:00:24. > :00:27.We'd love to hear from you, so do tweet us.
:00:28. > :00:40.Everybody is going to be interested in this.
:00:41. > :00:47.Mark Ruffalo and Michael Keaton star in Spotlight.
:00:48. > :00:50.We need the full scope, that will put an end to this.
:00:51. > :00:59.Antonio Banderas in the true story of The 33.
:01:00. > :01:05.And Michael Caine in Youth and why he'll never direct.
:01:06. > :01:15.The hours are too long! I like to go home early. Don't we all, Michael!
:01:16. > :01:17.Joining me, as ever, is darling Danny Leigh,
:01:18. > :01:20.is that cinematic siren of Fleet Street, Camilla Long.
:01:21. > :01:23.In 2002, the Catholic Church was rocked by a Boston Globe expose
:01:24. > :01:24.of widespread child abuse by its priests.
:01:25. > :01:26.Journalists spent months investigating the abuse
:01:27. > :01:35.Spotlight stars Mark Ruffalo and Michael Keaton.
:01:36. > :01:44.I know there is then is you cannot tell me. But I also know there is a
:01:45. > :01:55.story here. Do you think your paper has the resources to take them down?
:01:56. > :01:59.I do. Do you? The film captures the secret
:02:00. > :02:03.investigation we did at the Boston Globe in 2001, starting looking into
:02:04. > :02:07.one priest who had abused 80 children, and in the process of
:02:08. > :02:12.doing that investigation, the four of us and the investigative team,
:02:13. > :02:21.Spotlight, uncovered the fact that there were many priests. 6% is 90,
:02:22. > :02:27.90 priests. If there were 90 of these, people would know. Maybe they
:02:28. > :02:32.do. There are, in certain cities that tends to be really Catholic,
:02:33. > :02:42.Baltimore was one of them, Boston is not. What is unique about it there
:02:43. > :02:48.is it is enmeshed in society. You want to sue the Catholic Church?
:02:49. > :02:55.We're just filing a motion, but yes. The Church will fight is very hard,
:02:56. > :03:00.which will not go unnoticed by our subscriber base. The power and the
:03:01. > :03:07.culture of the Church in Boston, as a writer and director, it was an
:03:08. > :03:11.entry point into the material. Understanding how important it is,
:03:12. > :03:15.how important fate is in people's lives, how on the present the
:03:16. > :03:20.Catholic Church is and was in Boston. It is certainly shifted
:03:21. > :03:25.since this investigation. People need the Church more than ever right
:03:26. > :03:30.now. The institution of the Catholic Church is a major problem on its
:03:31. > :03:35.hands, it is a medieval, outdated institution that is betraying the
:03:36. > :03:43.opinion who are still extremely grateful to the church. It is time!
:03:44. > :03:48.They knew, and they let it happen to kids! OK?! It could have been you,
:03:49. > :03:52.it could have been me, it could have been any adverse! We have got to
:03:53. > :03:57.nail these scumbags, we have got to show people that nobody can get away
:03:58. > :04:05.with this, not a priest, not a cardinal or a freaking Pope!
:04:06. > :04:09.I hold journalism in high regard, I see its power, I know its place, but
:04:10. > :04:15.working next to him and watching him work just elevated that. It is so
:04:16. > :04:20.important that it stays independent, that it is fearless, that it ask the
:04:21. > :04:25.hard questions, and that is when it works at its best. You have settled
:04:26. > :04:32.several cases against the church. I cannot discuss that. There are no
:04:33. > :04:36.records of the settlements. It is our responsibility to caution
:04:37. > :04:39.authority, and it is not wise to take what powerful institutions
:04:40. > :04:46.present at face value, pretty much at any time. I don't want you
:04:47. > :04:49.recording this. You think he has got something? This is a celebration of
:04:50. > :04:55.the craft of journalism at a time when I believe that it should be
:04:56. > :04:59.celebrated, and remembered, as it is rapidly diminishing right in front
:05:00. > :05:11.of our eyes. Two stories here, degenerative clergy and a bunch of
:05:12. > :05:14.lawyers turning child abuse into a cottage industry. Which one do you
:05:15. > :05:16.want us to right? Because we are writing one of them.
