I do not think it would be difficult to reproduce. For the filling, I used a cup of whole milk, about two cups total of grated cheese (cheddar, gouda, a smattering of already shredded mozzarella), four eggs, a can of black olives minus the liquid, about a pound of mushrooms that reduced in the usual way to a third of their volume after being sautéed with butter, and white pepper, nutmeg, and paprika to taste. We expected it to bake at 350°F for about thirty-five minutes and instead it took closer to fifty or an hour. The spillover in the heavily buttered nine-inch cake pan was done by the thirty-five minute mark. I was really pleased with the results.
I appreciated that it steadfastly does not Hollywoodize the story (i.e., shoehorning in a love story, etc.).
Yes. And when the story gets too close to home, it's not because any of the reporters are hiding repressed, abused pasts; the unease comes from less familiar directions. Nothing ever happens with the house full of suspended priests living around the corner from Brian d'Arcy James' Matt, but it's important that the discovery causes him to ask permission from his editor to tell the other parents in the neighborhood, because saying nothing for the sake of the story feels like furthering the danger. There's a strange kind of anxiety in retrospect when Michael Keaton's Robby realizes that one of his high school teachers was a predatory priest, because nothing ever happened to him: sometimes it doesn't. Rachel McAdams' Sacha never does tell her grandmother until she can hand her the first article. That mattered to me. Not everything needs to develop as dramatically as possible. Sometimes the ordinary difficulties are dramatic enough.
It did remind me of All the President's Men in that both films focus on the unglamorous, painstaking work of old-school journalism.
I agree with that and am glad to see the work recognized. I just remember All the President's Men playing out with more suspense, whereas in Spotlight the gripping sequences aren't the reveal of information, they're the methods of collecting it and the implications of the ways in which it is or is not readily accessible to the public eye.
no subject
I do not think it would be difficult to reproduce. For the filling, I used a cup of whole milk, about two cups total of grated cheese (cheddar, gouda, a smattering of already shredded mozzarella), four eggs, a can of black olives minus the liquid, about a pound of mushrooms that reduced in the usual way to a third of their volume after being sautéed with butter, and white pepper, nutmeg, and paprika to taste. We expected it to bake at 350°F for about thirty-five minutes and instead it took closer to fifty or an hour. The spillover in the heavily buttered nine-inch cake pan was done by the thirty-five minute mark. I was really pleased with the results.
I appreciated that it steadfastly does not Hollywoodize the story (i.e., shoehorning in a love story, etc.).
Yes. And when the story gets too close to home, it's not because any of the reporters are hiding repressed, abused pasts; the unease comes from less familiar directions. Nothing ever happens with the house full of suspended priests living around the corner from Brian d'Arcy James' Matt, but it's important that the discovery causes him to ask permission from his editor to tell the other parents in the neighborhood, because saying nothing for the sake of the story feels like furthering the danger. There's a strange kind of anxiety in retrospect when Michael Keaton's Robby realizes that one of his high school teachers was a predatory priest, because nothing ever happened to him: sometimes it doesn't. Rachel McAdams' Sacha never does tell her grandmother until she can hand her the first article. That mattered to me. Not everything needs to develop as dramatically as possible. Sometimes the ordinary difficulties are dramatic enough.
It did remind me of All the President's Men in that both films focus on the unglamorous, painstaking work of old-school journalism.
I agree with that and am glad to see the work recognized. I just remember All the President's Men playing out with more suspense, whereas in Spotlight the gripping sequences aren't the reveal of information, they're the methods of collecting it and the implications of the ways in which it is or is not readily accessible to the public eye.