No Man of God
“It wasn’t in the script at all and it was something that I felt like, ‘I just can’t make this movie and not have a nod to the victims,’” Sealey said. “I want this to have lots of layers: Yes it’s about Bill and it’s about Bundy, but it’s also about us as a society, and our interest in these kinds of films and these kinds of people. It’s also about the victims and how they’re voiceless and they don’t have a say. And the fact that nobody’s making movies about them.
“First of all, she allowed me a lot of room to gripe and express all of my revulsions and fears about investing in a story that is—by virtue of whatever it is, it’s a mystery to me—always sensationalized,” Kirby said. “She and I shared this feeling of responsibility that we wanted to do everything we could to limit that.”
One of those new people was Hagmaier himself , who was a reassuring resource when the creatives reached out. “Every time I was speaking with him, he was affirming what was on the page,” Kirby said. “Just hearing it from him gave it that extra bit of depth that made you feel confident chewing on it. We went to the direct wellspring.” Not only did Hagmaier help assuage any trepidation the cast might feel about the script, he offered a little perspective just by virtue of his experience.
“With Elijah he had a little bit more freedom because there’s not as much video out there of Bill—he’s not as well-known—so he had a little more flexibility with his physicality. We settled on a sort of stillness. He’s often sitting still: He leans forward, he leans back, he crosses his arms, he uncrosses his arms. For Luke, his job was a little harder in that people are very familiar with Bundy’s physicality. But Luke is a natural at picking up that kind of stuff.
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