:05:17. > :05:20.Why is this film just so brilliant? It is a good question, it is lean
:05:21. > :05:25.and it is gripping, with great performances. It has been an Oscar
:05:26. > :05:29.favourite, people will be wondering how good it is, it is exceptional,
:05:30. > :05:34.and more than that, it treats us like adults, it never takes this
:05:35. > :05:39.huge charm at its heart and artificially pumped it up with a
:05:40. > :05:43.tear-jerking soundtrack. It treats us like adults, it needs to be
:05:44. > :05:47.rewarded for that. You don't need to be a journalist or even like
:05:48. > :05:51.journalists to admire this film, but it made me feel proud to be a
:05:52. > :05:56.journalist, and I don't always feel proud to be a journalist. Speak for
:05:57. > :06:04.yourself, I do! I have to be honest, I thought it was a little bit flat.
:06:05. > :06:12.What?! A tiny bit flat and grey, to grave for my taste. What it is is a
:06:13. > :06:15.bit by bit police procedural, which is very straightforward, but it is
:06:16. > :06:20.the same headspace as being in a documentary. What you say is that it
:06:21. > :06:27.is not pumped up, but what you get is something that sort of resembles
:06:28. > :06:32.quite plodding real live. But the actual truth is that most of the
:06:33. > :06:38.story was just there to be found, as they went along. That doesn't make a
:06:39. > :06:47.really exciting movie. Par, my goodness! Archer! Anybody who did
:06:48. > :06:53.not like it before... You are right, it is a grown-up, adult film. Those
:06:54. > :07:01.are not bad things. I have heard gripes about how unflattering it can
:07:02. > :07:07.be, but that is a strength, it is a film about a real investigation and
:07:08. > :07:10.about real journalists. Journalism is about people in sensible footwear
:07:11. > :07:15.and haircuts they have done themselves trying to make it to the
:07:16. > :07:20.library. We have seen that before 100 million times. Because it is
:07:21. > :07:25.real, you buy into the investigation, so when a character,
:07:26. > :07:32.I am still talking! Still talking! When somebody says they are fighting
:07:33. > :07:36.the system, you do not snigger and laugh, you do not wait for Aerosmith
:07:37. > :07:40.to come onto the soundtrack, the film has that conviction and that
:07:41. > :07:46.helped. Well, I thought another problem was it made you think
:07:47. > :07:50.exactly what it wanted you to think right from the beginning. I felt
:07:51. > :07:56.that the fact that there was very little detail about what actually
:07:57. > :08:01.happened in need abuse cases... Oh, no! You had this amazing scene where
:08:02. > :08:05.the Rachel McAdams character goes to speak to a priest, and he stands on
:08:06. > :08:11.the doorstep and says, you know, I didn't Gregg these children, I know
:08:12. > :08:15.what that is, I was raped myself. -- that is the best moment in the film,
:08:16. > :08:20.you think, my God, there is another big story that is not covered. You
:08:21. > :08:24.get 60 seconds of a cardinal grinning, that is not balanced. But
:08:25. > :08:29.the film is about them, and I loved that it is not sentimental. The
:08:30. > :08:37.horror of what they are reporting is enormous and horrific. They are
:08:38. > :08:41.saying, trust us. I know they are not sensational in it, but it is a
:08:42. > :08:47.disembodied voice trying to explain why these priest are there, trying
:08:48. > :08:56.to explain why 6% of priest automatically molest minors. Apart
:08:57. > :09:01.from that, there is no context. That is not part of the investigation.
