All language subtitles for Untouchable.2019.720p.HULU.WEBRip.DDP5.1.x264-NTb

[ distant voices chatter ]

♪

ERIKA ROSENBAUM: I went with no
plan, no agent, very little money.

I went on a hope and a dream,
um, from small‐town Quebec,

to, um, to Hollywood.

♪

When you're a young actor, you
hear stories all the time

about people just sort of
putting it all on the line

and taking the big chance
and going out to Hollywood

and, and then it happening.

KEN AULETTA: Oh my God, how many
people know the story of Lana Turner

working in a drugstore,

or Ava Gardner coming
up from the South,

you know, being spotted and
suddenly they're stars?

If you're Harvey and you're
a fat kid from Queens,

suddenly with power,

I don't have to imagine looking up
at Lana Turner and Ava Gardner.

Maybe I could...
have sex with them.

RONAN FARROW: He was able to use his
power to exploit women's dreams,

and that's a powerful thing.

ROSENBAUM: When this
powerhouse came into my life,

I believed that I was
seeing the star maker.

I thought, maybe this is it,
maybe this is my moment,

maybe this is my "in."

♪

You hear that this happens, right? So
I thought it was happening for me.

♪

[ cars whooshing ]

♪

[ whooshing continuing ]

[ radio stations changing ]

NEWSMAN [ over radio ]:
The Hollywood powerhouse

behind some of the world's
most famous films,

now Harvey Weinstein
is apologizing.

NEWSWOMAN: It comes
as The New York Times

details numerous accusations
going back three decades.

NEWSWOMAN 2: The report details
allegations of sexual harassment

by a number of women, including employees
and some very high‐profile actresses.

NEWSWOMAN 3: Gwyneth
Paltrow, Angelina Jolie,

uh, the list of accusers
continues to grow.

♪

NEWSWOMAN: This just in and
it's quite disturbing,

another bombshell in the
Harvey Weinstein story.

NEWSMAN: Three more women are now
accusing Harvey Weinstein of raping them.

NEWSWOMAN: ...who are among nearly 80 who
have accused Weinstein of misconduct.

[ indistinct police
radio chatter ]

[ helicopter whirring overhead ]

NEWSWOMAN: Well, as you can see
behind me, Harvey Weinstein

won't be able to escape the
spotlight when he turns himself in

not far from his Tribeca office
where he ran his media empire.

NEWSMAN: These accusations
span over his career.

How did he get away
with it for so long?

MAN: Right here, right here.
Good, good, good.

NEWSMAN: What took you so
long to surrender, Harvey?

[ reporters shouting questions ]

NEWSMAN 2: Mr. Weinstein, this
must be very humiliating for you.

NEWSWOMAN: It was not the type of
paparazzi Harvey Weinstein is used to.

Weinstein has repeatedly denied
the charges against him.

MAN: Down in front!

[ crowd shouting indistinctly ]

‐ Mr. Weinstein intends to
enter a plea of not guilty.

We intend to move very quickly
to dismiss, uh, these charges.

We believe that they are
constitutionally flawed.

We believe that they are not
factually supported by the evidence,

and we believe that, at
the end of the process,

Mr. Weinstein will
be exonerated.

NEWSMAN: Does he maintain that these
relationships were consensual?

‐ Mr. Weinstein has
always maintained

that any sexual activity he
engaged in was consensual.

Thank you very much. [
reporters shouting questions ]

HOPE D'AMORE: He really
thinks he's telling the truth

when he says he hasn't
had unconsensual sex.

If he gets what he wanted...

no matter what it is,

it doesn't take‐‐ matter what it takes
to get there, it doesn't matter.

"If I get what I want,
it was consensual."

I think he believed that.

♪

D'AMORE: I was a student at
the University of Buffalo.

I was studying psychology
and philosophy.

Someone I knew from
college called me

and said, "Fleetwood Mac
is going to be here,"

you know, about the...
this concert,

and, uh, "How would you
like to work backstage?"

[ bell clanging ]

Buffalo was a huge
stop on concert tours.

Harvey was the biggest promoter in
town, so, you had an album, uh,

you were going to
deal with Harvey.

MICKEY OSTERREICHER: I first met
him at the University of Buffalo.

I was working as a photo editor
of the school newspaper.

And then as I started to
shoot pictures for them,

I realized that they were really
doing very well and going places.

[ distant audience applauding ]

DEBORAH SLATER: Harvey was the
talent, Corky was the business.

Harvey wanted to be known by everybody,
to have the control and the fame.

It was just that persona of
"never take no for an answer."

And that was absolutely his way, it
was "never take no for an answer."

[ rhythmic applause ]

[ crowd cheering ]

D'AMORE: The first time I met Harvey
was at the concert backstage.

Everyone was very busy doing
different things on phones.

I remember him looking at me.

Um, I smiled at him, I'm sure.

Right from the beginning,
he was a very charming guy.

You know, he would look at you when
he spoke to you with great sincerity.

Not someone I‐‐ I would ever have
found attractive physically,

but very attractive in the sense
that he was a charming person.

[ distant audience applauding ]

He said, "What do you like doing?"
I said, "I love the movies."

And he said, "Well, you
know, my brother Bob and I

"are getting in that business
and we're just starting,

but if you come to work here, it
might be interesting for you."

He told me about Miramax. Uh...

He told me that they were
going to form a company.

He was naming it for his parents,
Miriam and Max Weinstein,

and that was what he wanted
to do, not concert promotion.

His interest was genuine, and
his knowledge was genuine.

I love it when I meet people
who just love what they do.

And to get paid to do something
you're interested in?

SLATER: Harvey always had
aspirations of moving along.

You knew that his aspirations

for success for the films

that he really dreamed of making

weren't going to
keep him in Buffalo.

♪

[ distant sirens wailing ]

[ horns honk ]

D'AMORE: He was going
to go to New York

to talk to someone about a film
they were trying to distribute.

He said, "Why don't you come?"

I said, "Sure." I
mean, I jumped at it.

We stayed at a hotel
by Central Park.

I was standing in the lobby.

It was, you know, kind of, "You wait
with the bags, I'll go and check us in."

He said, "Well, there was a mistake.
There's only one room."

And I just, you know, gave
him a look and I said,

"Well, then you're going to
have to sleep on the chair."

It didn't seem so‐‐

I mean, that seemed like a
real move, um, on his part,

but, you know, the worst I
might have thought he would do

would, would be to claim that he
slept with me when he hadn't.

I could live with that.

Um...

♪

I put on a T‐shirt and some
shorts or something to sleep in,

and I went to bed.

Suddenly, Harvey gets into
bed naked, next to me.

