Production
The film was directed by Errol Morris and scored by Philip Glass. Morris was originally going to film a documentary about prosecution psychiatrist, Dr. James Grigson, known as Doctor Death, who testified in more than 100 trials that resulted in death sentences. As an expert psychiatrist, Dr. Grigson made a name for himself by giving testimony in capital cases for the prosecution. Under the law in Texas, the death penalty can only be issued if the jury is convinced that the defendant is not just guilty, but will commit violent crimes in the future if not put to death. In almost every instance, Dr. Grigson would, after examining a defendant, testify that he had found the individual in question to be an incurable sociopath, who it was "one hundred per cent certain" would kill again. Grigson told the jury that Adams would be an ongoing menace if kept alive but Morris, after meeting Adams, became skeptical that he committed the crime.
The film contained re-enactment scenes built carefully from witnesses' statements, which became common in later documentaries. Although the film recreates several versions of the shooting, it does not recreate one in which David Harris shoots the officer, the interpretation which it argues is true.
The final scene, in which Morris and Harris are only heard, while shots of a tape recorder appear from various angles, was not originally planned. Morris's camera broke down on the day of the interview, forcing Morris to use a tape recorder to document the dialogue.
Prior to directing the film, Morris worked as a private detective. Once fascinated by the Adams/Harris case, he applied those skills to his research on the film. The weekend that David Harris killed Mark Walker Mays, Morris actually had an interview scheduled with Harris. Morris remarked in an interview with James Hughes: “I often say it's my favorite excuse for missing an appointment: 'I'm sorry, I was off killing someone.'”
Morris's interview style, that of the subject staring directly into the camera, led to a later invention that his wife termed the Interrotron. It was first used in Fast Cheap and Out of Control (1997), and it places Morris behind a curtain staring into a camera, which feeds into a teleprompter-like device that the interviewee can interact with. The interviewee, therefore, looks directly at Morris, and the camera.
The Corporation for Public Broadcasting, National Endowment for the Arts, Program Development Company Productions Inc., public television stations, and The Chubb Group of Insurance Companies funded the documentary.
Read more about this topic: The Thin Blue Line (film)
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