:09:02. > :09:07.That is not the actual investigation that the film is about. I am pretty
:09:08. > :09:13.sure they covered it. That snippet, Stanley Tucci plays a lawyer, he
:09:14. > :09:16.could have lean flamboyant and phoney, but it is perfectly
:09:17. > :09:22.understated. Mark Ruffalo is talking to him, there are kids inside the
:09:23. > :09:27.others who suffered abuse. 99 times out of 100, the film would follow
:09:28. > :09:30.them inside the office, we would see the children crying, but the film
:09:31. > :09:35.trusts us to know that child abuse is a bad thing without having to sit
:09:36. > :09:40.a child actor weeping on camera. The film tries to think, maybe you are
:09:41. > :09:49.grown ups, we don't need to tell you that already. But it also BGT cheesy
:09:50. > :09:55.lines, how do you say no to God? -- it also feeds you. You say it is
:09:56. > :09:58.restrained, but I think it is quite manipulative, and it is one-sided in
:09:59. > :10:02.the sense that you don't get an idea of the context, they have to work
:10:03. > :10:08.hard to give the context to the abuse. And I just felt, well, I have
:10:09. > :10:12.been told exactly what to think in the first frame, and I'm going to
:10:13. > :10:13.watch a lot of journalist doing their job, and admittedly brilliant
:10:14. > :10:18.jobs. I work in a newsroom. In 2010, the world's media
:10:19. > :10:21.was gripped by attempts to rescue 33 Chilean miners trapped underground
:10:22. > :10:23.after a subterranean explosion. The 33 stars Antonio Banderas
:10:24. > :10:34.and Juliette Binoche. Is that the only way in? The only
:10:35. > :11:07.way in, the only way out. A serious accident has occurred at
:11:08. > :11:10.the San Jose mine. Millions of people like me were watching
:11:11. > :11:19.television with one idea in our minds, the supreme value of life.
:11:20. > :11:26.The refuge is built for 30. So we are OK. Platforms are now in place a
:11:27. > :11:32.specialised in deep drilling. A few dropped twice the size of the Empire
:11:33. > :11:37.State Building shifted. I wanted to understand why 1 billion people were
:11:38. > :11:41.so moved by the event when it happened, you know, because this is
:11:42. > :11:55.a story that has captured more TV audience in the world. In fact, it
:11:56. > :12:00.is three stories. There is the miners inside, trapped. It took 100
:12:01. > :12:05.years for them to dig this deep! How long do you think that is going to
:12:06. > :12:12.take?! There are the rescuers, which is the technical side. And the
:12:13. > :12:19.families above ground that are fighting for the men that are
:12:20. > :12:25.trapped. We want answers! I cannot give you answers unless you let me
:12:26. > :12:29.in. The families never lost faith, never stopped believing that they
:12:30. > :12:34.were alive, and they brought the news media, yelling and fighting at
:12:35. > :12:37.the government. We all know is how this goes, the government shows up,
:12:38. > :12:41.some good-looking guy in a suit tells us how much they care, how
:12:42. > :12:52.much they will stop at nothing to save them, and they do nothing! If
:12:53. > :12:58.it was not those women yelling and demanding justice, wanting to have
:12:59. > :13:02.information, the story would never have happened that way, you know, we
:13:03. > :13:03.never would have had a rescue mission, because nobody wanted to
:13:04. > :13:18.spend money to save 33 men. They will close the mine and put up
:13:19. > :13:26.the gravestones. And no, no, no! I don't believe that! They will dig us
:13:27. > :13:32.out. And if they don't, our families will! With their bare hands if it is
:13:33. > :13:39.necessary! What did you think of The 33? Part
:13:40. > :13:44.of me loved this film, it is a Disney film made for a 12-year-old
:13:45. > :13:48.audience, so I was very jolly and happy. You could almost feel the
:13:49. > :13:58.Hollywood movie pitch as they came up out of the shaft, let's go! 33
:13:59. > :14:02.adorable miners stuck in the ground, what could go wrong? It is kind of
:14:03. > :14:07.epic in scale, you have the shifting mountain, which is quite
:14:08. > :14:13.interesting, and the situation, it strikes in the middle a little bit,
:14:14. > :14:20.but that is what it felt like down there as well. I should say to you
:14:21. > :14:26.and... It is a terrible feel-good film. It does not set itself up as
:14:27. > :14:29.anything more than a bit of a Disney 12-year-old film. It is something
:14:30. > :14:32.that Simon Cowell would absolutely love, I think.
