MINDHUNTER. Season 2 – Interviews with the Cast

Updated: August 19, 2019

MINDHUNTER Stars Talk Charles Manson, Serial Killer Obsessions and Tyler Durden

Jake Hamilton
August 9, 2019
Jake Hamilton (YouTube)

‘Mindhunter’ Cast Talks Charles Manson & Season 2

Jacqueline Coley
August 13, 2019
Rotten Tomatoes TV (YouTube)

The cast of Mindhunter

Marah Eakin
August 15, 2019
The A.V. Club, The A.V. Club (YouTube)

Mindhunter Cast Talks Season 2

Jim Halterman
August 16, 2018
TV Insider, TV Insider (YouTube)

Jonathan Groff, Anna Torv Tease ‘Mindhunter’ Season 2 Serial Killers

August 16, 2019
ET Canada (YouTube)

‘Mindhunter’: Jonathan Groff, Anna Torv & Holt McCallany on Season 2 and the Five-Season Plan

Steve ‘Frosty’ Weintraub
August 17, 2019
Collider, Collider Interviews (YouTube)

Holt McCallany Speaks On The Second Season Of Netflix’s “Mindhunter”

Kevin Polowy
August 16, 2019
BUILD Series, BUILD Series (YouTube)

Lauren Glazier Talks Season 2 Of Netflix’s “Mindhunter”

Matt Forte
August 16, 2019
BUILD Series, BUILD Series (YouTube)

Jonathan Groff Sings a Voice Memo as Frozen’s Kristoff for Jimmy’s Kids

Jimmy Fallon
August 13, 2019
The Tonight Show Starring Jimmy Fallon (YouTube)

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Deeper Cuts

Nev Pierce
August 8, 2019
Empire (September 2019 Issue)

I want to have no idea what’s going on in your head.”

David Fincher is issuing instructions to a moustachioed man, who is gazing into a mirror, adjusting the shoulder strap on the woman’s slip he’s wearing. The crew, similarly delicately, adjust the lighting for this moment of self-fulfillment — one of a series of episode-puncturing vignettes of Dennis Rader (played by Sonny Valicenti), aka The BTK Killer.

Bind. Torture. Kill. And do it quickly.

Fincher is on a tight schedule for these late additions to the lengthy shoot. While the scene is set, he sits at the monitor with lead writer Courtenay Miles, adjusting dialogue, as the art department present him with crime-scene photographs and mementos of victims for sign-off. Multitasking can be murder.

Camera set, they shoot. Once. Twice. “That is fucking creepozoid,” says Fincher, after the third take. If you can manage to unsettle the director of Seven and Zodiac, then you’re probably doing your job. The next few days filming in this cavernous Pittsburgh studio will involve FBI office politics, masks (literal and figurative) and autoerotic asphyxiation. As one crew member puts it, “Some things you can’t unsee.”

Back for its second season, Mindhunter has lost none of its fearlessness. BTK returns, of course, but following impactful portrayals of lesser-known serial killers Edmund Kemper and Jerry Brudos, this year is taking on the iconic — including arguably the two most famous serial killers of all: Charles Manson (Damon Herriman) and David Berkowitz, aka Son of Sam (Oliver Cooper). The latter we’ve previously seen on screen being commanded by a demon-possessed dog in Spike Lee‘s Summer Of Sam. And — on the 50th anniversary of the murders his ‘disciples’ carried out — Manson is everywhere, including in Quentin Tarantino‘s Once Upon A Time In Hollywood (portrayed by the same actor, Damon Herriman). But whereas most movies lean into the mythology of Manson, or embellish Berkowitz, Mindhunter is looking to re-examine reality. This isn’t hellhound hyperbole or gauze-softened myth. It’s the ugly truth.

“We want to believe they’re madmen,” says Courtenay Miles, “But when you read their history, their journals, letters, you see it is a human being in there. But it’s a human being gone wrong.” Miles was first assistant director on the debut series — the aide-de-camp to the director’s general — and made the unlikely but long-cherished transition to writer when Fincher gave her a shot. She immersed herself in the world of serial killers, and lost sleep as a result. “All of the characteristics that are in their mental structure and their compulsions are things that any other human being can identify with,” she says, reflecting on the long gestation of serial killers. “They’re made over 20 years. Nurturing these compulsions. That just got under my skin.”