And I said, you know, something,
you know, just, "Harvey..."

and I just pushed him away.

You know he... he tries
to cajole at first.

"Do you really want
to make me an enemy,

for five minutes of your time?"

I mean...

He just, um...

He just pushed and pushed and...

And then he just, you
know, he's huge.

I weigh about a hundred pounds,
probably weighed about 110 then.

Maybe...

I don't know how to explain it.
I just, I just...

thought, if I just shut up...

it will be over
in a few minutes.

♪

I didn't want anything from him.

I didn't hit him.

I didn't try to
scratch his eyes out.

[ voice breaking ]: But I said
no, and I pushed him away...

more than once.

And then I just stopped.

[ sobs softly ]

♪

I was so frightened.

I went back to Buffalo.

I didn't tell anybody.

I knew, he used to say he
owned the cops in Buffalo,

because they worked concerts,

they worked security
when they were off duty.

You know, he had influence.
He had a lot of money.

Um, he did a lot of
advertising in newspapers.

Nobody would have
believed anything I said.

I wasn't going to go to anybody
and complain about that.

[ sobs softly ]

I mean, it's the, it's
the collateral damage

that, you know, what it
does to relationships,

with friends, people you love.

And they don't know why.

That's...

I, you know, it...

It just, he‐‐

It steals something.

♪

♪

HARVEY WEINSTEIN: I never
liked the music industry.

I never liked promoting
concerts or any of that.

But I always talked about
film from the beginning.

Throughout the course of my career,
and the early beginnings of it,

people would always say
to abandon your dream.

[ siren wailing ]

Not to do it, it's not going
to happen, it's impossible.

You have to believe in yourself.

You have to be
somewhat tenacious,

and you really have
to have a conviction.

♪

JACK LECHNER: I remember
meeting him and thinking,

this person can't exist.

He's just such a caricature
of a Hollywood mogul

that hasn't been
around for decades.

I remember as a kid reading about moguls
like Harry Cohn and Louis B. Mayer

and thinking it would have been so
amazing to work for one of those people.

And then, as it happens, I found myself
working for one of those people.

JOHN SCHMIDT: I went over to
Miramax for the job interview

to be the chief
financial officer.

I spent 30 minutes with Bob.

And then all of a sudden the door
swings open and Harvey walks in,

and he goes, "Who's this?"

And Bob goes, "This is Schmidt. We're
interviewing for the CFO job."

And he looks at me and
he goes, "You're hired."

‐ I liked the fact that,
both with Bob and Harvey,

you could literally just walk
into their office with an idea.

And if either of them
thought it was a good idea,

you would find
yourself doing it.

"Go figure it out,
make it happen."

That was exciting.

[ indistinct chatter ]

BOB WEINSTEIN: To get a film either
financed here or acquired at Miramax,

it's really a case of me and my brother
being the final decision maker.

We've picked up so many films and,
you know, financed so many pictures

based on his approval, my
approval, and that was it.

There was no three weeks,
"Hold on, we've got to go

up through the corporate
board meeting."

That's what we like.

HARVEY: At Miramax, we're not under
that corporate pressure to say,

"Jesus, we've got to
go up each year,"

so we can do what
we think is good,

and if our profits are lower next year
than they were the year before, so what?

So what, as long as
we did good work?

♪

LECHNER: His sense of marketing and
promotion was just phenomenal.

He was able to do things that
no one else was able to do

because he was working
with extraordinary people

on extraordinary projects.

He was brilliant.

MARK GILL: The movies
were extraordinary,

the opportunities to make
them were extraordinary,

and for a time there, Miramax was
one of the very few doing it.

And changing the way one thought
about independent cinema

and the stories it could tell and
how many people they could reach.

And that was an extraordinary
thing to be a part of.

‐ We were the shit then.

Excuse my French. [ chuckles ]

I mean, we were.

And it was great.

One evening...

it must have been one of
Harvey's assistants said,

"On your way into work in the
morning, come to the screening room."

[ tone beeping ]

Lights go down, it's
Cinema Paradiso.

The end of the film when the
little boy becomes the old man

and he's sitting in the theater, watching
these old black‐and‐white films...

♪

that really moved all of us.

Lights go up, there
wasn't a dry eye.

Harvey came down one aisle,
Bob came down another,

and they both looked at us and
said, "What do you think?"

"What do you mean what do we
think, look at our faces.

You have to have this movie."

And they acquired it.

Huge turning point,

because it came
around the same time

as Sex, Lies, and Videotape,
My Left Foot, Cinema Paradiso.

Those were the three that really
changed everything for us.

SCHMIDT: In a way, all three
films demonstrate the brashness,

the confidence, the
risk‐taking, um,

many of the things that,
that distinguishes Miramax

and distinguished Harvey
and Bob at the beginning.

[ cars whooshing ]

♪

HARVEY: I could do what the studios
do all day long in my sleep,

and my staff could too.

The Miramax charter was always to
make something new and different,

almost like Star Trek , to boldly
go where no one had gone before.

I'm gonna tell you the
secret of Miramax.

It's not marketing, not
corporate politics,

it's the written word.

♪

NEWSWOMAN: It seems
an odd coupling.

Disney‐‐ the makers of Aladdin, Huck
Finn, and Beauty and the Beast ‐‐

has bought Miramax.

‐ There's no question that Miramax
has been on an extraordinary roll.

‐ It's having, you know, the
autonomy to make our kind of movies

and to have their
kind of resources.

LECHNER: The success caused
Disney to buy Miramax.

Disney was just about invisible.

‐ The amount of freedom that Harvey
and Bob had was unparalleled.

And the theory about that was,
"They know how to do something

we don't know how to do, we
should just let them do it."

‐ In some ways that was the best
time for Harvey and Bob creatively

because they could gamble
with someone else's money,

and gambling was what
they were good at.

Harvey at his best was charming,

funny and amazing
at what he did.

Harvey at his worst was a monster
that you wouldn't want to cross.

‐ You had an overlord who lived by
the most vicious methods possible

in order to instill fear.

‐ I mean, we've all had tough bosses,
right, in the business from time to time,

but over time, this became
something worse than that.

‐ In a lot of ways, he
was tougher on the guys.

‐ I've ducked from a couple of
ashtrays being thrown at me,

one of them that probably weighed
five pounds, made out of marble.

‐ If you were, uh, in his
way, uh, it didn't matter,

he was, you know, an equal
opportunity abuser.

‐ Miramax broke a ton of people.
Harvey broke a ton of people.

‐ It's just how it was.

You either dealt
with it or you left.

‐ Miramax was built on its
energy and its, you know,

its, um... you know, its
breaking of the rules.