:14:33. > :14:40.The underground disaster and the men trapped down there - you are with
:14:41. > :14:46.them, you know each of these characters very well. Antonio
:14:47. > :14:51.Banderas is this beacon of charisma. For once(!) It is good casting.
:14:52. > :14:55.There are problems - this film is half fine. Once you go up top, there
:14:56. > :15:01.are problems, there is a lot of malarkey going on. We saw Juliette
:15:02. > :15:07.Binoche playing a poor Chilean street vendor. That is an odd piece
:15:08. > :15:12.of casting. My eyebrows were raised when I saw her. It was supposed to
:15:13. > :15:21.be Jennifer Lopez. A couple of days before the shoot... She said no! I
:15:22. > :15:25.don't know if the same excuse covers Gabriel Byrne. From vowel to vowel,
:15:26. > :15:34.you are swinging between Santiago and Dublin! You have Juliette, you
:15:35. > :15:38.have Gabriel and his odd dialogue, the men are probably better off down
:15:39. > :15:46.where they are! This is not a film for people going for the acting. Or
:15:47. > :15:53.the excellent accents. The film is better when you are trapped
:15:54. > :16:01.underground. Anybody who remembers watching it live, you just want to
:16:02. > :16:07.watch that bit when you watch the film. The live footage is much more
:16:08. > :16:11.dramatic. It is an odd thing to turn it into a film. You could have done
:16:12. > :16:14.a grown-up documentary about what happened to their lives afterwards.
:16:15. > :16:21.It was an extraordinary thing to happen. You have this peculiar
:16:22. > :16:25.Disney film with food fantasy sequences and things. Antonio
:16:26. > :16:30.Banderas, who is, who has come off a commercial where he talks to a
:16:31. > :16:33.doughnut! We have all talked to doughnuts! You don't like grown-up
:16:34. > :16:36.films, though! It is never-ending. Michael Caine has played more
:16:37. > :16:38.than 160 movie roles but he's never conducted a symphony
:16:39. > :16:40.orchestra - 'til now. Danny went to see him
:16:41. > :16:42.about his latest film Youth - a bittersweet comedy
:16:43. > :16:43.from Paolo Sorrentino - and delved back in time
:16:44. > :16:44.to talk class, charisma, singing with Kermit and why he's
:16:45. > :16:59.never directed a movie. How's it going Mr Ballinger? It is
:17:00. > :17:03.going. I don't know where. But it's going! Did you take a kiss today?
:17:04. > :17:14.Four drops. Youth was a film that was written
:17:15. > :17:21.for you. I'm assuming that must be flattering but also a bit unnerving?
:17:22. > :17:26.Absolutely right, it is very flattening, somebody like Paulo
:17:27. > :17:31.Sorrentino. I was amazed that he had ever heard of me let alone write a
:17:32. > :17:36.script to play a character who writes classical music and conducts
:17:37. > :17:39.classical orchestras. So, it was an incredible challenge for me and
:17:40. > :17:43.something that I loved because I spent all my life challenging
:17:44. > :17:49.myself, which is my sense of competition, not other actors. Me,
:17:50. > :17:55.I'm my own critic, I'm a much worse critic than a critic has ever been
:17:56. > :17:59.about me. It is the location, the soprano... Please don't insist,
:18:00. > :18:06.personal reasons. What are these bloody personal reasons? YELLOW I
:18:07. > :18:10.compose the simple songs for my life. Only she has ever recorded
:18:11. > :18:19.them. And as long as I live, she will be the only one to sing them.