Miles got the chance to be disturbed — and earn her first screenwriting credit — because Fincher cares considerably less about reputation than he does about his own lived experience. But while the first season saw him employ emerging directors (the most high-profile being Asif Kapadia, whose greatest achievements were in documentaries), here he’s joined behind the lens by two cinematic heavyweights. Carl Franklin is of late an in-demand director of TV, including House Of Cards, but was responsible for some astounding crime cinema in the 1990s: Devil In A Blue Dress and One False Move. In that grubby, merciless thriller, the wife of Bill Paxton‘s seemingly guileless cop observes, “Dale doesn’t know any better. He watches TV. I read non-fiction.” Mindhunter bridges that divide. The other director is Andrew Dominik, whose three features all deal with the ruthless reality beneath criminal lore and legends (Chopper, The Assassination Of Jesse James By The Coward Robert Ford, Killing Them Softly). Dominik has wrapped his two episodes. Franklin is shooting four, Fincher three — but, as Dominik puts it, “his tentacles are everywhere”.

Read the full on set report in the September “30th Anniversary” Special Issue of Empire Magazine, now on sale.

Previous profiles and interviews with Fincher by Pierce at nevpierce.com

NetWorkWise: Holt McCallany, Bringing Hollywood Down to Earth

Adam Connors
July 10, 2019
NetWorkWise

Audio version:
NetWorkWise Presents: Conversations with Connors (PodBean)
Holt McCallany: Bringing Hollywood Down to Earth

Original Post

The First Rule of Making ‘Fight Club’: Talk About ‘Fight Club’

Dan Evans (The Ringer)

In an excerpt from the new book ‘Best. Movie. Year. Ever.,” David Fincher, Edward Norton, and the minds behind ‘Fight Club’ talk about the bare-knuckled, bloody battle to bring Chuck Palahniuk’s book to the big screen

Brian Raftery
March 26, 2019
The Ringer

Sometimes, during their breaks, the men who worked alongside Chuck Palahniuk would gather to talk about where their lives had gone wrong. It was the early nineties, and Palahniuk was employed at a Portland, Oregon, truck-manufacturing company called Freightliner. Many of his colleagues were well-educated, underutilized guys who felt out of sorts in the world—and they put the blame on the men who’d raised them. “Everybody griped about what skills their fathers hadn’t taught them,” says Palahniuk. “And they griped that their fathers were too busy establishing new relationships and new families all the time and had just written off their previous children.”

Palahniuk’s Freightliner duties included researching and writing up repair procedures—tasks that required him to keep a notebook with him at all times. At work, when no one was looking, he’d jot down ideas for a story he was working on. He’d continue writing whenever he could find the time: between loads at the laundromat or reps at the gym or while waiting for his unreliable 1985 Toyota pickup truck to be fixed at the auto shop. The result was a series of “small little snippets” about an unnamed auto company employee who’s so spiritually inert, so unsatisfied, that he finds himself attending various cancer support groups, just to unnumb himself. He soon succumbs to the atomic charisma of Tyler Durden, a mysterious figure whose name had been partly inspired by the 1960 Disney movie Toby Tyler. “I grew up in a town of six hundred people,” says the Washington-born Palahniuk, “and a kid in my second-grade class said he’d been the actor in that movie. Even though he looked nothing like him, I believed him. So ‘Tyler’ became synonymous with a lying trickster.”

After meeting Tyler Durden, Palahniuk’s narrator begins attending Fight Club, a guerrilla late-night gathering in which men voluntarily beat each other bloody. Fight Club comes with a set of fixed rules, the most important of which is that, no matter what, you do not talk about Fight Club. Many of the book’s brawlers are working-class guys with the same dispiriting jobs—mechanics, waiters, bartenders—held by some of Palahniuk’s friends. “My peers were conflict averse,” says Palahniuk. “They shied away from any confrontation or tension, and their lives were being lived in this very tepid way. I thought if there was some way to introduce them to conflict in a very structured, safe way, it would be a form of therapy—a way that they could discover a self beyond this frightened self.”

