“Of course! Because we wanted to be respectful to both sides, we really wanted to lay things out according to the court decisions. These decisions are 50 or 60 pages long, but there’s always core evidence, or core turning points, that leads to these verdicts. We focused on those, and then built out a skeleton for the movie based on elements."And then it was an issue of the core players in the story to reveal themselves, and show their personalities and how their stories evolved and changed over these eight years. That was kind of the way that we approached it. We would not have made the film if we couldn’t have gotten both sides. That was important to us from the beginning."“In terms of the talking heads, we wanted the audience to have a direct connection with these people. So much of the story had been about what you actually thought about them by looking at them."We used this thing called the Interrotron, which Errol Morris invented, and it’s been used for some commercials, as well. It provides direct eye contact between the audience and the interviewee. We didn’t want to do reenactments. For us, that was a part of trying to reduce the sensationalism that we’d seen in the way the story was covered. We didn’t want to turn the film into anything that resembled a fiction film."“I think it might be neither of those things.”“It’s funny, actually, because the film is titled ‘Amanda Knox’ but it’s about this bigger thing that became about Amanda Knox. It’s not just the Amanda Knox story; it’s the Raffaele Sollecito story, or the story of the Meredith Kercher murder trial. But the way the story was presented to us in the headlines was that this all was about Amanda Knox. She’s the point of entry that a lot of people have to this story."“We didn’t want to spend all the time in the film inside of a courtroom. The film is so driven by these people’s versions of the truth it becomes less about a trial or a biopic. It’s more about how all these people interact and collide. And then how everything is labeled under the name ‘Amanda Knox.’""Amanda was written about a lot through the lens of how a woman should behave. She was judged because she didn’t fall into traditional norms in that arena. We wanted to show how that narrative had been constructed around her, and also to show things about whether that was the way she's being judged by people in 2016."We talked a lot about the way that there are some similarities between the way Hillary Clinton is viewed, and the way Amanda Knox is viewed, in terms of how Hillary is expected to behave. We were watching the debate the other night . There was a lot of ‘Hillary Clinton showed a lot of intelligence, and she knew the issues very well. But she didn’t have that emotional motherly moment.’ There was a connection on an emotional level that people believe a woman is supposed to be able to create. I do think that we’re pushing back against that idea, but it wasn’t an initial goal of the film. It just emerged from the narrative and the way it was being covered.""When she comes back to Seattle after she’s been released, she talks about what it was like for that to have been the thing that defined her. She notes in the film the experience of being in a checkout line at the supermarket, and someone saying to her, ‘I know you! You’re Amanda Knox.’ But she’s like, ‘You can’t possibly know me from the headlines.’ Even now, after a 90-minute film, you don’t know her.""And all this stuff is regardless of your feelings of innocence or guilt. It’s more of how the story got framed, and how we were all consumed by it. People were coming to conclusions based on her sexual history, and we found that kind of fascinating."