And, you know, that's
okay when you're doing it

in a professional and
respectful manner‐‐

you're breaking the rules in an industry
or, you know, disrupting an industry‐‐

but it's not okay when it's, you
know, when it's, uh, harassment,

and harassment was, uh,
was all over the place.

DECLESIS: We sort of knew that
Harvey was cheating on his wife,

but I think we thought that
that was all that was going on,

until a little time went past.

‐ A young woman, who
was a friend of mine,

who I had introduced
to the company,

very smart, very capable,

uh, against quite a bit of
competition, she landed a job.

‐ One day this particular assistant
just stopped coming to work.

And I didn't know why.

So I went and talked to the
people that I shared her with,

the other department.

And they kind of gave me

this very whispered story

of what sort of kind of
might have happened.

‐ She had been delivering
a script to Harvey

at his, uh, his apartment,
I guess, in New York,

and there was, um, you know,

there was a very,
um, um, you know,

a very bad, uh, incident.

♪

DECLESIS: One of the many things
I did for Bob on a daily basis

was open his mail,

and it was not unusual for us
to get letters from law firms.

We got letters from law
firms all the time.

This particular letter was
not one of those letters.

This was a letter stating that

"We intend to file
suit against Harvey

for sexual assault."

And I sat there and read
it, the whole thing,

over and over, three
or four times,

until I really...

I got good and angry.

You have a choice to make, I guess.
I had a choice to make.

You either swallow
it, ignore it.

I'm not that person,
I can't do that.

So I walked in and
I gave him mail,

other mail that he had
to have dealt with,

it was mail that he
had to deal with.

And at the end, I handed him the envelope
from the attorney's office and said,

"And this came too."

♪

SCHMIDT: The young woman signed
a nondisclosure agreement.

There was a cash settlement.

It had all happened quickly, in
a matter of two or three days.

DECLESIS: I left very
shortly thereafter.

As I walked out of Bob's office, I
pointed my finger at him and I said,

"I quit, and your brother
is a fucking pig."

‐ You know, as I look back, I, you know, I
can't quite reconcile, you know, myself

to just not up and quitting when
my friend was abused by him.

You know, um, sexually abused.

Um, so I live with
that, for sure.

ZELDA PERKINS: This is me at
my first Cannes Film Festival,

looking slightly bemused.

Harvey and I on a yacht.

Me in the office
looking about 12.

That's quite shortly
before I left.

When Harvey came to the UK,

you'd be with him at the Savoy, where
he conducted all his business.

As an assistant, you had to go
and get him up in the morning,

which meant there'd usually
be a tussle at the bedside.

Um, you know, he showered.

He expected you to go... be
around when he was naked.

He very quickly tried to
normalize the situation

and just told me I had to get
with it and not be such a prissy,

and that he didn't have time to
worry about my delicate feelings.

And, you know, at 23 and your first
job, you believe what they tell you.

So I was like, okay, well, I'm now in
the big league and, yeah, of course.

He's... He's really important, he
doesn't have time to sort of, you know,

do things like wear
trousers when he's tired.

The first time that he asked for
a massage, I was very robust,

and, and I was always pretty
cheeky and rude back to him,

which would make him laugh.

And so I didn't feel frightened,
but it was exhausting.

It was mentally exhausting because
you were always slightly fighting,

you were always nearly‐‐

It felt like you were always just
keeping your head above water.

♪

But it was a very exciting
environment to be in.

When you were with Harvey,
you were going out to dinner

with Sean Connery and
Leonardo DiCaprio

and flying around
in private jets.

He created an energy around him

that made it feel like you were
in the center of the universe.

♪

I had recently employed an
assistant to help me with Harvey.

When I was interviewing people,
I very clearly said to people,

"He will behave inappropriately.

If you deal with him
robustly you'll be fine,"

because that was my experience.

That evening, my colleague
did the night shift.

It was her first
time with him alone,

and he assaulted her and
attempted to rape her.

Which she told me,
uh, the next day.

And I think probably was one of
the most shattering bits of news

I had ever had.

Um, so I immediately went
and confronted Harvey.

He told me nothing,

and he then swore on his wife,
who was Eve at the time,

and his children's life,

which to me, I'm afraid, was
an absolute admission of guilt

because I had heard
him only do that

as a sort of proper
"get out of jail" card,

that was his really "I'm
in trouble," um, lie.

♪

I was pretty panicked because I
didn't really know what to do.

We had no physical evidence.

By the time we were
all back in England,

she just still didn't
want to go to the police,

which I completely understand
and had to respect.

So the day that I resigned,

I was bombarded with
telephone calls from him

and, um, a lot of execs
from the New York office.

Um, and...

I think I had a total of about
17 or 18 messages that night,

that went pretty much
through the night.

I genuinely felt that
I might be in danger

and I felt that I may
need evidence in court.

Um, anyway, I'll
just let you hear.

[ recorder beeps ]

♪

AULETTA: I write about the media and
communications for The New Yorker.

So I try and tell a story
through an individual.

Uh, in this case, it
was a Hollywood story.

We decided to profile
Harvey Weinstein.

♪

I was interested in
power, he had power.

I was interested in abusive power, and
I'd heard tales of his abusive power.

I'm just talking about
bullying of people,

and obviously I'd heard about

and witnessed, by watching his
movies, some real talent.

[ Harvey mouthing "Thank you" ] [
indistinct shouting in distance ]

AULETTA: I spent an enormous amount
of one‐on‐one time with him,

as well as time watching him
just being a fly on the wall.

In the course of reporting,
I came across an incident

where a female employee of
Miramax, he attempted to rape her.

And, um, it was violent.

She was frightened.

She talked to Zelda Perkins, who
was an assistant to Harvey,

and Harvey agreed to pay
just under $250,000

if they would sign a
non‐disclosure agreement.

PERKINS: At this point, I
was trying to work out

how to make this okay.

And the only way I could
make it okay in my mind

was, okay, well, we will ask

for an enormous amount of money
that is indicative of the crime.

This payment is going to
show how guilty he is.

"Dear Zelda, I am writing
to set out the agreement

relating to the termination of your
employment with Miramax Film Corp."

What they wanted
was pretty simple.

They wanted us to never
speak about anything to do

with Miramax or Harvey or Bob,
um, obviously the incident,

anything, ever again.

But it became pretty sinister
when we weren't allowed

to discuss this
with a therapist.

If we spoke to a therapist,

the therapist had to sign a
confidentiality agreement.

If the therapist then broke
that confidentiality agreement,

we would be held responsible,

we would be considered in
breach of our contract.

It also very clearly stipulates

that if there is a civil
or criminal case brought,

that we have to provide reasonable
assistance to help Miramax.

You know, we had guns pointing
at us from every direction.