Palahniuk would bring work-in-progress chapters to writing classes and workshops around Portland, holding one successful early reading at a lesbian bookstore. “They wanted to know ‘Is there a women’s version of this?’ he says. “They just assumed Fight Clubs existed in the world and wanted to participate.” Palahniuk, then in his early thirties, had recently seen his first novel get rejected. “I was thinking ‘I’m never getting published, so I might as well just write something for the fun of it.’ It was that kind of freedom, but also that kind of anger, that went into Fight Club.” He’d wind up selling the book to publisher W. W. Norton for a mere $6,000.

Fight Club’s quiet 1996 release came just a few years after the arrival of the so-called men’s movement, in which dissatisfied dudes looking to reclaim their masculinity would gather for all-male retreats in the woods. They’d bang drums and lock arms in the hope of escaping what had become a “deep national malaise,” noted Newsweek. “What teenagers were to the 1960s, what women were to the 1970s, middle-aged men may well be to the 1990s: American culture’s sanctioned grievance carriers, diligently rolling their ball of pain from talk show to talk show.”

Palahniuk’s Fight Club characters, though, were younger and angrier than their aggrieved elders. A few primal scream sessions in the woods weren’t going to cut it. “We are the middle children of history, raised by television to believe that someday we’ll be millionaires and movie stars and rock stars, but we won’t,” Tyler says of his peers, adding “Don’t fuck with us.” It was one of many briskly written yet impactful mission statements in Palahniuk’s book, which earned positive reviews from a few major critics—the Washington Post called it “a volatile, brilliantly creepy satire”—as well as the author’s own father. “He loved it,” Palahniuk says. “Just like my boss thought I was writing about his boss, my dad thought I was writing about his dad. It was the first time we really connected. He’d go into these small-town bookstores, make sure it was there, and brag that it was his son’s book.”

Fight Club wasn’t an especially big performer in its original hardcover run, selling just under 5,000 copies. But before it even hit shelves, an early galley copy reached producers Ross Grayson Bell and Joshua Donen, the latter of whom had produced such films as Steven Soderbergh’s noir The Underneath. Bell was put off by some of the book’s violence, but as he read further, he arrived at Fight Club’s big revelation: the insomniac narrator, it turns out, really is Tyler Durden, and at night he’s been unknowingly leading the Fight Club army raiding liposuction clinics for human fat—first to turn into soap, and then to use for explosives. Eventually Tyler’s hordes of followers begin engaging in a series of increasingly violent acts. “You get to the twist, and it makes you reassess everything you’ve just read,” says Bell. “I was so excited, I couldn’t sleep that night.” Looking to make Fight Club his first produced feature, Bell hired a group of unknown actors to read the book aloud, slowly stripping it down and rearranging parts of its structure. He sent a recording of their efforts to Laura Ziskin, who’d produced Pretty Woman and was now heading Fox 2000, a division that focused on (relatively) midbudget films. According to Bell, after listening to his Fight Club reading during a fifty-minute drive to Santa Barbara, Ziskin hired him as one of Fight Club’s producers. “I didn’t know how to make a movie out of it,” said Ziskin, who optioned the book for $10,000. “But I thought someone might.”

Ziskin gave a copy of Palahniuk’s book to David O. Russell, who declined. “I read it, and I didn’t get it,” Russell says. “I obviously didn’t do a good job reading it.” There was one filmmaker, though, who definitely got Fight Club. He was the perfect match—a guy who viewed the world through the same slightly corroded View-Master as Palahniuk; who could attract desirable actors; who could make all of Fight Club’s bodily fluids splatter beautifully across the screen. And he wasn’t afraid of drawing a little blood himself.

Read the full excerpt

The Ringer: The 50 Best Movies of 1999, Part 1

The Ringer: The 50 Best Movies of 1999, Part 2

The Ringer: Make the Case: ‘Being John Malkovich’ Was a Head Trip Masterpiece—and the Best Film of 1999

Order Best. Movie. Year. Ever.: How 1999 Blew Up the Big Screen, by Brian Raftery (Simon & Schuster). On sale: April 16, 2019

In Conversation with Actor Joe Tuttle

Paula Courtney
March 23, 2019
Absolute Music Chat

Joe Tuttle is well known amongst the fans of David Fincher’s Netflix show Mindhunter, for his role as FBI Agent Gregg Smith in both seasons 1 and 2. He has also appeared on other top-rated shows such as The Blacklist and Unforgettable. Joe and I had an in-depth conversation discussing his influences growing up, his career, and so much more.

