Williams failed three polygraph tests. Hairs and fibers retrieved from the body of another victim, Jimmy Ray Payne, were found to be consistent with those from his home, car, and dog. Co-workers told police they had seen Williams with scratches on his face and arms around the time of the murders which, investigators surmised, could have been inflicted by victims during struggles. Williams held a press conference outside his home to proclaim his innocence, volunteering that he had failed the polygraph tests, which would have been inadmissible in court.
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 InfoTarantino 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 InfoAccording to Rudolph Altobelli, who rented the house to Polanski and Tate, in March 1969, Charles Manson showed up looking for Terry Melcher. Polanski's friend Shahrokh Hatami also said he saw Manson enter the grounds. Hatami approached Manson, asking him what he wanted. He told Hatami he was looking for Melcher. Hatami responded the house was the Polanski residence and perhaps Melcher lived in the guest house. Altobelli told Manson that Melcher no longer lived there. This happens in the film, with Sebring in place of Altobelli and Hatami.
More InfoThe development of Mindhunter began in 2009 when Charlize Theron gave a non-fiction crime book titled Mindhunter: Inside the FBI's Elite Serial Crime Unit to David Fincher. In January 2010 the Mindhunter project was set up at Fox 21, which had optioned the book, along with premium cable channel HBO. Scott Buck was tapped to write the pilot. Fincher, who was mostly known as a director and producer in films, felt at that time that television was "completely foreign" until he worked on the political drama House of Cards, for which he co-produced and directed the first two episodes. When Fincher finally felt comfortable with television as a medium after doing House of Cards, Theron suggested playwright and screenwriter Joe Penhall as the project's writer, replacing Buck. In December 2015, Mindhunter was moved to streaming service Netflix, with Fox 21 dropping out of the project.
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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