[ church bell ringing
in distance ]

Ken Auletta found
me in Guatemala.

And I remember he called me on
my mobile and I was terrified

and couldn't speak to him.

I genuinely thought I'd end up
in jail if I broke my agreement.

AULETTA: I believed he had
done this terrible thing,

and yet I didn't have anyone
on the record saying it.

I was hearing stories which essentially
you could dismiss as rumor,

because you didn't
have names attached.

You need to be able
to prove things,

and so we had to publish the piece
without including Zelda's story.

It was very frustrating for me
because I knew he was a predator.

I knew he was pathological,

and I wanted to stop him because
I knew he would do it again.

♪

ROSENBAUM: I had been connected
with this lovely model,

and she sort of took
me under her wing.

She had invited me, uh, to
come along to this party,

where, um, I sat down to dinner
next to Harvey Weinstein,

and I did not know who
he was at the time.

[ indistinct chatter ] [
silverware clinking ]

He was very at ease,
casually chatting about, uh,

family and life in a small town,

and he talked passionately
about our industry.

He talked about it like
some, like a film nerd,

like somebody who just
loved storytelling

and who was so proud
to be able to do it.

By the end of it, he was quite sure
that I was going to do very well,

he could help me out.

[ indistinct chatter ]

I really believed that I
was seeing this genius

who could just spot
a Gwyneth Paltrow.

We were both leaving and he
beckoned me over and said, uh,

you know, "I'm not done talking to you.
We gotta talk about what comes next."

And, uh, he said, "Can you give
me a lift back to my hotel?"

♪

He asked if I would
continue talking upstairs.

Uh, he had an office suite.

And although it was
late, I thought,

well, I either say "no
thanks" and go home

or I take the meeting.

So, although I knew there was a risk,
I also knew that you take risks

when you're young and hopeful

and trying to make it in a
seemingly impossible industry.

You say yes.

♪

He no longer seemed to
want to talk about work,

and he slid, uh, his
arm around my waist,

as though we were old friends.

And he said, "We're cool right?
We're friends, right?"

And he took his shirt off and
suggested I do the same.

I told him that I had a
boyfriend at home and...

and, and he said, you know, "I'm
married, it's not a big deal.

Everybody does this."

And he, you know, he rattled off
the names of a few young actresses

that had been in
recent films of his,

as though we were
all just friends

and this was just
part of Hollywood.

And it seemed so unlikely
that all of these women

would have crossed that line
to get the jobs that they had.

I didn't want to believe that.

And so we had a weird... [
sighs ] sort of negotiation

about what I was willing to do,

and I wanted to just get out.

But I was afraid to upset him.

And so he laid down on the bed,

and I stood on either
side of him...

and bent down and, and feigned
interest in the art of massage.

Then I told him I had to go.

I had... people waiting
for me or something.

I made some excuse, and
he walked me to the door

and acted as though, um...

I'd passed some sort of test,

and... and he would see
what comes up for me.

[ sighs ]

♪

I was revved up on adrenaline.

I felt like I had just escaped

a narrow encounter.

I should have kept away
from him at that point.

But I also still really
believed in my future.

And I had turned him down once.

He knew I was not going
to sleep with him.

And I had every reason to hope

that he was just
going to help me.

♪

I wanted desperately
to believe that.

KEVIN SPACEY: Juliette Binoche
in The English Patient.

MEL GIBSON: Anthony Minghella
for The English Patient.

AL PACINO: And the Oscar goes...

to The English Patient.

ANN CURRY: Box office prognosis is
very good for The English Patient.

The film was the runaway
winner at the Academy Awards,

picking up nine Oscars.

‐ Roberto!

NEWSMAN: Those Weinstein
brothers have done it again,

with more wins at the
71st Academy Awards.

LECHNER: Harvey was
laser‐focused on the Oscars.

He understood the value of
the Oscars, monetarily,

to every movie
that got an award.

Harvey was the first person to marshal
a whole team of Oscar specialists.

GILL: Five movies a year nominated
for best picture out of 600.

We had one every year for ten
years in a row, not an accident.

‐ Harvey Weinstein, Bob
Weinstein, God bless 'em.

‐ Harvey Weinstein, who believed
in us and made this movie...

GILL: And so Harvey ended up
being thanked more than God.

‐ Thank you, Harvey Weinstein.

‐ Especially Harvey.

SCHMIDT: The throwing of parties,
giving gifts to Academy members,

the private screenings with the
filmmaker or the actor and the actress,

a lavish dinner to follow.

That was really
created by Harvey.

♪

GILL: Some people would
call it gluttony.

You'd see it in Harvey's
physique, obviously,

but you'd see it also in
just everything he did.

There was always wanting more.

More press, more sales,
more good reviews,

more movies, more movie stars,

more parties, just more,
more, more, more, more.

‐ I would like to thank
Harvey Weinstein.

‐ First of all, it's exhausting, and
second of all, it tells you something

about a hole that is trying to be filled,
right, which is it's never good enough.

‐ Shakespeare in Love.

[ crowd applauding ]

SCHMIDT: I think it's
very much about power.

I think that the sort of
arc of Harvey's career

is all about the accumulation
of influence and power.

He thought of himself
as the sheriff in town.

I mean, he literally
called himself that.

GILL: The anger and the impulsiveness
and the abuse of power

are inseparable from the genius.

That's the tragedy.

HARVEY: I wanna thank Mark
Gill and Marcy Granata,

who are the, one in two, most
dynamite marketing team.

And nobody inspires me
more than my brother Bob,

who is my partner and
best friend every day.

GILL: If you think about the
way the Weinsteins work,

it was very much the mafia axiom

of "dote on the family and
kill everybody else."

The most ironic part
of all this is that

the nastiest fights of all
were between Harvey and Bob.

LECHNER: The first rule of Miramax
is, never get between the brothers.

Because they were fiercely
loyal to each other,

at the same time that they were
threatening to kill each other.

Harvey was volcanic.

We all knew what Harvey was
thinking because he would tell you.

With Bob, you often never
knew what he was thinking.

DECLESIS: Bob was more
of a simmering soul.

[ laughs ]

His was more under his breath.

Like... [ softly ]: "Don't
ask me that question."

LECHNER: Bob is much more shy,
sometimes socially awkward.

At the same time, Bob was more
of a real person than Harvey.

You know, Bob has
actual friends.

Bob can just go to a
ball game and have fun.

Um, Harvey doesn't really have that
kind of relationship with anybody.

You know, Harvey
is always working.

He's always, at the very least, working
at the job of being Harvey Weinstein.

[ train rattling ]

♪

HARVEY: I was born in Brooklyn
and then I moved to Queens.

