff. So there weretwo layers to it. There was also finding stuff that was pre-90s and then it was Rodney King, murder trial, and everything else. Once you get to the 90s theres tons of stuff, but we dont want to see the same footage all over again. Also, with news stories, I wanted raw footage, because I dont want a news editor from 94 deciding whats good and whats not good.

Fall 2014-Winter 2015: The Interviews

Waterlow:Ezra did every one of those interviews, so to prep for those was major.

Edelman:There is a method to the madness. You know you want Marcia Clark, you know you want these bigger characters, but youre not going to call them up initially. You want to be as prepared before you get to that point. But also, you just have to start. So we interviewed 72 people; 66 are in the film, but two of the people that arent we interviewed on the first day because you just need to get going.

Rosenberg:Some people I would talk to for many months before we finally got them. Hands down, as a group, the jurors [for Simpsons murder trial] were the hardest to convince. We reached out to a bunch of them. Some we couldnt find. Ezra and I met with Yolanda Crawford at some stage and although she was hard to find, once we found her and talked to her she was on board.

Edelman: We ended up going to shoot in Las Vegas in January of 2015 to interview someone we didnt actually end up getting to interview, which is one of the jury consultants for the defense. But we were going there so it was like, We should probably try to talk to people involved in the robbery. Talk about a place were not at yet. But sometimes you just have to figure it out.” Thats where youre making a mini movie within the massive movie.

Waterlow: With this film, more than any others that Ive worked on, there was a lot of Dont say nolet me have coffee with you. We had to make our case about who we are and what we were doing. There were several trips to LA, in October, November, and December. Las Vegas in January. There were five or six shoots in the fall.

Some people I would talk to for many months before we finally got them. Hands down, as a group, the jurors were the hardest to convince.producer Tamara Rosenberg

Edelman: The jury was a big part of the canvas, but the prosecution was an even bigger part. And we were having no luck. There were just four main people [in the prosecution], and we need at least one. That was really stressful. I really wanted Chris Darden. I spent a week reading his book and writing him a letterno response, no response, no response. But we had to keep going. I finally got [district attorney] Gil Garcetti’semail from a family friend in January or February, four months after wed started shooting, and he said, Youre welcome to come out and talk to me next time youre in LA, but I wont do an interview. You go and have a lovely conversation for two hours and hes like Im still not doing an interview and Im like, Dude, that could have been the interview. This could be done. But after three conversations and two visits to his house, it was like 10:30 pm on a Tuesday nightand he wrote me an email or sent me a text and said, Alright, Im going to do it. There was a palpable sense of relief.We had already gotten to the point where we were going to start editing.

February, 2015: Editing Begins

Waterlow: There was lots of archival being gathered the whole time. We knew there would be plenty for [Bret Granato, one of the film’s three editors]to start. Thirty interviews, maybe.

Granato:I had wasted a lot of my sophomore year in college following the trial. When we first started, the first thing I put my hands on was the Watts riots section. When I first talked to Ezra I had mentioned that I knew a lot about the trial, and he was kind of unimpressed by that. [Laughs] He said that he really wanted Los Angeles to be a character. So that was the first thing we touched.

Edelman:While he was working on another film, before he was officially working on this, he was taking the audio of the interviews that we had shot and listening to them on his own. So he showed up with this sense of where we were going.

Granato:How Ezra works is he creates this 50-60 page document of the roadmap. We met a few times before the edit to go over that. Its very specific with him: Were going to start with Watts.

Krstic: I made sure that every section of O.J.s life had at least a representative amount of footage to give Bret the freedom to start with it. Then there was also the massive job of organizing over 500 hours of footage, sub-clipping it, keywording it, making the job a year down the line so much easier. My eyes still cross when I think about this, but I basically made a huge database, and then every entry in the database has a clip and its all searchable.

Schell: The amazing thing is the exercise in logistics. Ezras off researching and doing an interview, Tamara is three or five shoots ahead of him, trying to get people lined up. Then Brets trying to tell a story around all of these parts

There was the massive job of organizing over 500 hours of footage, sub-clipping it, keywording it, making the job a year down the line so much easier. My eyes still cross when I think about this, but I basically made a huge database, and then every entry in the database has a clip and its all searchable.producer Nina Krstic

Waterlow: And Nina is IM-ing all day with three people being like What do you need? What do you need? What do you need?

