How Peter Craig’s Crime Writing Journey Led to the Thrilling ‘Dope Thief’ Series

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Over the past 15 years, Peter Craig, who is behind the scenes of the series “Dope Thief,” has become a well-respected and frequently sought-after writer in Hollywood when it comes to creating compelling crime dramas.

In 2010, Craig shifted from writing crime novels to becoming a sought-after screenwriter following his collaboration on Ben Affleck’s crime thriller “The Town.” He then demonstrated his adaptability by transforming Suzanne Collins’ “Mockingjay” into “The Hunger Games: Mockingjay – Part 1” and “Part 2,” before bringing his own crime novel, “Blood Father,” to the cinema in 2016. Since then, he has earned co-writing credits on “Bad Boys for Life,” as well as story credits for “Top Gun: Maverick” and “Gladiator II.” However, he often revisits his preferred genre, crime, notably as a co-writer for Matt Reeves’ “The Batman.

According to Dennis Tafoya’s “Dope Thief”, Craig’s initial television debut, which will air on Apple TV+ starting March 14, is an 8-episode crime drama that intertwines Craig’s key writing domains as a novelist and screenwriter. This limited series revolves around two Philadelphia swindlers, Ray (played by Brian Tyree Henry) and Manny (portrayed by Wagner Moura), who pretend to be DEA agents to extort small-time drug dealers. However, their scheme takes an unexpected turn when they target the wrong house in rural Pennsylvania, leading them to defend each other and their loved ones from dangers that extend beyond their expectations.

Ever since I saw “The Town,” I’ve been yearning for a chance to delve deep into the criminal underworld in my gaming adventures. But if fate has other plans and they cast me as a protagonist outside of that genre, I’m game for it too!

Craig admits that his latest work, ‘Dope Thief’, bears a resemblance to ‘The Town’ in many ways. He intentionally references it quite a bit, but some similarities are unintentional. He says he’s very familiar with this kind of world and feels fortunate to be working within this genre, as it’s where he seems to belong.

In the same vein as his work within Reeves’ “The Batman Epic Crime Saga,” Craig’s novel, “Dope Thief” delves into the intricate tiers of a criminal network, offering a somewhat compassionate perspective on some of the culprits, a trait less common in other works.

In philosophical terms, Matt Reeves and I hold similar views. We believe that frequently, those involved in a violent scenario – often referred to as perpetrators – are also victims within the same violent situation. This vicious cycle of violence and victimization seems to continue endlessly. (Craig)

Over the past ten years, numerous limited series have been created and marketed as such until they become successful, leading networks or streaming services to prolong their run. Shows like Shogun, The White Lotus, and Big Little Lies are recent examples of this trend, hence the term “limited series” being referred to as a new “pilot.” Although the source material for Dope Thief has been exhausted in a similar manner to Shogun, Craig is just now contemplating the possibility of a second season.

Craig agrees with the idea you proposed. He hadn’t considered it before, but now that he has, he will. If you view this as a pilot for a new series, that works perfectly,” Craig acknowledges. “I wrote the ending so that it wraps up the story, but in such a way that it could be continued several years later if desired.

In a recent chat with THR, Craig (Sally Field’s eldest son) first delves into his feature projects leading up to “Dope Thief”. He then shares insights about the contentious choice to divide “Mockingjay” into two parts. Later, he responds to a theory put forth by this writer concerning the family line of Paul Dano’s Riddler/Edward Nashton in “The Batman”.

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To explain how you came up with the title “Dope Thief,” let’s start by mentioning that you initially gained points with a co-written piece called “The Town.” This initial success has since led to numerous other crime drama projects. Was it your intention from the beginning to focus on this specific subgenre?

In essence, I truly immersed myself in it. I adapted swiftly, feeling at home almost instantly. Initially, I began my career as a novelist, penning books that garnered a moderate readership, but were critically acclaimed crime novels centering around con artists. The allure of the genre stemmed from the fact that the stakes are immediately present, and it offered me ample creative freedom with character development. I had an enriching experience working on “The Town,” and in a sense, I’m revisiting similar themes in “Dope Thief.” There are numerous references to “The Town” throughout “Dope Thief,” some intentional and others unintentional. The story revolves around loyalty among men under stress, complex relationships between trauma-bonded males, and individuals who shared a juvenile detention center background. Given my extensive familiarity with this environment, I may have been assigned to this genre by the industry, but I’m genuinely content being here.