We went to the rent‐controlled
apartment complex called Electchester.

And, um, we had a really good
childhood and a really good time.

DAVE CHANNON: This is Harvey,

with the bow tie and
the protuberant ears.

He looks happy,
everybody looks happy.

I guess we didn't have
the Cuban missile crisis

until a few years later.

He wasn't very sociable.

He was a sort of an outsider and he
was never in any of the school plays,

or get into sports or anything.

He just didn't stand out at all.

It really wasn't until sometime
in the beginning of college

when he got a reputation
as obnoxious.

The main thing he did that
really got on people's nerves

was he would go around
acting like the Godfather.

AULETTA: He was insecure about his
looks, about his physical appearance.

He thought he was ugly, he
thought he was unattractive.

Harvey was a guy who, with a
chip on his shoulder, who,

who felt he was fighting
the establishment always.

♪

HARVEY: To me, I'm
still the underdog.

I felt that way
when I was young.

And sometimes I still
feel that way.

That's why I like making
movies about underdogs.

AJ BENZA: He cut a big figure,
he made things happen.

He scared people, in the
same way a gangster would.

He wasn't phony, he
said what he said.

He meant what he
meant, like Popeye.

GILL: He was trying to prove
that he was king of the world,

that he wanted to
show everybody.

And, you know, for a while
there, he, at least for,

in the independent film world,
he was the king of the world.

[ band playing
"Wheel of Fortune" ]

KAY STARR: ♪ The wheel ♪

♪ Of fortune ♪

♪ Goes spinning around... ♪

REBECCA TRAISTER: At that
period in New York City,

there were parties every night.

There were parties for perfume launches,
there were parties for books,

there were movie premieres, there
were TV premieres everywhere.

The cast of Sex and the
City would show up.

There were red carpets everywhere, it
was a very sort of high party time.

KAY STARR: ♪ Oh, wheel
of fortune... ♪

BENZA: The people who run that city,
I saw them almost every night.

It was not uncommon to see Donald
Trump and Harvey Weinstein

on the same night,
at the same event.

Back then, Miramax was
a vibrant company

with a lot of great projects,
a lot of cool celebrities.

Everybody wanted
to be around it.

♪

[ gasps ]

[ screaming ]

ROSANNA ARQUETTE: That
needle‐to‐the‐heart scene

in Pulp Fiction: genius.

You could say this about Harvey
Weinstein, he had really good taste.

He made good films.

‐ That was fuckin' trippy.

[ giggles ] [ Mia gasps ]

VINCENT: [ sighing ] Oh, man.

‐ He really understood...
good material.

TRAISTER: What Harvey was doing
in the 1990s in New York City is,

he was recreating some of the
romance of the studio era.

It offered the fairy tale that's very
connected in the American mythology

of how you become a star,
how you become an artist.

[ fans shouting, cheering ]

Many people who have gone to
work in the movie industry

are drawn there by
this kind of fantasy.

And Harvey was, like,
the path to that.

CAITLIN DULANY: Miramax was sort
of "it" and Harvey was the guy

that was kind of
making things happen.

The opportunities for actors to do
great roles, big or small, were there.

What could be more
exciting as a young actor?

It was an exciting time, yeah.

♪

‐ Hi. Paz. Nice to meet you.

BENZA: I always imagined, like
plenty of people in this industry,

that actresses slept with Harvey
because it was good for their career,

not because they wanted
to jump in bed with him

because they were
in love with him.

I just assumed many
actresses did that.

I don't know, uh, it's
just not odd to me.

There's no question that
Harvey exuded a certain power.

Any powerful man in any city, yeah,
women were just part of the thing.

They come along with the power,
they're attracted to the power.

It's like putting a light on your
porch, you're gonna get a lot of moths.

NANNETTE KLATT: I was born
with a hereditary eye disease.

I don't see anything up,
down or to the sides,

and it comes with total
night blindness.

So I've worked really hard not
to ever look blind or act blind.

I had gotten an audition, was
going in to read for a part.

He handed me the
script and he said,

"Do you think you can read
those four pages for me?"

And I said, "Yes, yes,
I would be happy to."

LOUISE GODBOLD: Here
was I, meeting one of

the most powerful
men in Hollywood.

I felt very flattered,

understanding that
this was a privilege.

‐ I was intimidated
by him and his power.

I mean, he's a repulsive
man, physically,

but I saw all these other
actresses hanging around him,

so I felt like it was
something you did.

He asked me if I
wanted a ride home,

and I said okay.

DULANY: Harvey invited
me out to dinner.

It was a wonderful night.

Leonardo DiCaprio was at our table.
He was lovely.

The after‐party would continue at
the hotel where Harvey was staying.

And then I was...

It was just me in the car and that's
when I started to feel a little weird,

like why... wouldn't I be
carpooling with somebody?

ARQUETTE: I was going to have dinner
with him at the Beverly Hills Hotel

and I arrived, front desk, "I'm
here to see Harvey Weinstein,

and, um, tell him I'll
be in the restaurant."

"No, Mr. Weinstein said would you go
upstairs, he'll meet you upstairs."

He said, "Can... I want‐‐ Can we
have a drink upstairs at yours?"

And I was too afraid to say no.

We went up to my place

and things got very
uncomfortable, very fast.

‐ I was so happy because this,
all I could think of is, yes,

this is the launching
of my career.

I am going to be working
for a huge major studio,

a huge person in the
industry, thank you, God.

‐ So obviously this is the part
that's very hard to talk about,

that I haven't talked
about that much before.

So I'll try, um...

I felt, um, maybe like
in shock a little bit.

Um... and then I was in a situation
that I couldn't get out of.

‐ "Wait a minute, wait a
minute," and he stood up.

He said, "One‐‐ One
minute, one minute.

I need one more thing from you."

He said, "I want to
see your breasts,"

and I said, "I'm sorry,
I don't do that."

‐ "Oh, I have a stiff neck.

Um, would you give me
a shoulder massage?"

‐ "I can't move my neck," and I
said, "Oh, God, that's terrible.

"I should get you a masseuse.

I have a great masseuse
and I'm gonna call them."

‐ He disappears
into the bedroom.

‐ He goes, "No, no,
no, no, Rosanna."

And he took my hand, and‐and
like he grabbed my hand,

and he had an erection,
and I went "fuck."

Um... backed up

and... and he goes, "Rosanna,
you're making a very big mistake."

‐ "It's your breasts.
Do you know who I am?"

And I said, "Yeah."

And he said, "Do you
know who I am?"

‐ I did the worst massage ever,

and I could see that my massage

had actually had more effect
than I would have expected.

That was when my survival
instincts kicked in

and I got the heck out of there.

