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When you’re on set with her, she’s so relaxed in her performance.

I’ve always been captivated by her, as an actress, before I knew her, with her mannerisms and her warmth, in almost everything that she does.

We’ve worked together before, on a little indie movie called Electric Slide, and I’ve been to parties at her house. What was it like to work with Patricia Arquette on this, and to see the transformation that she went through? Just knowing that a big concern for Nick, as a showrunner and producer, is having a lot of female directors and giving lots of opportunity to young filmmakers, it was the complete package. There were also three female directors attached. There was her passion for the story, and her complete immersion and how comprehensive it was, because of the work that she had done, and I was like, “If she is gonna be a part of telling this story, then I’m in.” And then, there was Patricia, and the other talent they had. In the documentary, you could see her enthusiasm, but also how she seemed titillated by it while also being very respectful and empathetic, and the dichotomy of the story, where you love and hate both of them. Not that I’m dismissive of other kinds, but I spend so much time listening to different podcasts, like In the Dark and Serial, and that kind of immersive journalism, where you’re putting your life on hold to delve into the story to bring it to the public. I find that kind of journalism, where you’re going somewhere and spending time there, so interesting. And when I heard that Michelle was one of the main writers and producers, I became even more intrigued because while watching Mommy Dead and Dearest, I was fascinated with her, as a journalist. SEVIGNY: When this came my way, yes, I knew what it was.

So, when this came your way, you knew what it was and that it was a true story?