Schell: The idea that it could all come together to fit the vision laid out is quite astonishing.

Edelman: Im used to feeling like I have to be in control of everything. But this was the first time where it was like, That shit aint gonna work. I talked to Tamara a lot because were talking about the characters and interviews. And Caroline and I have this its a little more fraternal.

Waterlow: Im the truth-teller.

Edelman: We just have our own thing. Bret and I get to talk about the story, butunfortunately for himIm sitting behind him like Pig-Pen and the sky is always falling and hes like Dude, this is hard enough. But with Nina, shes the one person, and I say this lovingly, shes a machine.

Krstic: It was never-ending. Even when we were locked, there was still always one little thing wed need.

Granato: I feel like all of our scenes were built initially to just tell it the best way it could be told, then we would make it betterbut when we were making it better, we werent necessarily making it shorter.

Spring/Summer, 2015: Interviews Continue

Rosenberg: We found Carrie Bess, one of the jurors, pretty early on and Ezra and I met her and had coffee and she was fairly non-committal. I made it a habit ever time wed land in LA to drive to her place. She didnt use email and barely used the phone, so it was just about me showing up and saying hi. She would give me lemons from her lemon tree. We had a cute relationship that way. But she never fully committed. So finally on one of our last trips to LA, I remember sitting with her under her lemon tree and saying, Carrie, you have to do this. Luckily enough she was like, OK, come back in a couple of days.

Edelman:She didnt have any interest in us and this thing. Sometimes shes engaged and sometimes not. Sometimes shed say something profound and wonderful, sometimes she says something kooky. Theres a realness to her. As a documentary filmmaker, what more do you want?

Rosenberg: I had a feeling on the day of the interview that I had to show up before the team, so I drove over and of course Carrie Bess had completely forgotten. She was covered in paint because she was re-painting her house. I pushed her in the shower and went to her closet and opened it and took out like three different outfitsand was like Wear this!

Edelman: That wasnt even the last LA trip. The last real shoot that Tamara and I went on in LA was we interviewed [Ron Goldmans father] Fred Goldman and Mark Fuhrman.Fuhrmanwas reluctant to do the interview and, like a lot of people, was not thrilled at the idea of this being donebut healso didnt know who we were. Why would you trust someone with your sensitive feelings and your past? I found someone who engaged us respectfully, and in a trusting manner. I think the guy deserves a lot of credit.

Waterlow: Thats a testament to the job Tamara and Ezra did on the interviews. Many people after the interview would say Thats the smartest interview anybodys ever done and Ive talked about this a lot. Including Marcia Clark.

I remember just sitting for a whole week just reading Marcia Clark’s book, reading articles, watching stuff, and not picking up the phone.producer Tamara Rosenberg

Rosenberg:I remember just sitting for a whole week just reading her book, reading articles, watching stuff, and not picking up the phone. I think its in Slouching Towards Bethlehem where Joan Didion just sits next to the phone for three hours, staring at it. I had the same thing. And by the time I talked to her I was fully prepared. The first 10 minutes of the phone call did not go so well, and I remember in that call where I was like, Ugh, shes gonna say no. Then we turned a corner. She asked me what I was doing during the trial and I wasnt here. [Rosenberg was studying in Israel.] I think that made a huge difference. The fact that I wasnt one of these people who was obsessively following it and aware of every single flaw and what was going on with her hair and wardrobe, that changed something. Then she was great. I love Marcia. And she sat for how long? Six hours?

Edelman: About five hours. Shes pretty fierce. She is so in control of who she is and what she experienced.

Rosenberg: Somebody like [news helicopter pilot] Zoey Tur, was one of those wonderful moments where archival and casting were working together because she was on both our radars for different reasons. Nina was looking at her because the footage she had shot of the riots and the Bronco chase and I had her on my radar as a storyteller. We both pursued her and got this great material.

It felt infinite. Its like looking at the sun, though, you dont want to ever look at the big picture.editor Bret Granato

Waterlow: And I loved how unabashed she was about things. Shes like Yeah, Im a journalist, Im going to get the fucking story. She represented that so well, and owned it.

Krstic: All told, there was about between 500-600 hours of archival footage and then 72 interviews.

Waterlow: Its probably 800 hours total, if were talking about interviews and archival footage.