‐ He said, "You know, I can make your
career or I can break your career.

I can make it where you will never
work in this business again."

And he said, "So show
me your breasts."

And I said, "No, I
don't do that."

And then he says, "The
building's locked.

"You can't get out that way.

You can't get out at all
unless you go down there."

And he pointed past him
at the end of the hall,

which was a door,
a stairwell door.

♪

I don't know if anybody is
going to answer the door.

I don't know if he's gonna
come in looking for me.

He knows that I have
total night blindness.

So he knew when I
went down that stair,

it was totally black, totally,
totally, totally black.

DE LA HUERTA: He... He
pulled my dress up,

and I was just terrified.

I didn't kick and scream.

DULANY: The freeze thing kicks in,
like you just want it to be over,

and you don't want to be...

You're‐‐ You're worried you're
gonna get hurt, you know?

‐ When you read about rape,
you read, "Okay, well,

the girl says‐‐ screams 'No!' and
she kicks and screams and..."

But that's not exactly right.

The way in which
he overpowered me

left me no way out.

Um, so...

So Harvey performed
oral sex on me,

um... forcibly...

um...

or... without my consent,

um, and I didn't really
know what to do,

and I was terrified that
he was going to rape me.

I was really scared
of being penetrated,

of being... being raped,

of having him on top of me,

so I just froze.

I definitely went
somewhere else.

DE LA HUERTA: It's almost like
I was hovering over my body,

and this thing was
happening to me.

‐ This is happening and
then it's going to be over,

and then it's...

I'm, I'll never,
never think of‐‐

It's just, I'll cut
it out of me somehow.

KLATT: And there was like a
little Hispanic maintenance man,

and first thing he asked me, "Are
you coming from the fourth floor?"

‐ Just, you know, he‐‐
then he masturbated and...

finished.

‐ I knew I was going to be in trouble
because I didn't participate, I knew it.

And then when I tried
to tell people,

they said, "You better
keep your mouth shut."

‐ I didn't go to the police
because I was terrified

he would destroy me, and he
would say it was consensual,

and he would say that I was
a whore and I was lying.

DULANY: What I
remember is leaving,

and at the bottom of the staircase
were people that worked for him

waiting to go in to see him.

I don't know, I don't
know what they thought.

I don't know what they knew.

♪

LAUREN O'CONNOR: I travelled
with Harvey quite frequently.

And there was this one time
where I made a mistake.

He said, "You're smart enough to be
me and if you don't want to be me,

"you're wasting your time.

"Why don't you just go marry
some fat rich Jewish fuck

'cause maybe all you're
good for is making babies."

You're an employee,
you're not in a position

to question your
boss's intentions.

You know, I would
have been fired.

‐ When Harvey was meeting with these
women, he would send us all away,

and we would get summoned back
long after these women were gone.

My take on these relationships was
some sort of agreement had happened.

O'CONNOR: There's this knocking
on my hotel room door.

There's this woman standing there
and she's shaking and she's crying.

And, you know, so I invite her
in and I ask her what's wrong,

and it took her a while
to start talking,

and she tells me, you know,

that he had coerced her
into giving him a massage,

and he didn't listen
to her say no.

You have to do something.

So I filed a complaint that would
later be referred to as "the memo."

And I hoped that by
putting this, putting...

the experiences I and
others had in writing,

the person reading the memo
wouldn't be able to look away,

that they couldn't
unsee or unknow.

ABBY EX: I started in publicity, so I
saw a lot about how the machine works

in terms of burying scandals.

The people higher up, closer to
Harvey, in a business capacity,

were the ones who dealt with the
outside lawyers and, um, settlements.

DECLESIS: Being complicit
doesn't necessarily mean

you have to take part in it.

By keeping quiet, I believe
you're also complicit.

Why would you do that?

Money.

Money power.

It's much easier to
just go with the flow.

You know, keep everything
the way it is.

Don't rock the boat because
everybody's getting a piece of it.

♪

AULETTA: When you think about the
complicity of the Hollywood community,

agents were guilty of that,

as were some studio heads,
as were some producers,

as were some directors and actors
and actresses and staffers.

[ sighs ]

‐ I feel so conflicted about
my experience with Harvey.

My life is better for having
worked with Harvey Weinstein.

Those of us who were
on the Harvey train

got a lot out of it.

We were taken to all
kinds of amazing places

and allowed to do all
kinds of amazing things,

and now we all feel
this survivor guilt

for having experienced
positive things

and now realizing all
the negative things

that other people were
experiencing at the same time.

I never experienced Harvey being
inappropriate with an actress,

but I certainly heard rumors

that there were actresses who were
sleeping with Harvey to get better roles.

♪

‐ There was always a
kind of list of people

who'd just gotten big roles
who got gossiped about.

The way the gossip was communicated was,
"She slept with Harvey to get that part."

It was never communicated as,

"Oh yeah, you heard
he slept with her."

It was always the woman as the
person who had done the action.

"She blew Harvey, she fucked Harvey, she
slept with Harvey to get that part."

♪

ROSENBAUM: So a few
years went by.

I had, I thought, made my
peace with what had happened

and with how I'd handled myself.

And I called every six months,

or a year, just to say, "Hello,
this is Erika Rosenbaum.

"I just wanted to let
you know I got a part,

"um, and it went really well.

Um, you asked me to keep
in touch, so here I am."

At one point, he was going to be

at the Toronto International
Film Festival,

and he suggested that I
take the time to stop in.

I had been dealing with a
very lovely assistant of his

who eventually asked
that I meet them,

uh, in his room before dinner,
because he had to go to a dinner

or a screening or something,

and, uh, and I would
have to be squeezed in.

That seemed reasonable to me,
despite what had happened.

Um, I guess because
I had made clear

that I was not that
kind of actress,

whatever that means.

♪

The young assistant
opened the door.

She looked a little flustered.

Um, and she left,

and she closed the
door behind her.

He came out of the bathroom and
he wasn't wearing any pants.

He was wearing a shirt that
just covered his hips.

And I was very...

put off, as you can imagine.

Uh, and also just nervous

because he was clearly
distraught about something

that had nothing to do
with my presence there.

Um, so right away I
said, "It's a bad time.

"I can see you're
on your way out.

Let's do this another day."

And I backed towards the door,
and he got quite annoyed

and said, "You're here.

Take‐take the five minutes and...
and let's talk for a second."

And he was like, he
said, "Come with me,"

and he asked me to follow
him to the bathroom,

and I said, "No, no, no, I mean, please,
this is not a good time, I'll come back."

Um...

And he insisted that I stay.

And so, although my heart
was pounding and...

I felt like I was in a
dangerous place, I stayed.

Because I thought
leaving would be worse.

