What was your goal when you began this project, and do you think that what you ended up with ultimately achieves what you set out to do?

Well, you know, it evolved as we went along.

The key to it was for us not to basically be asking the questions.

You know, what do you think about this? Why this or whatever? We just wanted to film a community that is in conflict with itself.

And so we just wanted to let people speak, hear what they have to say, follow some of the events.

Robin was on, Robert was on the ground in that community for, I don't know, was it four years now? You know, to basically just cover how these people reacted with one another and why it is so difficult to agree and find some answers and have some common ground.

Or do you think that Bucks County is uniquely split because it is such a 50-50 county? Donald Trump won it by like hundreds of votes, not by any sort of landslide.

Well, I mean, it's a good question.

Um, tell us why you made the movie.

Well, I mean, um, Robert was there on the ground all the time for [clears throat] that long period of time [clears throat] uh, filming it.

The point was we're not investigating it.

We're not asking all the questions.

We're allowing them to speak and interact with one another, and we can see the dilemma that's going on, the conflict between, um, the, you might say the r- you know, the right and the left, and how they cannot come to an agreement without it becoming so explosive and so divisive.

And then I, I think that's what we wanted to do, as opposed to, uh, "Let me ask you this," and, "Why is this?" And all of those questions would come up in a, in a normal documentary.

But this is just showing a town at a, at a crisis, and we watch what takes place.

Go ahead, Barry.

Explain.

Well, I mean, I think if I can jump back for a second.

When I was growing up, I lived a block away from my cousin Eddie.

We were only six weeks apart, and we grew up together.

And we did all these things together, all of that.

And one day when we were in our teens and we were talking and all of a sudden I realized that Eddie was in favor of the Republican candidate, Nixon, and I was in favor of Kennedy.

but we didn't sit and argue and fight one another, whatever.

Your thoughts?

And then Robert, love to hear your thoughts on that.

Well, you know, it's a time of division.

Um, And I'm not sure it's enough of exchanging ideas.

And then what happens is it becomes our side, your side.

And once that happens and you're not actually trying to work out the issues, what is causing this friction? And really get inside of it and not keep pointing fingers at one another.

I think you end up with a chaotic period, which is... where we are in many ways today.

And so we just wanted to, and here's where it's different.

And Barry, just your thoughts on how social media has impacted this ramping up of rhetoric and refusal to listen and this dehumanization of people just because they sort of disagree with your political view, your take on how social media has changed the dynamic.

I think the number one question everybody's going to ask, right, is how does someone decide to start a mustard museum? Where does the idea come from? What gives you the inspiration to make this happen?

Well, the inspiration was the loss of the Red Sox team.

in 1986 when they lost the World Series to the Mets, I was very depressed because I'm originally from Massachusetts.

I was totally devastated.

So I couldn't sleep.

So I went to an all night supermarket and roamed up and down the aisles, tears running down my cheeks.

And I said, I need a hobby and I just have to collect something.

What makes a great mustard, Barry?

The Jewish people are grateful that your sons were not raised on the West

Coast.

We are grateful for it too.

But, you know, so we stayed here.

We had moved into Highland Park already and we liked the community.

So we, instead of moving out two years later, which is what it was, and I said to my wife, we can't move.

I just wallpapered all the bathrooms over the winter vacation.

Drugs are

Always

...

it, and, uh, i- in, in this, in this way, I'll, I'll just tell you one q- quick thing.

We have this scene coming up, and, uh, and it takes place in a restaurant.

And because we had made a bunch of, you know, changes along the way, and we're now we're getting to this particular scene, and I, um, we're about a half hour away from shooting, and I, I realize we've covered a lot of these elements in earlier part of the movie, and then the scene is gonna be rather redundant.

So we're half away from ready to shoot, and I tell this to Bob.

And, uh, you know, he goes, "Yeah, yeah, yeah, yeah, yeah." I said, "So I think we gotta find, uh, we have to find something else here to put in here.

It's gotta be a little tough

No, go on.

... on something.

But it's that, what happened was, here's an interesting thing.

Ahem, that was the key to the film.

Where we have a scene where he's teaching the class of, you know, the Vietnamese, and it's, it's, it's just not working.

It's, it's just flat.

They're trying to say the lines.

Mm-hmm.