"Hey! Hey..."
In the studio set up as an office, Jonah Hill saw Robert Downey Jr. walk in with his hands in his pockets. Putting down his work, he asked, "How did it go?"
Murphy watched the footage captured by the camera on the monitor. As the filming progressed, all the Stanton followers were involved in the production. Thanks to thorough preparation, everyone from Seth Rogen in the beginning to later additions like Robert Downey Jr., Jonah Hill, and Margot Robbie were at their best.
The shoot was going exceptionally well, and by late January, nearly half of the indoor scenes had been filmed.
Sitting in the director's chair, Murphy was somewhat distracted but forced himself to focus on work, not thinking about the ongoing 86th Academy Awards nominees' luncheon.
"Uh..." Robert Downey Jr. had cut his hair short, with graying temples and a slightly receding hairline, a look he had never sported before. "Marty Baron wants us to investigate Father John Geoghan's case."
"That's great."
Playing a practical journalist, Jonah Hill fully agreed. "That case is worth pursuing."
Behind him, Margot Robbie sat in a chair, resting her chin on one hand. "A well-known lawyer claims that Cardinal Bernard Law knew about it long ago."
"By the way, that lawyer's name is Mitchell." Margot Robbie held a pen in her other hand. "I interviewed him at the courthouse."
"Can you see him?" Robert Downey Jr. asked.
Margot Robbie thought for a moment. "He's tough to deal with."
"Leave it to me then." Jonah Hill volunteered for the task. "I love dealing with tough people."
Seeing the actors perform so well, Murphy relaxed a bit, leaning back in his chair. Each of these people was now a renowned figure, and unlike those who became famous overnight, whether it was veterans like Robert Downey Jr. and James Franco or the widely recognized lucky break Margot Robbie, they had all accumulated their success bit by bit.
Every member of the Stanton followers possessed abilities that matched their immense fame.
"Don't let Cardinal Bernard Law find out until we're clear on this." Robert Downey Jr. warned calmly with his arms crossed. "Be cautious about this."
"We need some luck then." Margot Robbie said.
"Cut!" Murphy shouted from behind the director's monitor. "That's a wrap for this scene!"
He turned and instructed assistant director Michelle Williams, "Set up the next scene. You'll be in charge for now."
"No problem." Michelle Williams temporarily took over the crew's direction.
Murphy then went to the crew to chat with Philippe Rousselot.
"Isn't this a bit too bland?" Philippe Rousselot offered his opinion. "The Catholic Church is powerful in Boston. The journalists know what this investigation means..."
"This is how Robbie Robinson and his team described the scene." Murphy shook his head. "There was no fiery determination, just a sense of duty driving them."
In this scene, apart from a few mild warnings from Robert Downey Jr. as Robbie Robinson, there was no sensational dialogue or overt defiance of the Catholic Church. The "Spotlight" journalists were mature and rational, fully aware of what they faced, needing no words.
Such scenes better highlight the characters.
From daily life, cultural traditions, and complex relationships with power, the Catholic Church was an almost unshakeable presence in Boston. Its influence permeated society and power systems. Despite numerous scandals, only individuals were punished, never the system.
Now, editor-in-chief Marty Baron and the "Spotlight" team aimed to reveal systemic issues. They wanted to show the public that the numerous abuse cases were not isolated acts by a few priests but a result of high-level neglect and systemic flaws.
Achieving this goal was far harder than exposing individual priests. It required timing.
As journalists, they struggled to balance publishing too early, which would let the Church take preemptive action, and publishing too late, losing to competition.
This was the professional dilemma of journalism.
The media had many flaws, but in this case, investigative reporting was largely for the public good, not personal vendettas. Yet, emotions inevitably seeped into their work.
Learning of hidden scandals and seeing individuals on the brink of collapse, they too felt anger and frustration. However, they had to stay within rational boundaries, meticulously seeking and verifying facts. This mix of pain and satisfaction was hard for outsiders to grasp.
Murphy's portrayal of the media and journalists was not of saints but professionals. Apart from a sense of justice, they were driven by ambition and the unique fulfillment it brought.
A restrained and relatively bland expression could precisely convey the subtle emotions felt by insiders.
Viewed from another angle, it was a repressive yet spirited story, a media elegy for the era. While the necessity of the media as a check on power was acknowledged, the reality of its fading influence couldn't be ignored.
News had become more entertainment-focused and fast-paced, losing its cohesive power. No one knew how the indispensable fourth estate would reclaim its rightful place.
Murphy even thought that soon, with fewer people willing to read articles longer than a phone screen, the chance of viewers watching serious films might greatly diminish.
How many media and journalists like "Spotlight" were left?
Most in the industry were probably more like he and Kara Faith once were—shameless scoundrels.
Murphy admitted his motives for making this film were far from pure. It was a strategic move, leveraging current circumstances and showcasing his and his film's power.
A director, even a top-tier one, might seem weak and merely an entertainer, but their influence was undeniable.
The film's goal wasn't to topple the entire Catholic Church through a few scenes or criticisms. Despite the flaws within the Church, it wasn't as dire as the days of indulgences and witch hunts.
Murphy wasn't naive enough to think that way.
Addressing the Church's darkness directly, even ten films like "Spotlight" wouldn't suffice. This film's power lay in highlighting the true significance of the scandals.
The media reports weren't false or slanderous but just the tip of the iceberg.
"Spotlight" would magnify these reports globally, extending beyond North America.
This strategy, akin to the "Inception" film Murphy had seen, was about planting a small idea to grow in people's minds—a "foundation."
Murphy's plans, with 20th Century Fox's support, were a special kind of "foundation."
With this seed, many Catholics or priests might think twice before blessing their children, worrying instead about their safety.
This would embarrass Archbishop Marquez Costello, who attacked Murphy. He might lose his position, and the Vatican would be busy firefighting, leaving Murphy alone.
Worldwide, faith would persist. Catholicism, Christianity, and the entire system would remain the largest global belief system.
But this small "foundation" would keep the media's focus on the Church, reviving the Protestant Reformation's skepticism.
This was Murphy's best justification for making "Spotlight."
The benefits were clear—protecting children from harm was a non-negotiable line for all parents.
"If there is a God, then priests are not angels, and the Pope is not an archangel," Murphy mused. "Only children are the most beautiful angels in this world!"
As the scene change continued, Murphy planned to visit the makeup room to talk with Robert Downey Jr. and others. Just then, Gal Gadot walked in with Emma Watson, and many people surrounded them immediately.
It wasn't just Emma Watson's charm; Gal Gadot had represented the crew at the 86th Academy Awards nominees' luncheon.
Now that she was back, the 86th Academy Awards nominations list must be out!
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