JK: It’s like, “We’re making Citizen Kane and yes, we only have one day and it’s comedy.” But I did a lot of hat tips to the movie and got to delve into it.

AS: Derek, you’ve mentioned that the story of Stetson Kennedy infiltrating the KKK (from the Atlanta episode) as being one of your favorite Drunk Histories. Did you know of that story before the Atlanta episode and if not, how much history do you feel like you’ve learned since starting Drunk History?

DW: I’ve learned lots. Specifically, the story of Claudette Colvin. It’s sort of like the Stetson Kennedy story from last year. It’s about this young black woman who did the exact same thing as Rosa Parks only way earlier than her. She was 15 years old and pregnant and the NAACP didn’t think she would be a good role model. It’s kind of racist to say but they wanted someone who was older and had lighter skin and so they kind of picked Rosa Parks. They’d worked with her before and she was very involved in activism. They just felt like Rosa Parks would make a better role model. Claudette Colvin’s still alive too. I’m pretty sure she lives in Queens. A lot of history is what the storyteller wants you to hear. It’s like when someone dies and their friend talks about how great that person is.

AS: People do love to spin yarns and I’m sure y’all are flush with material. I hear that individual stories tend to take around four to five hours to film. How difficult is it to get the footage you need? Jeremy, as a cinematographer, what are you looking for?

JK: First of all, we do shoot hours and hours and hours of footage. I just found out, actually, that our ratio is 120 to 1, which, I don’t know if I should be proud or embarrassed. That means for every 3 ½ hours of television we create, we’re shooting about 420 hours.