I followed him
into the washroom.

The toilet seat had been broken,

like it had been smashed.

It was a... a solid toilet seat

that had been broken
into three pieces,

and there was blood on the seat.

He asked me to face the mirror and
said, "I just want to look at you."

And he put his hand on
the back of my neck

and sort of held me in place,

staring at my own
face in the mirror,

and he started to touch himself
under his shirt behind me.

And I remember that...

like it's a scene
from a bad movie.

Because it's hard to
believe that that was me.

But I remember looking
at myself in the mirror

and seeing him over
my right shoulder

and I remember staring
at him and thinking,

if I can just stand still

that maybe it would all go away

or maybe I would
disappear or something.

I guess I was just
too shocked to move.

And I noticed that he
had blood on his hand.

And I found a way

to say that I had to go,

and I don't think he finished.

♪

[ noisy chatter ]

REPORTER: Give us
the five seconds!

TRAISTER : I was a reporter at
a weekly newspaper in New York

called the New York Observer.

I was interested in the cultural
changes happening within Manhattan,

and Miramax was at the very
center of those cultural changes.

HUGO: You've been
everything to me, O.

To me, you're not my friend,
man, you're my brother.

And when a brother
is wronged, so am I.

TRAISTER: Harvey's company, Miramax's
brother company Dimension,

had made a movie that was
an update on Othello.

It was called O,

and it had a terrific cast of stars
that were very popular at the moment,

including Mekhi Phifer
and Josh Hartnett.

‐ I've spent the last few days going
over every possible detail, every angle.

‐ It had everything about it that should
have been released to a great fanfare,

but the company was holding
it and they were holding it

during the presidential campaign
of Al Gore and Joe Lieberman.

They were running this campaign that
had this weird reactionary streak

of disapproving of
violence in the media.

O was a very violent
high school drama.

HUGO: He soars above us.

TRAISTER: The makers of the movie
believed that it was being held back

because Harvey was so involved
in the Gore‐Lieberman campaign.

He was hoping that the amount
of money that he was giving

was going to result in some
kind of political payoff.

I needed to get a
comment from Harvey.

So my editor sent me to
a party he was hosting

to accompany a repor‐‐
a fellow reporter

who was working as a gossip
columnist that night.

He also happened to be somebody
I was dating at the time.

[ distant siren wailing ]

[ muffled party music playing ]

ALEXANDER GOLDMAN: Harvey
was throwing a party

for a former MTV VJ

named Karen Duffy,
who went by "Duff."

And I remember walking in
behind Harvey and his entourage

and then going and saying,
"Rebecca, you go do your thing."

[ lively chatter ]

TRAISTER: I walked right up to Harvey
with my tape recorder out and said,

"I have a question
about the movie O ."

And he said to me, "Oh,
that's my brother's movie,

I don't have anything to do with
that," and then he walked away.

And I thought to myself, "Well,
that's a nothing comment,

and I don't believe it,"
but I got the comment,

which is what I knew I needed to do in
order to be able to publish my story.

I was sort of putting
my tape recorder away.

I'd done the one job I
had there that night,

at which point suddenly
Harvey came back to me,

and he said, "You
can't use that."

I said, "What do you mean?" And he
said, "That was off the record."

He started to grab for
my tape recorder.

I just pressed "record" and
held it up to his face,

and that enraged him more.

‐ And then the temperature
in the room turns,

and all of a sudden I see
something go off in Harvey,

and I see like, you know, initially
some maybe gesticulating,

and then I hear him yelling
at the top of his lungs,

"Who let this fucking
cunt into this party?"

‐ And then he was sort
of half screaming at me

and half screaming at
the rest of the room,

"Get this cunt out of here,
this cunt shouldn't be here!

This‐‐ What is this bitch doing here?
Who let this bitch in?"

‐ This man is screaming
at the top of his lungs

at a 23‐year‐old
woman who's asking

a very reasonable
question about his movie,

and he's calling her a "cunt."

‐ The thing that scared me was that
it felt like anything was possible.

Like there was no
norm and no rule

that was gonna say this
is gonna end okay.

And my colleague and
boyfriend, Andrew, came over

and said, "Harvey, Harvey,
I'm here to talk to you.

"I'm, I‐‐ She came with me.

"I'm the reporter who's assigned
to talk about this party.

I want to hear about
Karen Duffy."

And I kind of went... [ pants ]

I... remember I got our bags,

put my bags, put the bags
over the shoulder [ laughs ],

and I looked at Andrew
and I was like,

"Wrap it up, we're
gonna go, time to go."

‐ And then I stopped, and I
was like, this is absurd.

I said, "Harvey, we
have treated you well.

"You have no right to call
somebody like that that name

in front of these people.
You can't do that."

‐ [ whispering ]: No, I don't need
an apology, we need to leave.

[ normal voice ] And what happened
was, as soon as Andrew said,

"You owe her an apology," he went‐‐
it's like the switch flipped back.

‐ He said...

[ tape player clicks on ]

[ Harvey speaking ]

[ tape player clicks off ]

‐ And it's at that
moment he looks down

and I think he sees that
my recorder is going,

and he realizes that I've just got
like the money quote of all time.

♪

TRAISTER: He started screaming.

He pushes him down the couple of
steps and Andrew falls backwards.

‐ And everybody I think is aghast,
looking like, what the hell is‐‐

The host of the party is like
wrestling with some junior reporter

over a tape recorder, and
we go back and forth,

and he's intent that he's
gonna get this thing,

and I'm like, I'm not going to
let him get this tape recorder

'cause it has the
best quote ever.

‐ He grabs Andrew and pulls
him through the party,

out the glass door, onto
Sixth Avenue in Manhattan,

and puts him in a headlock and
starts pounding the top of his head.

‐ A crowd has gathered around us

and it's like, you know, this
schoolyard fight or something,

and I just remember
how surreal it was.

I was thinking to myself,
can this possibly be re‐‐

Does Harvey Weinstein really
have me in a headlock?

‐ The flashes are going off, and there
are a million pictures being taken.

‐ How can this not be the cover
of, you know, the New York Post,

the New York Daily News?

I mean, it was like
the money sh‐‐

It's the shot that any tabloid
editor would be dreaming of.

Think about it, who wouldn't
put that on the cover?

[ door squeaking ]

TRAISTER: I never saw a
photograph from that night.

I've never to this day.

I haven't seen a photograph, and I
know there were hundreds taken.

‐ This is like... magic.

This is like, you know,
Tinseltown magic.

‐ My editor in chief,

a man I deeply respected,

said, "Do not offer
comment on this, Rebecca.

Harvey's never going anywhere," he said.
"Harvey's Russia, don't write about it."

