The dance sequences were very organic. These people are obviously not dancers, but it doesn’t matter. It’s actually better.
We did rehearse usually for a day or two, but not more than that. (Choreographer) Paula Present was great, she really helped to bring out of the kids – and everybody in the film – their own movement and their own stories through the movement, and they trusted her to do that.

I’m sure everyone who sees this film wants to know if you’ve kept in touch with your subjects.
I’m in very close touch with them. We took Benny to a specialist in Los Angeles with the support of a very kind family we met in Tribeca and he’s off all the medication and doing a lot better. He still struggles socially and with other things but he’s a brilliant kid and a special spirit. And I hope that his spirit will prevail. Ceejay got a full football scholarship to the University of Minnesota. He’s already playing, has a great relationship with the group, the coach, and he’s doing really well. And Red is still there, still selling cigarettes and hanging out with the ladies and working and drinking and doing his thing.

There were some rough scenes, such as Benny’s overmedication. Was that hard to witness?
It was the hardest and it was also something that I didn’t want to act on because I wanted to be exposed to as much information as I could so I could educate myself about it. Exposed to it, shocked by it, felt helpless and over time managed together with Pamela [Benny’s mother] to shift away from the meds. I didn’t want to just come in and say what I think or what they should do because it has to be something that happens to them.