Berlinger’s Bundy projects coincidence

The timing was uncanny: Days apart, on the weekend marking the 30th anniversary of the execution of notorious serial killer Ted Bundy, Academy Award-nominated filmmaker Joe Berlinger (“Paradise Lost” trilogy, “Some Kind of Monster”) premiered his Zac Efron-starring Bundy film “Extremely Wicked, Shockingly Evil and Vile” at the Sundance Film Festival and unveiled the four-part docu-series “The Ted Bundy Tapes” to voracious true-crime fanatics on Netflix.

“It’s a little bizarre,” Berlinger admitted, stopping by the L.A. Times studio at Sundance. “I’d love to take credit for this master plan … but the fact that I even did both is somewhat coincidental.”

It was nearly two years ago that Berlinger was contacted by author Stephen Michaud with a tantalizing offer to dive into hours and hours of taped conversations with Bundy that Michaud and Hugh Aynesworth wrote into the nonfiction book “Conversations with a Killer.”

“He said, ‘I’ve never really done anything with these audio tapes that I did a book on,” said Berlinger. “‘Do you want to listen to the tapes and see if you think there’s anything there?'”

The docu-series that would become “Conversations With a Killer: The Ted Bundy Tapes” was already underway with Netflix when Michael Werwie’s Black Listed script for “Extremely Wicked, Shockingly Evil and Vile,” a narrative retelling of Bundy’s crimes told from the perspective of his live-in girlfriend Elizabeth “Liz” Kloepfer, fell into his lap.

Within a month and a half, the feature film secured financing with Zac Efron attached to star as the duplicitous Bundy and Lily Collins as Kloepfer, whose 1981 memoir “The Phantom Prince: My Life With Ted Bundy” shed rare insight into the private life of the convicted killer.

Now, with both Bundy projects unveiled simultaneously — Netflix announced its acquisition of “Extremely Wicked” after the film’s Sundance premiere and the trending success of its “Ted Bundy Tapes” launch — Berlinger has found himself in the controversial business of Bundy. And audiences are wrestling with their own fascination with the man who confessed to murdering and raping as many as 30 women and girls across seven states in the 1970s.

The timing of these two Ted Bundy projects makes for quite the coincidence. What sparked your interest in exploring all things Bundy?

It’s a story that’s been told many times, so my bar was high. But I listened to the tapes and I thought there was an amazing opportunity to go inside the mind of a killer and tell a story, with a little distance and with some freshness, because we had this perspective from Bundy himself.

How did “Extremely Wicked” fall into place?

There was no intention to do a scripted film, but I was sitting with my movie agent at CAA and I mentioned I was doing this Bundy series. He sent me the script and on the plane ride home I read it, and I texted him from 30,000 feet saying, “Oh, my God, I love this script.”

I loved it because it provided a new way into the story, a fresh way, and it allowed me the opportunity to turn the serial-killer genre on its head. (Weeks later) at a CAA meeting Zac (Efron)’s agent says, “That’s interesting — Zac is looking to do something different. What do you think about Zac?”

What did you think about Zac Efron? How familiar were you with his work?

I actually think Zac is a terrific actor who hasn’t been given enough opportunities to show his range. And I thought if Zac was willing to play with his teen heartthrob image, that’s a piece of reality to bring into the movie that I thought would be very effective. I felt like it would be a bold choice for both of us, and if it worked, it would really work.

You’ve both zeroed in this element of charisma being vital to Bundy’s ability to pull off so many crimes. That’s a quality Efron has demonstrated throughout his career, so on paper, that tracks.

But when an agent says to you, “Do you want Zac to read the script?” it’s not a light decision, because for somebody at Zac’s level to read the script it’s a reading offer.

That means if he says yes, you’re obligated to use him. But my reaction was immediate. I was at JFK on South African Airlines with the doors closing. Instead of going, “I need to think about that and I’m going to be incommunicado for the next 36 hours because I’m on my way to the Skeleton Coast of Namibia … because I’m making a documentary about a wind surfing legend named Robbie Naish,” I’m having to make a quick decision: ignore the email, say yes, or think about it? I was like, “Sounds like a great idea. Boom.”

How did working simultaneously on these two projects help each inform the other?

On the most basic level I was deeply immersed in the subject and a total expert going into the feature film. The department heads, like the art director, production designer, costume designer, everybody had this amazing resource back in New York to tap into, which was my documentary team. Photo references were sent over.

Any time we had a factual question because we changed the script during prep and added some stuff, there was this doc series in the making that we could tap into.