“There might be an ‘oh, you’ve never heard a juror talk about this in that way,’ so that’s new, or ‘you’ve never heard this person talk about it in that way,’ so that’s new,” Edelman says, “but informationally, it’s all been on the record in some form. It was really a question of coalescing and cohering, and making something dynamic and making people engage with the story in a way they hadn’t done before.” The main reason that the film doesn’t rehash the crime or the aftermath in an investigative journalistic way is that Edelman didn’t want to; he would have said no to Connor Schell, the ESPN senior vice president who smartly commissioned him to make the movie and then allowed the final cut...
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