Chris Hansen Says He Has ‘No Issue’ with Robert Pattinson, But Finds “Primetime” to Be an ‘Insult’

Chris Hansen, the former Dateline NBC journalist known for his investigative series To Catch a Predator, has expressed deep concerns regarding the upcoming movie, *Primetime*, which stars Robert Pattinson. In a recent interview, Hansen noted that the film’s premise places Pattinson in a challenging position, particularly due to Hansen’s lack of involvement in the project.

Hansen, aged 66, has made significant public objections to the film’s production, revealing that he was unaware of its development until shortly before the first trailer premiered in May this year. The film, which had its world premiere at the Venice Film Festival on 5 September, has already garnered attention, even earning a standing ovation at the festival. However, Hansen remains dissatisfied with how his legacy is being portrayed.

Speaking with *The Hollywood Reporter*, Hansen reflected on the implications of a fictional film bearing his name. “There wouldn’t be a movie if I hadn’t created the Predator investigative series, so that would not be possible without my work,” he stated. Hansen acknowledged Pattinson’s kind remarks about him and expressed hope that the film would positively contribute to his legacy. However, he reiterated his concerns about the storyline, suggesting that it transforms serious subject matter into something more akin to a horror film.

Hansen voiced his apprehension regarding the film’s darker themes, stating, “They turn something that is very positive, very challenging and not without risk into what is essentially a horror film.” He believes this approach undermines the efforts of the countless professionals dedicated to protecting children from harm.

In response to questions about Pattinson’s performance and potential accolades, Hansen indicated that while he respects the actor’s talent, he feels the narrative does not honour the real-life efforts behind the story. Pattinson himself showed empathy towards Hansen’s situation during a press conference in Venice, expressing his hope that the journalist would enjoy the film. However, Hansen remarked on the awkward position that Pattinson faces, as questions will inevitably arise about why he did not consult with Hansen while preparing for the role.

“I have no issue with Robert Pattinson. I think he’s a great actor and a nice guy, and he has been very gracious in his comments about me,” Hansen noted. “But they put him in a difficult position. He’s going to be asked, ‘Did you actually meet with Chris Hansen?’”

Despite his criticisms, Hansen refrained from directing animosity towards Pattinson, instead attributing the oversight to the studio’s decision-making. He speculated that the filmmakers preferred to pursue their vision without engaging with the facts surrounding Hansen’s real-life experiences and accomplishments. “I think it’s because the studio and the director didn’t want to know the truth,” he suggested.

Additionally, Hansen, who continues to conduct investigations through his streaming network TruBlu and his podcast, *Have a Seat with Chris Hansen*, hinted at possible legal actions against the film’s producers. During a recent appearance on Dan Abrams’ SiriusXM podcast, he revealed that he had reached out to A24, the studio behind the film, expressing his concerns. “I sent [studio A24] one last email laying out essentially what I said, and I’ve laid that out before,” Hansen explained, highlighting the unusual timing of the studio’s contact with him just before the trailer’s release.

Hansen also indicated that during communications with A24, representatives suggested that they did not feel the need for his input, noting, “This is loosely based on Chris’s work, so we didn’t have any compelling need to reach out to him, consult him or get permission.” He found this rationale insufficient, especially given that the film’s marketing prominently features his name.

As *Primetime* approaches its theatrical release on 25 September, it remains unclear how Hansen’s grievances will affect public perception of the film. The cast includes notable talents such as Merritt Wever, Matthew Maher, Bokeem Woodbine, and Phoebe Bridgers, who is making her film acting debut.

While the anticipation surrounding the film grows, Hansen’s critique serves as a reminder of the complexities involved in adapting real-life stories into cinematic narratives. The juxtaposition of fictionalisation alongside real events raises ethical questions that are not easily resolved, making Hansen’s stance all the more pertinent as the film prepares to enter cinemas.