The Milk and Good Will Hunting director’s new film is about ‘a little guy’ taking violent revenge against the system. He talks about the parallels between Dead Man’s Wire and the homicide case currently dividing Gen Z and boomers
In February 1977, a middle-aged Indianapolis businessman named Tony Kiritsis took hostage an employee at his local mortgage brokers, who he was convinced had cheated him out of the profits of a piece of real estate. The system was weighted against the little guy, Kiritsis decided, and he was going to be the one to make it pay. He attached one end of a wire to the trigger of a shotgun, the other to the hostage’s head, and demanded $5m and an admission of guilt from the brokers’ boss. The final moments of the standoff, which lasted 63 hours, were broadcast live on TV.
It has already been the subject of a 2018 documentary (Dead Man’s Line) and a 2022 thriller podcast (American Hostage) which starred Jon Hamm as the DJ who broadcast an interview with Kiritsis live from the crime scene. Now Gus Van Sant, whose 40-year-plus career incorporates queer landmarks (My Own Private Idaho, Milk), mainstream crowdpleasers (Good Will Hunting) and arthouse award-winners (the Columbine-inspired Elephant), is dramatising the events in Dead Man’s Wire. This wry thriller cuts between the volatile captor (Bill Skarsgård) and the media circus swirling around him, which includes the DJ, played here by Colman Domingo, and a female TV journalist (Myha’la) fed up with being fobbed off. Al Pacino has a cameo as the boss of the mortgage company, sunning himself in Malibu and unconvinced he has anything much to apologise for.
