We kept getting more visuals and ended up amassing this massive collection of weird D.C. ’80s ephemera that went along with the film and represented this culture. We’ve been working on this film for almost a dozen years, so over time some of this stuff started to actually have some value, and through working with museums on other shows we realized the film sort of became an educational film, whether we wanted it to be or not. Tying it into a museum solidifies that even more. I’ve had to deal with more weirdos for this film than anything. Sending Moneygrams to old gangsters in the movie, or people we interviewed wanting money because they’ve been generous with their time and shared their life stories, but they don’t really understand how it works. I’ve had to do a lot of odd favors, like sending a photographer to shoot somebody’s daughter on her way to prom…the most random things. Someone could have been filming us—“the dumbest white people with a quarter million dollars worth of camera equipment in D.C.’s ghettos.” Crazy situations and random people.