Chuck Pierce had been born in Indiana, but raised in Arkansas. He spoke the language of the people that he sought to interview.
Their candid retelling of their experiences were sometimes the first time that eye-witnesses had gone public.
Pierce filmed it all, staging re-enactments, so viewing audiences could really grasp those dramatic events.
Often the real people played themselves, in the actual locations of their encounters. If it had taken place too far ago, then their children or grand-children stepped in as proxies.
For larger stories, like that of the Fords, Pierce brought in drama students from the University of Texarkana. The whole thing was told documentary style, like the cameras had been there when it all unfolded.
To modern eyes, the cinematography, story-telling and style can appear very dated. At times, it borders upon cheesy.
The inclusion of two songs springs to mind - one a paean to the creature itself and another a ballad about a teenage local going camping. Though anyone laughing at Hey Travis Crabtree should note that the young man was killed in an industrial accident, a decade after the film was made.
The often jerky confusion of hand-held camera shots renders an intimacy to the proceedings. More home video than Hollywood finesse. It was a technique that was later to influence The Blair Witch Project.
As a snapshot of the lives of poorer families, living in the boggy forests of backwater Arkansas, it remains unparalleled.