Well-known for his contributions to the true-crime genre, Joe Berlinger has lent his directorial prowess to documentaries featuring notorious serial killers such as Ted Bundy, John Wayne Gacy, and Jeffrey Dahmer. His tireless work in the field extends beyond mere media production, bringing about the liberating outcome for six innocent individuals, including the West Memphis Three. He has also been a beacon of hope to countless families who were terrorized by serial killers. Despite his measurable deeds, Berlinger is not entirely pleased with the direction this popular genre is taking.
As a veteran director, Berlinger has observed a significant shift in the genre since his inaugural documentary, Brother’s Keeper, that premiered in the early 90s. The film investigates a murder case in the small town of Munnsville, New York. His concerns centre around the proliferation of low-quality content in today’s cable television and, bizarrely, the rise of crime podcasts with an off-putting, irreverent tone.
According to Berlinger, victim approval marks a pivotal aspect of these productions. This sense of respect for victims and their tribulations should embed every project within this genre. However, he notes that despite the crucial importance of such industries, the true-crime genre often attracts ‘unnecessary knee-jerk negativity,’ which he feels is unjust.
Alongside his colleague, he directed the much-lauded 1996 documentary, Paradise Lost: The Child Murders at Robin Hood Hills. This groundbreaking film played a monumental role in liberating the West Memphis Three. Berlinger’s continual practice of shining a light on these cases serves a dual purpose; it is simultaneously an act of justice and an educational drive for younger audiences who are unfamiliar with such historical tragedies.
One of Berlinger’s most lucrative ventures, Conversations with a Killer, is acclaimed. A key element of its success is tethered to the profound importance of revisiting history. By dissecting and examining these infamous cases afresh, they present these tales to novice audiences who might be hearing about these instances for the first time.
Glimpses into the backstory were offered by Stephen Michaud. As co-author of a published book profiling Bundy, Michaud provided Berlinger with some enlightening audio tapes that were eventually incorporated into the Netflix series. Its immense success spurred Netflix to commission more investigative work from Berlinger, who was then asked to produce tapes documenting other serial killers.
Berlinger’s perception varied when considering the Son of Sam case. The Son of Sam, or David Berkowitz, wreaked havoc in New York City between 1975 and 1977. Berkowitz’s chilling onslaught, leaving six people dead and 11 injured, was responsible for one of New York’s most intense manhunts. Subsequently, Berlinger decided to proceed with the project, focusing his series on the infamous Son of Sam.
The series, spanning three parts, walks viewers through the NYPD’s desperate yet relentless pursuit of the notorious .44-caliber killer. The novelty of the series comes from the freshly discovered recordings that provide viewers a rare glimpse into Berkowitz’s tortuous psyche. It unravels the chilling thought processes that underlie his reign of terror during the late 1970s.
In an unexpected deviation from his usual method, Berlinger decides to interview Berkowitz within this series, a first in the franchise’s history. Unlike his previous subjects – Bundy, Gacy, and Dahmer – Berkowitz is still alive and incarcerated in the Shawangunk Correctional Facility. Berlinger admits grappling with the decision as he did not want to realign the narrative.
During the exclusive interview, Berlinger recalls a particularly disconcerting moment: when Berkowitz admitted his need for help. According to Berlinger, Berkowitz’s crimes emanate more from a prominent cry for help than sociopathic enjoyment, distinguishing him from serial killers who revel in sadistic pleasure.
Berlinger’s portfolio is as versatile as it is impactful. In addition to his chilling true-crime documentaries, he has directed films like Metallica: Some Kind of Monster. This documentary is widely celebrated as one of the greatest rock documentaries of all time, displaying the breadth and depth of Berlinger’s filmography.
Berlinger reflects that audiences were not as media-literate during the inception of Paradise Lost. The shift in viewers’ savviness adds another layer to the challenges involved in producing compelling content while maintaining integrity to the core narrative. The true-crime genre has rapidly evolved into a thriving industry that must adapt to cater to the contemporary audience.
Every story that Berlinger chooses to tell must meet an essential criterion: justification of its relevance. The narrative needs to be valuable, insightful, or informative in some way for Berlinger to consider it. This steadfast commitment to relevance ensures that Berlinger’s work continues to raise important questions and create meaningful conversations.
While the lure of profits may tempt many in this industry, Berlinger remains committed to the core principles of factual representation and empathy towards victims. His principled approach has not only allowed him to create outstanding work but also ensured that his work has a profound impact on his audience.
Berlinger’s notable career in the true-crime genre is marked by a tenacious quest for justice, an unyielding advocacy for victims, and a continuous push to educate audiences about past atrocities. As a result, he has enjoyed significant success and respect in the industry, setting a high bar for others to aspire to.
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