It’s my understanding that it was “The Town” that gave you the opportunity to work on “The Hunger Games: Mockingjay – Part I” and “Part II,” before you adapted your own book, “Blood Father,” for the first time. Was this a particularly enlightening experience after spending so much time working with other authors’ works?

Following Suzanne Collins’ groundbreaking work on the Hunger Games series, adapting these novels became a unique challenge. The popularity of her books necessitated a deep respect for their content, as evidenced by Lionsgate requiring specific scenes and characters to be included in the movie adaptations. Although there was still a need for invention, even in the most faithful adaptations, the close proximity of these required elements made the process more challenging. Additionally, Suzanne’s involvement as a producer meant frequent consultation, ensuring that any deviations from the original were carefully considered. This resulted in a different writing experience for me, one that I eventually grew to appreciate. Working with the talented actors in those movies was a privilege, and this adaptation method stands as one of my experiences.

Upon reaching my novel, we were practically penniless and I paid little heed to the author’s opinions since I was the one in that role. I would frequently mock the character of the author to the crew, saying things like “Forget the author, he doesn’t know what he’s doing.” However, due to the financial challenges and the unpredictable weather conditions in New Mexico during the production of Blood Father, there were numerous revisions required. We often lost days because of dust or rain storms. This experience allowed me to appreciate the freedom in making a movie, as it could veer significantly from the book. This realization altered my perspective on adaptations. Though you can capture the essence and tone of a work, as well as its moral journey, the path to achieving this can vary greatly. It’s an entirely different creative process.

I had a chat with Francis Lawrence not too long ago, and though it’s easy to see things clearly now, he expressed regret about having to divide Mockingjay into two movies. However, he clarified that the studio made this decision before he agreed to work on them. So, I’m curious if your thoughts on this matter have changed over time?

It’s intriguing that he made that statement. The decision to split Mockingjay into two films was a studio choice, and my perspective has shifted somewhat over time. While many might prefer the entire story in one movie, I remain extremely proud of our work in Part 1, despite it being unusual. I’m uncertain if the film fully succeeds as a standalone piece, but writing it was incredibly challenging. The audience isn’t concerned about the complexity of the process; they just want a successful outcome. However, the challenge level on that movie was immense. We were adapting the foundation of a book, and Mockingjay was the most introspective of Suzanne Collins’ three books at the time. It portrays Katniss losing her sanity, spending much of the first half confined to a closet, contemplating things. The second half of the book is where all the action takes place.

Initially, I wasn’t certain about our approach, but I felt a deep sense of pride in the outcome of our efforts. I simply kept my focus on the task at hand. Reflecting on it now, it might have been more conventional to produce a movie that would have left a larger number of viewers contented, undeniably. There was an impression that it was somewhat exploitative due to the manner in which they divided the story, especially given the time when numerous versions of the film were being released. This period was marked by many productions trying to profit from the YA trend. However, at that stage, I was diligent and did my best with the resources available.

In a different wording, it’s clear that “The Batman” shares some similarities with “Dope Thief.” The movie seems to strongly suggest that the Riddler’s (played by Paul Dano) father could have been the murdered reporter, Edward Elliot.

(Craig smiles.)

In the story, they shared similar traits, and interestingly enough, the Riddler’s first name was Edward, just like Bruce Wayne. Although their last names differed, it’s not hard to imagine Falcone playing a role in raising both Bruce Wayne (Batman) and Edward Nashton (the Riddler), possibly even influencing their creation as orphans. Was this connection intentional or did I misunderstand the movie? It seems quite deliberate either way.

As a gamer, I’d be thrilled to share some insights about the next chapter in a world I’ve been deeply involved with, even though I can’t officially confirm that I’m working on it just yet. Matt Reeves is still very much part of this project, and he’s brought on Mattson Tomlin as a co-writer. The level of detail we discussed during the making of The Batman is something fans should definitely look out for, as Matt is meticulously constructing an intricate world that will surely exceed expectations. His dedication to every minute detail was one of the many enjoyable aspects of collaborating with him on the previous project. But for now, let’s just say the ideas you’re proposing are exactly the kind we should all keep an eye on!

To put it another way, during the finale, one of the Riddler’s associates is revealed on a stage, and he retorts Batman’s “I am vengeance” statement. I initially thought this was the very same individual that Batman severely injured at the start of the movie, given that line was said to him previously. However, opinions seem divided about his true identity. So, could you clarify who this character actually is?

