By LINDSEY BAHR AP Film Writer
When Robert Pattinson first got the script for “Primetime,” a dramatization of NBC Dateline’s “To Catch a Predator” and the controversial sting operation that would lead to its cancellation, he was amazed it hadn’t been made into a movie already.
Here was a fascinating tale with shades of “Network,” “Ace in the Hole” and “To Die For,” and an inscrutable personality at its center in host Chris Hansen, a newsman who had become a pop culture icon with his own catchphrase: Have a seat.
It was both old news, and, somehow, in the ether too. Last year, the show was also the subject of an acclaimed documentary, “Predators,” from David Osit.
Along the way, “Primetime” transformed into a dark meditation on performance, media and morality — more fever dream than biopic, according to filmmaker Lance Oppenheim. And, perhaps fittingly, it’s arriving in theaters Friday on a wave of both critical acclaim and intrigue over Hansen’s own objections to the film and its depiction of the show, which he called an “insult,” sight unseen.
The pressure of a hit show
“To Catch a Predator” had in 2006 become a kind of phenomenon. With the help of the citizen watchdog group Perverted Justice, the show would stage confrontations with men who were allegedly soliciting sex with minors in online chat rooms. Perverted Justice members would pretend to be underage kids online and invite the adults on the other side of the conversation to fake houses, where actors would play the teens and the show would “catch” the men on camera, while police waited outside to make arrests.
Two years after it debuted, it was averaging around 7 million viewers an episode and Hansen was a celebrity in his own right. And then, in November 2006, one suspect, Louis William “Bill” Conradt Jr., an assistant district attorney in Texas, killed himself as a local police SWAT team breached his home with the television crew outside. It led to a lawsuit, which was settled out of court, and various journalistic investigations including by ABC’s “20/20” and Esquire’s Luke Dittrich, whose article “Tonight on Dateline This Man Will Die” inspired Ajon Singh’s script. By 2008, the show had been canceled.
“The thing which I was most interested in, it’s the sort of technicalities of like trying to have a hit show,” Pattinson told The Associated Press. “When you get up to a certain, like, level of numbers of viewers or like however much money is involved, suddenly the subject matter, like everything doesn’t matter anymore. … You’re just a hit and like and you’re judged along the same lines, and the same commercial expectation is put on you.”
The portrait melds fiction and reality with Merritt Wever playing a fictionalized producer who is under pressure to deliver shows that could compete with “Lost.” Then there is then-NBCUniversal TV Group CEO Jeff Zucker in the mix, playing himself.
Becoming ‘Chris Hansen’ the character
Pattinson wasn’t intending to star in “Primetime.” He was just helping to develop it with his production company. But he was also getting in the weeds, helping to shape the story and the character, and starting to realize what a great part he had in front of him.
“Chris was like a serious news reporter,” Pattinson said. “And I think what’s sort of fascinating about the story as a whole was like seeing someone who … you’re a journalist, you’re supposed to be in some ways a passive reporter of what’s going on and suddenly being recast in this thing where you’re not only like front and center of it but you’re kind of, your behavior, it’s setting the tone of the show.”
He was also just being inundated with videos and memes and Reddit threads from Singh and Oppenheim. And once he had committed to the part, Pattinson spent many, many hours watching Hansen on video and listening to his podcast. Chris Hansen was in his head, and the voice was hard to shake (he could hear it in “The Odyssey”). For him, it’s also, fundamentally, a character.
“It’s impossible to, like, play somebody else,” Pattinson laughed.
Hansen himself has been rather vocal about the film too, on everything from who he would have cast (Denis Leary) to questioning the motivations of the filmmaker and the studio, A24, for using his name. In a recent interview with The Hollywood Reporter, he referred to the Esquire story as “a bit of a hit piece.” He also purchased preshow advertising for his true crime streaming network TruBlu that will play in front of “Primetime” showings.
Pattinson said he’s not surprised that Hansen has been out talking about it.
“He’s a public person,” Pattinson said. “He is also just being asked about it. It’s kind of, I mean, I get it. But I’m surprised about the level of traction that everything gets.”
It’s also kind of a proof of concept; people remain interested.
“The fact that people are still discussing the ethics of it, of a 20-year-old TV show, I mean it’s absolutely insane,” Pattinson said.
Dissecting news entertainment through ‘Primetime’
The heart of “Primetime” revealed itself to everyone along the way. It wasn’t just a story about Hansen. It was also about performance and the nature of news entertainment, which is how Decoy Dan, played by Skyler Gisondo, became such a pivotal character.
Decoy Dan is an amalgamation of the adult actors who were cast to play the teenagers in the fake houses in the show. It’s a gig he gets through a standard audition process; but the realities of it transcend even improv. The juxtaposition between the journalist and the actor became a microcosm for the tension inherent in creating must-see television out of entrapment and public humiliation.
For Gisondo, the role took on a kind of meta quality too as he stepped out of his comfort zone and into this darker territory with Pattinson, an actor he’d long admired.
“This was so unlike anything I had ever done before that, uh, I was so nervous,” he said. “From the very beginning, there was this kind of like, you know, real sort of energy bleeding into it.”
Gisondo took the part, and what his character was going through, so seriously that he was a little caught off guard when he heard laughter in the audience (oftentimes when Dan is at his lowest) at the film’s premiere at the Venice Film Festival.
“Having more distance from it now, I see that clearly, just the contrast of how serious this subject matter is and then the outlandishness of the kind of setup of the show,” Gisondo said. “There’s something, I think, heartbreakingly kind of funny about how naive Dan is.”
It’s been a good year at the movies for Pattinson in particular, with a sleeper hit in “The Drama,” a bona fide blockbuster in “The Odyssey” and “Dune: Part Three” still to come (and this is all while he continues to film “The Batman” sequel). He’s also not letting it add to any anxiety about whether people will show up for “Primetime,” which will open in the U.K. on Oct. 30.
“My career has basically been like no one sees my movies,” Pattinson said. “My baseline is very low so everything’s a nice surprise.”