Granato: It felt infinite. Its like looking at the sun, though, you dont want to ever look at the big picture. You trust the process. My job is to create as compelling a five-minute thingas I can, and then take a step back and see if it connects. But I wouldve melted if Id actually thought about what we were trying to do. Its too much to comprehend.

January, 2016: That Other Massive O.J. Show

Edelman had known about it for a while, but in January 2016, when he took his forthcoming doc to a Television Critics Association event, he had to come face-to-face with the fact that Ryan Murphy and his FX juggernaut were also releasing a massive retelling of Simpson’s tale: The People v. O.J. Simpson: American Crime Story. Not only would it be based on a book by Jeffrey Toobin, who was one of Edelman’s sources, it would be coming out months before Made in America hit theaters or ESPN.

When youre making this huge thing and you find out someone else is doing a 10-hour series nominally about the same thing, youre like ‘What the fuck?’director Ezra Edelman on The People v. O.J. Simpson

Edelman: To be honest, there were concurrent documentary projects that were being done that were causing a lot more stress than that. Having said that when youre making this huge thing and you find out someone else is doing a 10-hour series nominally about the same thing, youre like What the fuck? But you can only worry about it so much. Ill admit to being personally not thrilled. What are the odds? When we went to the TCAs in January to basically publicly announce the existence of this film three weeks before Sundance, all the journalists in the room had already seen the first six episodes of the FX series and they were all telling us how incredible it was.

Waterlow: We kept being like, “I didnt make that. I dont know how to answer that.”

Edelman: My legitimate fear was: Here is a 10-hour television series about O.J., about the trial, its going to be on television before ours will be out in the world, I dont know that people have that appetite to watch another huge thing about O.J. Thats why it was important for me for it to screen at Sundance, because that was before it was on TV. That way it was clear we werent drafting off of the success of that. That made me feel OK. Frankly, that didI can now sayabsolutely whet the appetite and re-engage people with this story in a way that they wanted the non-fiction narrative. It worked.

January to May 2016: The End (Sort of)

Granato: Ezra and I would stay late nights and work on the film and I dont think there was a single walk back to the train that wasnt about the film and how to make the film better.

Edelman: I didnt ask about your kid?

Granato: Did you know I have a kid? [Laughs] The last night when we locked itit didnt feel like a lock, but it was my last night therewe were still talking about the film. I dont know that I ever had a moment where I was like Ah, thats done! It is such a living, breathing creature. It still doesnt feel done.

Schell: Even when we had gotten to picture lock and submitted the film to Sundance, and it was accepted Even after it screened there, Ezra was obsessed with the fact that it was still a temp score.

Edelman: That was causing me a lot of angst. Itwas a continual process. The first few months of this year, I was still working on the film. We upgraded footage after Sundance, we swapped out the score. We were working up until the time it was screened in theaters in the middle of May. We were working up to the day we had to deliver the hard drives [to theaters]. I watched the last two hours of this on Vice the other night, against my better judgment, and if I could go into the edit room today there would be some things Id want to do.

Waterlow: Because we had these intermissions built in, theres three drives for each version of the film. I remember calling box offices and calling theater managers and being like Did you get it?!

Because we had these intermissions built in, theres three drives for each version of the film that we had to send. I remember calling box offices and calling theater managers and being like ‘Did you get it?!’producer Caroline Waterlow

Schell: This is not a small ask of someones time, to have people commit to an entire day of having someone watch something. But then to understand how engaged they are and the conversations they want to have afterwards is incredible to see.

Edelman: Again, if we knew what we were doing, we wouldve never started.

Schell: But to add to that, whats incredible about the media environment we exist in right now, is that this can exist as a film, and also on ESPN and via video-on-demand, and via DVD, and streaming.We can expose millions of people to that story.

Edelman:People dont necessarily have eight hours and 15 minutes to spend in a movie theater. I get that. So, we worked really hard to create this thing, and if people watch it on their TVs streaming, thats fine. Ive never seen it on TV. Ill never watch something Ive done on ESPN with commercials. Not the previous film I did, not this one. It makes me want to throw up in my mouth. I know this should be experienced as this beginning-to-end thing, but we have fractured lives. Thats not the world we live in.

Read more: http://bit.ly/2jgNGdM

from The Epic Story of O.J.: Made in Americas Creation