[…]

JT: My secret weapon is my wife, she’s not an actress but she does have a writing background, so sometimes I think I can get caught up looking at these scripts as an actor like, ‘Oh this could be a really beautiful moment,’ but my wife is always about the writing, sort of, ‘Don’t forget these are human beings.’ It’s nice to have your moment as an actor, but don’t forget, are you really serving the story?

PC: And from speaking to many of the actors on Mindhunter that’s exactly what David Fincher wants when he shoots take after take of the same scene, for you not to play them out as an actor but to be, or react, as you would naturally in real life, and that really ties in to what your wife is saying.

JT: I think that’s part of it… I wish just for one day I could get in the head of David. I don’t think I’ve ever met anyone like him before; I probably won’t meet anyone like him again. He’s sort of brilliant at all these different things. I think that’s true he does a lot of takes for a lot of different reasons. One of them is certainly because it’s, ‘Okay let’s make the performances kind of finely crafted in a way, sort of uncrafted in a way. We don’t want to see the actor, we want to see a human being having the experience’.

PC: Yeah exactly!

JT: Also another reason David Fincher does a lot of takes is because I think he has a vision and he wants it to be exactly how he visualises it. It’s not always about the actor, sometimes it’s: we are slightly out of focus; it’s the wrong moment; actually I want to change one word, or the lightning is slightly different, or l want to frame up the camera in a different way, or I don’t like the coffee cup you are using, or that chair, we need to switch that out, or the background actors weren’t perfectly in sync. He notices everything, things that no one else would notice!

PC: In shooting numerous takes he wants the scenes to be the best of the best and to be fair it pays off doesn’t it.

JT: I think so. I don’t think David is making movies or TV shows for the 95%. I think people universally love his work and for good reason. He’s not making them for the 95%, he’s making them for that top 5, that top 2% even, who are going to notice these kinds of things. They are going to say, ‘That cup doesn’t make sense in this world. The lighting was a little bit off in that shot,’ or, ‘that background actor didn’t see his mark exactly.’ He’s making it for people like him, who are going to really notice that stuff. And when you do notice a glaring error or mistake, or something that doesn’t seem right, it takes you out of the story. I think he just wants a total immersive experience. He wants you, I presume, to be so involved that you almost forget, so that you really do feel like a fly on the wall, watching these people having these experiences.

PC: I have just interviewed Garry Pastore and his other job, when he’s not acting, is as a set dresser (leadman). He said he notices stuff like a blank wall behind a person which would clearly have a piece of art or a photograph on it in real life.

JT: The trouble with David is it means we notice that stuff now too; he’s sort of a force of nature; he raises everybody’s game. I’ve really noticed that about him – and not just with the actors, but the cinematographer, the technicians, the dolly grip, the sound folk – because he’s operating at such a high level you have rise to the occasion. I think that’s why people are drawn to working with him and will pass up other job opportunities, just to be able to work with David.

PC: I have arranged to have an interview with a guy called Dwayne Barr who operates the A camera dolly grip, because I’m just as interested to get his take on the technicalities of Mindhunter and Fincher, not just actors. I would love to talk to Erik Messerschmidt about cinematography.

JT: He’s a talented guy. It’s the first time in my working life as an actor I’ve been like ‘Wow!’ I wish my education had included more about cameras, editing and lighting. We touched on a lot of that stuff in acting school but wow, the technical aspects of making a TV show or film is frankly probably more important than some stuff we were taught. Just being able to ask the DP or the cinematographer why this, why now? Because I’ve had this work opportunity, I’ve started to notice.

Read the full interview

Joe Tuttle (David Noles)

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

Jonathan GroffHolt McCallanyCameron BrittonCotter SmithJack ErdieAdam ZastrowAlex Morf, Jesse C. Boyd, Tobias SegalThomas Francis MurphyChris Dettone.