:18:20. > :18:28.The problem is, dear Sir, my wife can't sing anymore. Fred in Youth is
:18:29. > :18:34.a composer. You have got a musical interest, you have released a
:18:35. > :18:38.chill-out album. I love that. I love all music, including classical music
:18:39. > :18:43.so, I was very happy with doing the music. It took me a bit of a while
:18:44. > :18:46.to learn to conduct the 120-piece orchestra, but it was so fantastic
:18:47. > :18:50.to do. That is one of the best things I ever did in a movie. You
:18:51. > :18:57.have sung on-screen before, people will remember that? I sung in The
:18:58. > :18:59.Christmas Carol, I sang with Kermit. # With an open smile
:19:00. > :19:03.# I will bid you welcome # What is mine is yours
:19:04. > :19:09.# With a glass raised to toast your health... #
:19:10. > :19:16.# With a glass raised to toast your health... # hash
:19:17. > :19:21.I don't sing that badly. I thought I sang badly. I had pt seen the movie
:19:22. > :19:26.for ages. Do you still relish that feeling of being the star? I relish
:19:27. > :19:30.it in every credit because you are there every day, it's a tremendous
:19:31. > :19:34.responsibility and I have just had a wonderful time with Chris Nolan, I
:19:35. > :19:38.have been in six pictures where I had great parts, but I never had the
:19:39. > :19:42.responsibility of carrying the movie. I wouldn't presume to tell
:19:43. > :19:46.you what to do with your past, Sir, just know there are those of us who
:19:47. > :19:54.care about what you do with your future. You haven't given up on me
:19:55. > :20:00.yet? Never. When did you realise that you were someone with charisma,
:20:01. > :20:07.that you had presence? I know when! I was a stage actor in rep for a
:20:08. > :20:16.long time, very young, and I went to Theatre Workshop with Joan
:20:17. > :20:21.Littlewood, and it was group theatre. I'm a method actor. Then
:20:22. > :20:26.one day I was rehearsing, I just started to speak and Joan said,
:20:27. > :20:31."Wait a minute, Michael, go off and come on again." I said, "What did I
:20:32. > :20:36.do wrong?" You are not a bloody star, who do you think you are? I
:20:37. > :20:41.said, "I didn't do anything." She said, "Don't do it again." We did
:20:42. > :20:49.the play and we finished and she said, "You are fired!" She said, you
:20:50. > :20:53.are not a group actor. Did you take that as a compliment? Yes, a tough
:20:54. > :20:58.one, but I was broke! And out of work, you know. No-one told
:20:59. > :21:05.Shaftsbury Avenue that I was a star! I got a big part in a play at the
:21:06. > :21:12.Arts Theatre. I played a Cockney part. Si Enfield, he was making a
:21:13. > :21:17.film called Zulu. He said, "Wait a minute, you don't look like a
:21:18. > :21:22.Cockney tough guy to me." So I said, "I know." He said, "You look more
:21:23. > :21:33.like the officer type." And he cast me as the officer. Fire! With the
:21:34. > :21:38.class system in England at that time, I swear to you that no English
:21:39. > :21:43.director would have cast me as a posh officer. It is only because of
:21:44. > :21:47.Si Enfield was an American and he didn't understand the English class
:21:48. > :21:56.system and that picture was my start, Zulu. I feel ashamed. Was
:21:57. > :22:06.that how it was for you? The first time? First time? You think I could
:22:07. > :22:13.stand this butcher's yard more than once? I didn't know. The first time
:22:14. > :22:18.I ever watched myself was on Zulu. I went through the rushes and I threw
:22:19. > :22:21.up on the floor, I was so disgusted, I wasn't as good looking as I
:22:22. > :22:25.thought, I wasn't as good an actor as I thought, and I thought I was
:22:26. > :22:30.terrible. I have never been back to rushes once. Do you ever dig out
:22:31. > :22:35.your old films, or do you stumble across them? I come across them all
:22:36. > :22:44.the time on television. I mean, Alfie is always on, Dirty Rotten
:22:45. > :22:58.Scoundrels, Zulu, the Italian Job. Five, four, three, two, one... Go!
