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Jackson never became rich. He did get invited to talk at a university once, and a student asked him whether a film that "talks back" changes the idea of authorship. Jackson answered in a way that sounded truer than anything he'd rehearsed: "It isn't about the author or the owner. It's about the work reminding us that memory is a shared task."

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Jackson realized the film's logic: it was not asking for vengeance; it wanted understanding. It wanted to tie together a history that had been scattered — to be watched in the way that memory is watched when one is trying to forgive. Each name he read was answered with an image: the stolen manager at the bottom of a silo, a woman who'd been blacklisted after a scandal she did not cause, a child who died of fever. The footage stitched narratives where there had been only accident.