I prefer your take on it more. To me, that character symbolized an ordinary person. The widespread violence and emotions in the story were meant to convey how these destructive forces have permeated everywhere. He was intended as a representation of an Everyman, but your interpretation aligns with mine in that they were both Everymen. Philosophically, Matt Reeves and I share the same perspective. We believe that often, those involved in violent situations are also victims of that violence. This cycle of violence and victimhood is perpetual. So while your interpretation might not be exact, it captures the essence. Both the characters were meant to symbolize the same kind of ordinary individual, and the message was the same: what you sow is what you reap.

Being credited in Top Gun: Maverick is quite an accomplishment, considering how often the script has been passed around over the years. It’s not common for a film to achieve such high quality after so many changes. Do you agree that Maverick might be one of those rare exceptions?

The collaboration process was fascinating as we writers formed friendships, constantly interacting and communicating throughout. Cruise, Joe [Kosinski], and [Christopher] McQuarrie provided the backbone of this project, with McQuarrie serving as the lifeblood, ensuring ideas flowed seamlessly among us. It was a rich exchange where everyone contributed something unique, and Goose’s son was my initial idea for Tom, which he warmly embraced. I can’t stress enough how actively involved Tom was, understanding audience expectations perfectly and knowing precisely when to linger or move on swiftly. This project was a well-oiled machine; each part functioned harmoniously at the right time, and many people deserve credit for its success.

So why was now the right time to try television after all your feature work? 

It turned out that things fell into place for this project, as it was a genre I was particularly fond of, specifically crime stories, and I felt an instant connection with the characters. Ridley Scott and I had been developing another movie, but unfortunately, we couldn’t secure funding for it. Coincidentally, I contributed some significant aspects to Gladiator II, although David Scarpa took the lead on that project. In a sense, I was like an outlier in the grand scheme of things, providing broader strokes for our unrealized film. (Laughs.)

Initially, as I delved into the project titled “Dope Thief“, Ridley appreciated the dark humor in it and expressed interest. He was eager to return to TV work, having previously worked on “Raised by Wolves”. Once Ridley joined the team, it seemed like we had a viable series on our hands. I seized the opportunity and moved forward with enthusiasm, as if a plant reaching towards sunlight. Fortunately, I had pledged myself early on to something I knew well, so it was a mix of fortunate timing and an instant connection to Ray and Manny that propelled me forward.

Did Ridley utilize his 12-camera approach on the premiere? Or did he scale it back?

Initially, he handled six scenes at one point, and even now, six is still a considerable number. Not long ago, Ridley and I were merely jesting about it. When we shifted back to two cameras, it was challenging to inform the actors that they would have to perform more than a couple of times now. That change was difficult because Ridley tends to approach it like a play, aiming to capture everything in just a few takes. If an actor requested additional takes, they could certainly have them, but Ridley prefers to get everything in one go due to his emphasis on spontaneity. Consequently, he never used fewer than four cameras during this project, and I was genuinely astounded by his ability to manage four cameras in certain scenes and situations. However, he did so. Thus, it’s captivating to observe, and while it’s extremely challenging to light, it left me highly impressed with Ridley. Similarly, it left me deeply impressed with [DP] Erik Messerschmidt.

Ray and Manny frequently swindle drug dealers under false pretenses as if they were DEA agents, a tactic commonly employed due to the lack of legal options for the victims. However, what sets this situation apart is their targeting an organization with extensive connections – a move that ultimately proved to be their undoing.

Absolutely, targeting individuals who don’t have a way to retaliate could lead you into uncharted territories. Over time, you might encounter an underground economy that’s larger than your initial expectations. The scheme works only at minor levels, but once people recognize or hear about you, it’s all over. It seems that law enforcement takes this very seriously as it undermines their ability to perform their duties, which is why I included the law enforcement aspect in the [adaptation] process.

Initially, Ray and Manny understand that if they continue a few more times, they’re in trouble. They acknowledge they’ve crossed Philly, and they haven’t earned significant profits from this venture. By venturing beyond their usual territory, they convince themselves they can succeed again, which ultimately leads them to this predicament. In reality, Pennsylvania has always been a smuggling route. Rural Pennsylvania is particularly fascinating in the annals of U.S. history.

Brian Tyree Henry and Wagner Moura collaborate exceptionally well, a fact even more noteworthy given that Wagner came into the project partway through. Can you tell me about the extent of last-minute adjustments required in your script to accommodate this change?

