How a Video Message from the “To Catch a Predator” Host Inspired “Primetime” Director to Make Movie About Chris Hansen (Exclusive)

**Lance Oppenheim Discusses ‘Primetime’: The Fascinating Rise of Chris Hansen through the Lens of Cinematic Storytelling**

Lance Oppenheim, the director behind the much-anticipated film ‘Primetime’ featuring Robert Pattinson, has revealed the intriguing origins of the project, which draws inspiration from Chris Hansen, the host of the infamous television series *To Catch a Predator*. A unique turn of events led Oppenheim to explore Hansen’s compelling on-screen persona, beginning with a personal gift received through the celebrity video platform Cameo.

In a recent interview with PEOPLE, Oppenheim detailed how the idea for *Primetime* was sparked by a Cameo video gifted to him by his wife, Abigail Rowe. This particular video featured Hansen, now 67, delivering a celebratory message that cleverly referenced his signature catchphrase, “have a seat.” Oppenheim became fascinated with Hansen’s work during his formative years, recalling how a 2007 episode of *South Park* had parodied *To Catch a Predator*.

Reflecting on his obsession, Oppenheim stated, “I was sort of blown away by the theatricality of how he went about dismantling people’s lives.” He noted Hansen’s almost mythological ability to engage with individuals who wished to flee the situation, turning their discomfort into the foundation for a critical conversation. This impression left a lasting impact on Oppenheim, shaping his perspective on celebrity and morality.

The director’s interest in crafting a narrative centred around Hansen grew deeper after watching the Cameo. In the video, Hansen not only referenced his work but also spoke of his ongoing efforts to combat child predators through his streaming network, TruBlu, and his podcast, *Have a Seat with Chris Hansen*. Oppenheim remarked on the surreal experience of witnessing Hansen evolve from a mere television figure to a cultural meme, remarking, “It was almost like watching a man become a meme — man becomes meme, man becomes myth.”

Intriguingly, after discovering Hansen’s Cameo, Oppenheim revisited other videos the host had produced, which further solidified his vision for the film. His insights on Hansen’s persona were well captured in a script drafted by Ajon Singh, which Oppenheim received coincidentally around the same time. He described the narrative as echoing the hyper-stylised storytelling reminiscent of renowned filmmakers such as Brian De Palma and Oliver Stone.

During his collaboration with Pattinson, the director likened their initial meetings to a “courtship process.” The two bonded over late-night conversations filled with lighthearted moments and two oddly chosen companions: Four Loko drinks and gummy bears. Oppenheim relayed the excitement he felt as Pattinson ultimately agreed to take on the lead role in the film after an engaging discussion that stretched well into the early hours of the morning.

Set against the backdrop of 2006, *Primetime* delves into Hansen’s experiences as he navigates the mounting popularity of *To Catch a Predator*. The plot encompasses both Hansen and his producer, portrayed by Merritt Wever, as they grapple with the ethical implications of their work while being engulfed in the dramatic spotlight of live television. The narrative draws some of its inspiration from a 2007 Esquire article entitled “Tonight on Dateline, This Man Will Die,” reflecting on the cultural phenomenon that *To Catch a Predator* encompassed.

Oppenheim’s venture into this darkened chapter of television history balances sensationalism and moral contemplation. “It reflects on the kind of crusader I grew up watching,” he explains, illustrating both the gravity of Hansen’s role and the larger media implications it carried.

*Primetime* is scheduled for release in UK theatres on September 25, promising audiences a thought-provoking exploration of television’s complex interactions with ethics, celebrity, and societal values. As Oppenheim puts it, this film serves as both an homage to a significant cultural figure and a critical reflection on the nature of sensationalism within media. The anticipation surrounding Pattinson’s portrayal of Hansen is palpable, signalling a transformative cinematic experience that bridges the gap between fiction and the often harsh truths of reality.