:22:59. > :23:08.You are only supposed to blow the bloody doors off! You have to sit
:23:09. > :23:15.back and do it. Not try and do anything. The camera is right there,
:23:16. > :23:19.it can see everything. I always remember my first big lesson, which
:23:20. > :23:27.is a fabulous lesson, I was playing a scene where I was drunk and we
:23:28. > :23:32.were rehearsing. I came on drunk, started, he said, "Cut, what are you
:23:33. > :23:38.doing?" I said, "I'm drunk in this scene, Sir." He said, no, you are
:23:39. > :23:43.not. You are an actor who is trying to talk slurred and walk crooked. A
:23:44. > :23:50.drunk is a man who is trying to speak properly and walk straight.
:23:51. > :24:05.That's the art of film acting. The difference between the tragic and
:24:06. > :24:12.tragedy is inevitability. Do you not want to direct? The hours are too
:24:13. > :24:17.long! I want to go home early! You were right, music is all I
:24:18. > :24:28.understand. You know why? You don't need words to understand it.
:24:29. > :24:32.It just is. What did you think? I'm very fond of
:24:33. > :24:40.it. People will have seen a film which is very elegant and sombre,
:24:41. > :24:45.but it is a high-wire act and Youth is filled with risks. It feels like
:24:46. > :24:51.Paulo Sorrentino would wake up every morning, have a bath and then summon
:24:52. > :24:59.his assistant today, "What are we doing today?" We will have Maradona
:25:00. > :25:03.playing keepy-uppies on a tennis court and Paloma Faith will play
:25:04. > :25:07.Paloma Faith and Michael Caine will be directing a field of cows, why
:25:08. > :25:15.don't we do that? There are times when it doesn't work. There are a
:25:16. > :25:19.lot of times when it does work. It is crackers and impressively
:25:20. > :25:24.crackers. Its sheer one-offness is there to be applauded. I do feel
:25:25. > :25:28.having read what everybody else thinks that I'm all alone in this.
:25:29. > :25:32.This is quite a pretentious film. Danny says I don't like grown-up
:25:33. > :25:39.films. I don't like pretension films. I thought - you would get
:25:40. > :25:43.Paulo Sorrentino waking up, deciding to do whatever you want and we are
:25:44. > :25:55.on the receiving end of this, not dreary, but certainly incredibly
:25:56. > :26:01.self-indulgent, dreamy, that feels like a spa stay in heaven, but ends
:26:02. > :26:06.up feeling like a terrible enema treatment in hell! I thought it was
:26:07. > :26:11.self-indulgent and apart from the beauty of the images, and I don't
:26:12. > :26:16.think that is quite enough to get a film going, sorry, it was - they had
:26:17. > :26:23.storylines that went nowhere. You would be introduced to this Maradona
:26:24. > :26:26.character and this amazing bloated footballer type... He is a real
:26:27. > :26:31.person. Exactly, with a tattoo on his back. All it is is a single
:26:32. > :26:36.punchline, two-thirds of the way through the film, that is it. He
:26:37. > :26:42.sort of then is shuffled off. No-one is likeable. Michael Caine is moany
:26:43. > :26:50.and sour. No! I have been polite! I have. But, no, I found it - and this
:26:51. > :26:56.might make me a total tool. I found it incredibly moving. I was lost. I
:26:57. > :27:02.love Rachel Weisz. Jane Fonda smashes it! OK, this is - I also
:27:03. > :27:06.thought it was a bit stagey the way they shouted at each other. I didn't
:27:07. > :27:09.believe she would be going into television and abandoning the films.
:27:10. > :27:14.Harvey Keitel was there... We are out of time. Danny, don't be grumpy!
:27:15. > :27:21.What is your film of the week? Spotlight! The newsroom is a bit of
:27:22. > :27:26.a stretch. Go on? Reluctantly Spotlight! But also see Youth!
:27:27. > :27:28.Playing us out tonight on Holocaust Memorial Day
:27:29. > :27:30.is the Oscar-nominated Hungarian movie Son of Saul.