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“The #MeToo era began during the making of the film, and there’s been a sea change in how we regard the victims of sexual assault, and I’m hoping that this film will deepen that and widen it to boys and men, victims of child sexual abuse. I think that’s an important thing to establish,” he says. “Wade and James were not paid in any way, directly, indirectly.
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Ultimately, Reed feels protective of his two subjects and pushes back at the Jackson family’s characterization of them as “opportunists.”
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Some of the email writing is cut and paste because we found a webpage that explains to people what to do. “I know that there’s a level of organization. “Over a week I had about a thousand emails from China and then they stopped about as suddenly as they’d begun, saying vile things to me, making threats,” he says. The two accusers, who have since left Park City, were flanked by bodyguards as they left the Sundance premiere. In addition to enduring the wrath of the family and estate, Reed has been inundated with emails, calls and even death threats from fans lambasting the film. “Their statements are not consistent with having watched the movie,” he says. Reed, who has made four films with HBO, including 2016’s Three Days of Terror: The Charlie Hebdo Attacks, says he doesn’t believe that the family has seen the movie. “But there was less lawyering on this film than the past couple of films I’ve done.” “Every single documentary I’ve ever made has been vetted because of the types of subjects that I do often involve stories that people don’t want told,” says Reed. Though the allegations in the film are explosive (one of the men suggests he was “replaced” by actor Macaulay Culkin, something the actor strongly denies), Reed says he spent less time vetting the film with lawyers than his typical films. HBO is planning a March premiere for Leaving Neverland, which will likely roll out over two nights. “Every time a song plays, a cash register goes ‘ka-ching.’ It doesn’t surprise me that they’ve come out fighting in defense of their asset.” “They have a very precious asset to protect,” Reed says. The film takes uncorroborated allegations that supposedly happened 20 years ago and treats them as fact.” The family of Jackson on Monday put out a statement, saying, “We can’t just stand by while this public lynching goes on, and the vulture tweeters and others who never met Michael go after him.” That followed a statement from the estate that was released hours after Friday’s world premiere of Leaving Neverland that said, “The film isn’t a documentary, it is the kind of tabloid character assassination Michael Jackson endured in life, and now in death. His story also is told in painstaking detail. Safechuck, who appeared as a child alongside Jackson in one of the most iconic Pepsi ads of all time, says he was sexually abused by the singer beginning at the age of 10.
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Robson, now 36, says in the movie that he was molested by Jackson from the ages of 7 to 14 and chronicles the alleged abuse in graphic detail.
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The film follows two adult accusers - Wade Robson and James Safechuck - as they recount their relationship with the so-called King of Pop. … The film itself is an account of sexual abuse, how sexual abuse happens and then how the consequences play out later in life.” But I don’t seek to characterize him at all. A four-hour piece, is that a tabloid? I didn’t characterize Jackson at all in the film - I think if you watch it you’ll have noticed that it’s a story about these two families and Jackson is an element of that story. Anyone with any knowledge of that form would recognize a documentary. “So I’d say it’s beyond doubt a documentary. “It is a four-hour documentary by an experienced documentarian with a long track record in investigation and telling complex stories and this is a complex story,” says Reed.
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Director Dan Reed is slamming a series of statements put forward by Michael Jackson’s family and the pop icon’s estate in the wake of the Sundance premiere of Reed’s documentary Leaving Neverland.Īfter the estate called his film “a tabloid character assassination” and insisted it “isn’t a documentary” while the family called him and the film’s two accusers “opportunists,” Reed sat down with The Hollywood Reporter in Park City to defend his work, which received a standing ovation from the visibly shaken audience members at its festival screening on Friday (Sundance stationed mental health workers in the lobby for anyone who needed help processing the film).