In Conversation with Jesse C. Boyd (Mindhunter, Day 5, TURN)

Davina Baynes
March 9, 2019
Absolute Music Chat

Jesse C. Boyd has graced our screens playing roles such as Frank Janderman in David Fincher’s Mindhunter, the lead role of Jake in Day 5, a Queen’s Ranger in TURN and a wolf in The Walking Dead. We had an in-depth, and really fun conversation, about his childhood in rural North Carolina, his career and roles, upcoming projects, music, his love of hot sauce and lots more besides.

[…]

JCB: For Mindhunter I auditioned for it for, I think, a year – it was really long time. I remember I did my first tape when I was at a film festival in Idaho and, I think, while I was there I found out that I got Day 5. Then when I was filming Day 5 season 1 I got my second audition and they added another 8 pages to it. That was just ongoing and ongoing over time until, finally (and I think I was wondering whether it was actually happening) they were like, ‘They want you to come in to the office and do another read.’ I went in for another read. I think that Laray Mayfield (who does the casting) she actually does prefer self-tapes because she wants to weed through and see what she gets. They did just such an incredible job with that casting. When I saw it myself I just thought, ‘Wow! This is just so authentic and good!’ Laray is so talented too. Getting finally into the room you’re like, ‘Don’t screw this up!’

DB: When you were in the room was it just one or two run-throughs, or did she tweak how she wanted you to play it?

JCB: She did tweak. I know she did a version where she wanted it really fast. You’ve got to realise we’ve been doing these auditions over a year and the names are changing and the dialogue changes so you are consistently reframing what you’ve already learned. And then you’re finally going into the room and they’re like, ‘Can you do a fast version?’ (I think they want to see how [actors] can be on their feet, because of the way they filmed that show. When I ended up filming it they had so many different versions that we did of dialogue, I think they wanted to see whether you could handle these quick switches). There was one take that was super-fast and one that was more slowed down.

DB: How did you prep for that role? For who Frank Janderman actually is.

JCB: First of all I [had] spent a lot of time in Pittsburgh which was great (I did work and lots of things there), so that Pittsburghian accent was all around me. Then I just saw Frank as just like so many people that I feel that I already kind of know in life. This ‘nobody-fucking-asked-you’ kind of guy, but also he believes he’s a hotshot. He was accessible to me through so many other people I had met in my life that I know, that I think are really so much about the façade of not showing who they really, truly are – some of that, broken-downness in them.

DB: There’s a long interrogation scene and then a shorter one: how many takes did they do?

JCB: Oh my God! I wish I could tell you! Can I say a million takes? They did that big interrogation scene – we had three cameras running at all times – I think we filmed it for 12 hours the first day (it’s a 9-and-a-half page scene) three cameras, so you’re getting every angle on either side, and you’re doing it over, and over, and over, and over, and over… and just when you’re done, you’re doing it over, and over, and over again. Then I think the next day we went back and did another 6 hours. So it was a really long time of doing which is, I think, what makes it so great. First of all you’re breaking down a lot; you’re coming back; you’re refreshing with new things; you’re constantly finding new things to play with; and also you have so much coverage that when he [David Fincher] chooses what he’s going to put together he really has every colour of the box to paint his picture with.

Read the full interview

Jesse C. Boyd (Janet Adamson / JA Images)

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come): Jonathan Groff, Holt McCallany, Cameron Britton, Cotter Smith, Jack Erdie, Adam Zastrow, Alex Morf, Tobias Segal, Thomas Francis Murphy, Chris Dettone.

In Conversation with Mindhunter’s Cameron Britton

Paula Courtney
November 3, 2018
Absolute Music Chat

Emmy-nominated actor Cameron Britton mesmerised us all with his portrayal of serial killer Ed Kemper, on hit Netflix show Mindhunter. In this interview we discussed everything from romance to his preparation for the role and working with director David Fincher, the real Ed Kemper and so much more.

[…]

PC: When you were sat in that room with Fincher, was it hard not to show your nervousness, what did you do to combat those feelings or were you not nervous?

