Hundreds of journalists packed the enormous press hall of the Venice Cinema Palace, making it seem as if every reporter covering the Venice Film Festival had attended this press conference. Not only were all the seats prepared by the organizers insufficient, but the aisles and corridors were also filled with standing journalists.
"Besides this film…"
In the midst of the questioning, a British journalist privately commented to a French journalist, best reflecting the media's perspective, "Besides Murphy Stanton and his renowned Stanton Party members, are there any other films or stars worth interviewing? Who else has such a massive influence? Who else can make films from the perspective of the media?"
Upon hearing this, the surrounding journalists nodded vigorously. The just-screened "Spotlight" was practically a testament to the power of the media!
Questions were fired one after another, with the Stanton Party members, regardless of who they were, becoming the focal points of the reporters' questions, which ranged from the film to their personal lives and even to gossip.
Murphy appeared relaxed, as if the reporters had forgotten him. However, from the nature of their questions, it was clear that while not all, at least ninety-five percent of the journalists were firmly in the camp of "Spotlight."
This was one of the reasons he dared to make this film and boldly premiere it in Italy, the heart of Catholicism. Journalists naturally harbored a favorable bias toward the film!
As the questions continued, they were initially directed mostly at Robert Downey Jr., James Franco, Margot Robbie, Seth Rogen, and Jonah Hill.
"Director Stanton…"
The British journalist stood up and directed a question at Murphy, "This is a film based on true events. Was making 'Spotlight' a challenge for you?"
Murphy knew the journalists wouldn't ignore him. Their earlier neglect was merely a setup for a concentrated barrage of questions later, so he was well-prepared.
"Yes, such a serious subject is a test of conscience and a significant challenge for anyone!" Murphy replied with a serious face, knowing what to say to benefit both himself and the film. "One day a few years ago, I came across the 'Spotlight' report and realized that such a severe issue was gradually being forgotten, while similar incidents continued to occur. I felt a responsibility and obligation to adapt it into a film. It might not help many, but it could at least alert many parents to be more vigilant."
A French journalist stood up next, "I heard that this film encountered many difficulties during its preparation and filming. How did you manage to complete it?"
"This film nearly died three times—what I mean is, it almost succumbed to external interference. Even with such an outstanding cast, a superb script, and passionate producers and studios, it was still incredibly challenging to bring it to the screen in today's societal climate."
Murphy paused and then added, "These were external factors that we had to overcome with great effort."
"Was the filming process as you planned? Did you encounter any surprises?" Another journalist asked, "How much support did your team provide?"
"The ideal scene for a director is like this…" Murphy smiled and said, "Each scene in the script is clearly and succinctly described, the storyboard is perfect, and there's minimal effort needed for shot breakdown and filming. During editing, you immediately know how to piece the scenes together. Everyone on set is well-rested and well-paid."
He shifted his tone, "Dreams are beautiful, but reality is harsh. Yet, in some ways, this isn't a bad thing. The chaos in the filmmaking process, the overwhelming troubles, these are what give filmmaking its charm."
"I can't do without my team," Murphy said directly. "Film is a collaborative art. A film can never be made by a director or actors alone. It takes the cooperation of actors, the filming team, post-production, and so on to bring a storyboard to life, then to a shot, and finally, through editing, to form the film we want. This process is why many say filmmaking is about subtraction—from an idea to its realization, there's always a lot missing."
A journalist from the *Los Angeles Times* stood up, one of America's most famous liberal newspapers, with a stance very much aligned with Murphy, a director with a Los Angeles background.
"Murphy…" the journalist asked, "What kind of impact did the real events depicted in the film have on you?"
All the journalists perked up, eager to hear Murphy's potentially shocking response.
"Throughout 2002, from January to December, the *Boston Globe*'s Spotlight team focused on one thing: reporting on the sexual abuse of minors by priests in the Boston area. From the initial 13 priests involved to the final 249 exposed, it expanded globally, with similar scandals erupting in Australia and Europe, drawing immense attention and winning the Pulitzer Prize for Public Service."
Murphy did not answer directly. Some questions did not require direct answers. "These priests targeted boys from poor families. What's infuriating is that they could molest seven boys from one family while the mother remained silent, bearing the pain alone for years. Seven boys in one family! Calling them demons would be an understatement. When the scandal broke, the priests were merely transferred to other parishes. This was just one of the 249 priests in the Boston Archdiocese. It's estimated that around 1,000 children were sexually abused by these priests, and they called themselves survivors as adults."
The press hall was exceptionally quiet; Murphy's words were the only sound.
"Survivors!" Murphy suddenly raised his voice, speaking harshly, "Tell me, are we living on land kissed by Satan?"
His powerful, resounding words made many journalists turn their heads!
Murphy's tone grew solemn, "Before people know the whole truth of an event, they tend to believe what they know or the most superficial layer. Their inherent societal views, personal education levels, and the amount of information they receive hinder their judgment and perception of the truth."
These were objective truths, and Murphy's words were convincing. "For instance, priests represent the authority of God. The same offense, committed by someone else, might be a crime, but for them, it's spreading the gospel. For sexual abuse victims, the priest is a moral authority. Resisting them is seen as defying authority. Reporting a priest's sexual abuse often requires much more courage than for an ordinary person, so such horrific incidents often go unreported or are not taken seriously."
"There's a scene in the film that deeply moved me: on Christmas Eve, just before the news broke, a small choir sang carols in a large church, the children's faces radiating tranquility. 'So tender, so mild, sleep in heavenly peace, silent night, shepherds quake, at the sight, glories stream from heaven afar.'"
Murphy could always unleash far more energy than usual when needed, even in performances, which he wasn't particularly skilled at. "These children might not know how much darkness lies outside this church, ready to engulf them, and how many adults are risking everything to protect them. Perhaps there is no absolute good and evil in this world, but there is certainly rampant wrongdoing and submissive weakness."
Finally, Murphy addressed the journalists, "It's because of the media's relentless efforts that we can finally feel the world is brightening!"
As he finished speaking, the press hall fell into absolute silence, which lasted less than three seconds before applause erupted without any warning. All the journalists put down their pens, notebooks, recorders, and cameras, and clapped vigorously!
The director who valued the media and journalists truly deserved such applause!
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