Minimally, Wagner quickly grasped the concept, and he ran with it. Since there’s a large Brazilian community in Northeast Philadelphia, I thought, “Why not utilize this? Why should I suddenly make Wagner speak Spanish again [as in Narcos]?” Instead, let’s leverage his Brazilian background and have Manny and his girlfriend Sherry be an interracial couple. She speaks Spanish, he speaks Portuguese, so there would be chances for small disagreements where they try to pull each other into their respective native languages. Essentially, I altered Manny’s backstory to allow Wagner to portray the same character, but this time from Brazil instead of the Dominican Republic. This subtle change not only enabled Wagner to play his part more authentically, but it also allowed him to showcase all his strengths.

Apart from minor deviations, Wagner portrayed the character perfectly as intended, displaying extreme vulnerability. The twist is that we see Pablo Escobar playing a man who’s been utterly annihilated by the drug world, and Wagner appreciated this. He found the character to be almost incapable of defense, which he admired. I’m captivated by his willingness to play it so convincingly. Manny struggles with a peculiar, twisted moral compass that he attempts to reactivate, making less sense as he tries to defend himself. Yet, Wagner’s acting skills here are remarkable, showcasing his intelligence and versatility.

Ray and Manny argue as much as the characters Walter and Jesse from “Breaking Bad”, but it seems to me that they’re both finding themselves in over their heads, similar to Jesse. They aren’t as brilliant or resourceful as Walter was, yet they continually impress me with what they manage to accomplish, individually and together. So, what are your thoughts on this dynamic duo?

I view this situation as a deeply emotional bond forged from shared hardships, similar to a tragic love story. The experience of youth detention creates an intense connection; they stand by each other’s side, offering support and protection that lasts a lifetime. This bond is profound and brotherly, but it’s also haunted by the traumatic past they share. The other person serves as a constant reminder of their past, preventing them from moving on and establishing new patterns. Essentially, this relationship exhibits classic signs of codependency, with both characters spinning in this emotional cycle.

Interestingly, Manny believes that love is the key to his redemption from the morally dubious actions he’s committed throughout his life. On the other hand, Ray often finds solace in love, yet it also has the power to confine them both, trapping them in a complex emotional dance.

Throughout the entire series, there’s a chilling voice that constantly torments Ray and Manny. Were you already decided on whose voice it should be beforehand, or did you gather numerous voice samples during the audition process?

Initially, we hadn’t decided on the specific actor for the part, but fortunately, we stumbled upon an exceptionally talented individual with a rich career background. During filming, I adopted a distinctive Boston accent over the walkie-talkie, which caused amusement among the crew. They found that my voice could take on a somewhat ominous tone when I was under the weather. Interestingly, I seemed to be sick quite frequently during our shoots in Philly, and I’m feeling unwell now as well. Consequently, we didn’t fill that role until later in the production process, and sometimes, that’s just how things pan out.

In a similar fashion, was the character’s vocal requirement of Marin Ireland being mute or barely audible a challenging proposition for her or other actors during the casting process?

In the end, it turned out differently for Marin. She’s exceptionally skilled at identifying challenges and seizing them. Her eyes are truly striking – they seem to jump out. They’re almost expressive enough to convey emotions and even appear as if they might pop out of her head. As a result, she aspired to play a role similar to Holly Hunter in the movie “The Piano“. This is a character who can’t speak and communicates primarily through gestures and her eyes.

She deeply appreciated the concept that the entire play revolves around a character struggling to regain her voice and be heard. This character is someone determined to uncover the truth amidst a backdrop where deception is rampant. I’m genuinely pleased we cast her, as she was meticulous in portraying the various nuances of her voice.

2025 marks the year for our miniseries’ debut. Have you already put some thought into what might happen in a hypothetical season 2?

I love the way you said that. That’s really funny.

It’s valid to ask: “If shows like ‘Shogun’ and ‘Big Little Lies,’ which were once limited series, have had a second season, why wouldn’t ‘Dope Thief‘ get the same chance?

I find your idea intriguing. I hadn’t considered it before, but now that you mention it, I will. If we consider this as a trial run, that fits perfectly. I designed the conclusion to wrap it up, but in such a way that it could lead somewhere else several years down the line if needed. So, the ending serves as an intriguing pause, a sort of ellipsis, yet it still marks the end of the story.

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The first two episodes of Dope Thief premiere Mar. 14 on Apple TV+.

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2025-03-11 02:26