CB: It was back and forth that I thought, ‘Oh I’m doing a terrible job, he’s going to fire me,’ and Jonathan would talk me down from the ledge. There were days when we had done 50 takes – let’s do 50 more, 70 more I don’t care, I’m having a blast, I’m just lost in the moment, because it’s not just the takes it’s how quickly we get back to the top of the scene. Often when someone says ‘Cut!’ you know you don’t actually get to start the scene again until 10 minutes later, with him it’s 15 seconds! We are back in it. I’d never done that in my life before and that in character, for that long for a whole day of, since you’ve been awake you’re in character. It just starts becoming this sort of spiritual experience where you kind of forget what you planned on doing, you’re surprising yourself, you’re going, ‘Oh oh God! I’ve never delivered it that way before! Where did that come from?’

PC: I was talking about that with Adam Zastrow and he said by the time you do the 50th take you feel like it’s going through the motions, you don’t have to think about it but by then you are delivering something that is more natural, or organic, and that is what Fincher is looking for: that very moment when you are not acting, you are being it, doing it, aren’t you?

CB: You are! And day one I thought, ‘Are they going to fire me? Am I going to get too tired to do this?’ And that is just not the case. I met a few people playing killers who were nervous – anyone who’s worked on Mindhunter and worked with Fincher – they all think, ‘Ah, they’re going to fire me!’ But when you are in there, man you just keep going. Being fired is the last thing you’re thinking about, you are just alive. It’s a hell of an experience and honestly is moving forward my career. I’ve been fortunate enough, because of my character, to get to do bigger projects now, like that’s sort of my standard. When I go to other projects now I go, ‘Okay, are they living up to what Mindhunter taught me and are they making good art?’ And if they are not then I sort of politely find a way to come off what’s going on.

PC: What about learning your lines: how easy is that for you? Obviously you had quite a bit of dialogue: how do you make it stick?

CB: There’s knowing all your lines, that’s fine and that comes really quickly, what really takes repetition is to do it enough so you don’t need to think about them. There just coming out and that is so necessary to me, if I’m just thinking about the line then I’m not living ‘in the moment’ and that’s just the kind of acting that I do. I need to have nothing happening to distract me. I just take every opportunity to be where I need to be ‘in the moment’ because I’m still working on it. If I don’t feel connected to the scene, or ‘the moment’, I can kind of panic and then you can sort of see me acting. Some actors, they are able to go, ‘Well I’m not connected right now but I can sort of fake my way through this,’ and that’s just part of life: if you have a job there’s some days you are just not feeling it even if it’s your favourite job in the world. I’m still working on that but no matter what, I have to know the lines backwards and forwards.

PC: With regards to David Fincher’s style of directing, is there any room for a bit of give? Do you feel you could suggest to him that perhaps you’d like to try something different or is it all very controlled by him or the other directors?

CB: With David there’s a line here, a line there, in this big, giant script where he says, ‘I want this to be arrogant,’ or, ‘I want this in a form of a question.’ And I think, when he says ‘arrogant’ there are many, many, many ways to do that so it’s up to you how you want that to be conveyed – the rest of the script is all yours. And maybe that’s just my experience. David puts you in: he guides you in the right direction. So if an actor strays too far this way or that way he’ll sort of put you back on track, but the point of all those is not to do anything you’ve prepped and just be truly alive ‘in the moment’. If you’re over-directing somebody then it won’t be that: then you’re just using all those takes to get this exact delivery or performance out of them, which is fine, but it’s not allowing… like he’s so trusting that inspiration will come; you know if he has too much vision for a moment he’s not allowing for a better vision to show up. If he’s saying it has to be this way then how do you know if something better wouldn’t have come along? He’s very trusting and it empowers you; you can tell [when] your director is letting you do your job. There’s been times he’s had to put me back on track: the hospital scene in the final episode when I stand up and turn around he let me go two or three takes where I just went ballistic. When we first started shooting that part I stood up like a maniac and then by the third he said, ‘I can’t think it up with the rest of that part of the scene. You can’t do that’. It needed Kemper to stay calm and collected but, in a way, I needed to go crazy for a second, I needed to really feel that wild, impulsive energy, that’s sort of Kemper though isn’t it: even when he’s calm you can feel his urge to hurt; he’s almost masking a lot of violence, no matter how mellow he looks.

Read the full interview

2018-11-03. Cameron Britton

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
In Conversation with Cotter Smith. Actor (MindhunterThe Americans)
Jack Erdie: Actor (MindhunterBanshee) & writer
In conversation with actor Adam Zastrow (Mindhunter, High & Mighty)
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator