Williams has maintained his innocence from the beginning and claimed that Atlanta officials covered up evidence of KKK involvement in the killings to avoid a race war in the city. His lawyers have said the conviction was a "profound miscarriage of justice" that has kept an innocent man incarcerated for the majority of his adult life and allowed the real killers to go free. In contrast, Joseph Drolet, who prosecuted Williams at trial, has stood by Williams's convictions. He has emphasized that, after Williams was arrested, "the murders stopped and there has been nothing since."
Tarantino told cinematographer Robert Richardson, "I want it to feel retro but I want it to be contemporary." Richardson shot in Kodak 35mm with Panavision cameras and lenses, in order to weave time periods. For Bounty Law they shot in black and white, and brief sequences in Super 8 and 16mm Ektachrome. In the film, Lancer was shot on a retrofitted Western Street backlot at Universal Studios, designed by Ling. Richardson crossed Lancer with Alias Smith and Jones for the retro-future look Tarantino wanted. The way they filmed Lancer was not possible in 1969, but Tarantino wanted his personal touch on it. Richardson said that filming the movie touched him personally, "The film speaks to all of us... We are all fragile beings with a limited time to achieve whatever it is we desire... that at any moment that place will shift... So take stock in life and have the courage to believe in yourself."
More InfoThe film also garnered moral and theological praise. The Los Angeles Catholic Bishop Robert Barron praised the character of Cliff Booth as embodying the four cardinal virtues, while the theologian David Bentley Hart wrote that the film "exhibit[s] a genuine ethical pathos, one that actually brought tears to my eyes" for its portrayal of "cosmic justice." Specifically, Hart praised the revisionism when "Tarantino's version of the story unexpectedly veered away into some other, dreamlike, better world, where the monsters inadvertently passed through the wrong door and met the end they deserved" that "gave glorious expression to a perfectly righteous rage" in "some other order of reality, if only an imaginary one, where ethereal sweetness had survived and horror had perished."
More InfoIn the film, Lee engages in a fight with Cliff Booth on the set of The Green Hornet. The Green Hornet theme song is featured in Tarantino's Kill Bill: Volume 1. The masks worn by the Crazy 88 gang in that film are the same as Lee's mask as Kato in The Green Hornet. The car Booth drives is a 1964 blue Volkswagen Karmann Ghia convertible. It is the same year, color, make and model of the car that Beatrix "the Bride" Kiddo (Uma Thurman) drives in Kill Bill: Volume 2. Similarly, Rick Dalton's 1966 Cadillac de Ville is the same as the car driven by Mr. Blonde (Michael Madsen) in Reservoir Dogs. It is owned by Madsen.
More InfoIn November 2019, it was reported that a potential third season had been put on indefinite hold until Fincher finished working on his next film, Mank. Fincher plans to make five seasons. In January 2020, Netflix announced that the cast had been released from their contracts and that the series was on indefinite hold, as Fincher was busy with other projects. A Netflix spokesperson stated, "He may revisit Mindhunter again in the future, but in the meantime felt it wasn't fair to the actors to hold them from seeking other work while he was exploring new work of his own."
More InfoMike Moh, who played Lee, said he was conflicted at first: "Bruce in my mind was literally a god. ... Bruce didn't always have the most affection for stuntmen; he didn't respect all of them." He stated, "Tarantino loves Bruce Lee; he reveres him." Brad Pitt objected to an extended version of the fight, stating, "It's Bruce Lee, man!" according to stunt coordinator Robert Alonzo. According to Lee's friend and The Green Hornet stuntman Gene LeBell, Lee had a reputation for "kicking the shit out of the stuntmen. They couldn't convince him that he could go easy and it would still look great on film." Lee biographer Matthew Polly stated, "Bruce was very famous for being very considerate of the people below him on film sets, particularly the stuntmen. ... So in this scene, Bruce Lee is essentially calling out a stuntman and getting him fired because he's the big star."
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