‐ The lesson I learned was...

as great as a line as,

"I'm glad I'm the fucking sheriff
of this shit ass fucking town" is,

it doesn't work unless you
really are the sheriff,

and he was at that point.

He... He could do anything.

‐ And no‐‐ and no
cars, no nothing.

Otherwise, never any
of my shit ever.

Okay? Or I'll fucking be all over
your asses. Get outta here. Go.

PHOTOGRAPHER: All right,
have a good night, man.

‐ If I see one car, me and Bob De
Niro will take care of it but good.

PHOTOGRAPHER: Have a good night, man.
‐ You'll never work in this town.

You'll never sell a fucking
photograph anywhere.

PHOTOGRAPHER: All right, man.

♪

NEWSWOMAN: Mickey Mouse
divorcing a long‐time partner.

Disney parting ways

with Miramax co‐founders
Bob and Harvey Weinstein.

While the Weinsteins are
walking away with $140 million

and the Dimension Films label,
they'll have to give up Miramax.

KIM MASTERS: They lost that name,
which meant something to them:

"Miramax," Miriam and Max.

It was a huge loss.

They lost that library of
films that they had created.

That's their legacy.

When you sell, you know,
you lose your power.

They're not the first ones to sell
in Hollywood and live to regret.

♪

HARVEY: So this begins the path
to our new exciting venture

without mom and dad's name.

We still own the
name "Dimension"

and, and if anybody can
come up with a better name

than the Weinstein
Company, we're all ears.

[ chuckles ]

‐ Nothing's better than
the Weinstein brothers,

so the name is great.

‐ I mean, that company,
they were much diminished

and they were trying to sort
of commit more to television.

They were in trouble
and everybody knew it.

♪

SCHMIDT: After they left Disney,
they went through something like

1.2 billion dollars that was bank
money and bonds and investments

from investment banks in New York,
and, uh, that writing was on the wall.

♪

FARROW: I was working on a story
about the dark side of Hollywood.

It was gonna be an anthology
of different issues,

from race to sexual harassment.

In the course of my reporting,

I began to find the stories came
back over and over again to one guy.

Harvey Weinstein was
known to be a bully,

but very quickly when you scratched the
surface of those bullying charges,

you started to hear stories about
sexual misconduct as well.

And I realized, wow, this
is a huge, huge story.

‐ So it's my incredible honor
to present this award,

uh, to Planned Parenthood's
Champion of the Century,

my friend, my heroine,
Hillary Rodham Clinton.

[ loud cheering ]

TRAISTER: I was writing
about Hillary Clinton

after the 2016 presidential
loss in the spring of 2017.

And...

I saw Harvey for the
first time in years.

I almost couldn't believe, this guy
who had been so familiar to me.

And I thought, your
power is waning.

Like, your power is
on the downswing,

but you're still... working it.

You're still wielding it, whatever
power you have, you're here.

What are you doing here?

But then I was looking at him
with all these powerful women,

feminist women.

You're putting your money
toward protecting yourself,

positioning yourself
as a feminist,

positioning yourself as an
ally to powerful women.

This is all part of
what your deal is

and how you've managed
to suppress all this.

I just stopped
thinking that my story

or the evidence from it was ever
going to be important to anybody

because nobody was ever
gonna win against this guy.

♪

FARROW: When I first started, women
thought it would never emerge,

let alone emerge and
have an impact.

One of the striking
reoccurring themes

in my conversations with
sources in this story

was just how terrified they were of
things that sounded like movie plots.

Spies following them,

infiltrating their ways
into people's lives.

And, as I myself started getting
strange and threatening calls,

this was the absolute truth.

SOURCE: I think for years Harvey Weinstein
had heard that certain actresses

and certain people in the
industry might go on record

and try and accuse him of
anything from sexual assault

to harassment and bullying,

and it was a kind of fire fighting
exercise in, on a low level,

go after one person and
get them to sign an NDA.

[ wind whistling ]

But in 2016, he'd obviously got
wind of something much bigger.

There was now a coalition
of people coming together,

willing to go en
masse on record.

That's why he enlisted a
whole army of people,

whether journalists,
whether lawyers

or intelligence firms, 'cause
he knew this was the big one.

FARROW: Harvey was indeed using

an array of high‐powered
private investigation firms,

most exotically, uh, a firm predominantly
run by former members of the Massad,

called Black Cube.

[ papers rustling ]

SOURCE: This is the original
contract between Black Cube

and Harvey Weinstein's law firm.

And "The primary objective of the
project is to identify the entities

"behind the negative
campaign against the Client

and support the Client's
efforts to put a stop to it."

This is the list of targets
drawn up by Harvey Weinstein

of people he suspects might be cooperating
with the negative stories about him,

and this is a profile
drawn up by Black Cube,

uh, profiling Rosanna Arquette.

"The Client suspects that Rosanna
is involved in the campaign

"being waged against him by
disseminating fictitious allegations

about him to media sources."

FARROW: This was an extraordinarily
expensive operation.

You're talking about
lawyer after lawyer

at the highest‐paid echelon
of the legal profession,

and they're hiring, in turn,

the priciest private investigation
firms in the world.

The Black Cube contracts alone ate
up hundreds of thousands of dollars.

Harvey Weinstein was placing
all of his resources

into stopping these women and the
reporters looking at the story.

♪

Harvey and his private investigators
and lawyers expended a lot of energy

digging up photos of him looking friendly
with women after alleged assaults.

This is a particularly nasty
tactic to try to discredit women,

when the fact is, it is a very
typical feature of sexual assault

that women are photographed
in a friendly context

with their alleged
attacker afterwards.

Very often people bury their
trauma and they keep working

and they keep on walking
those red carpets.

[ reporters shouting
questions to Paz ]

DE LA HUERTA: You put
on a happy face,

but inside you're dying.

It made me feel like I had to reclaim
my sexuality all over again.

So I wanted to do photo shoots
where I could feel beautiful

and take it back,

take back what I believe
he stole from me.

Some of the other women
might look at me and think,

"Something's wrong with her."

Like, "Harvey could use that
against her," or something.

I wanted to feel
desirable again.

People knowing that this
pig had violated me,

that this monster
had been inside me.

[ distant siren chirping ]

FARROW: I was being told,
"You still need more women,

these women are crazy, you
need more credible women,"

over and over and over again, no
matter how many women were saying

this had happened to them.

REPORTER: Harvey Weinstein. [
Harvey speaking indistinctly ]

FARROW: I had to
move out of my home.

I was being followed.

I had many of the same agents
that went after these women

coming after me.

Harvey Weinstein was inundating my
representatives with legal threats.

I wondered whether I would be able
to get it over the finish line

or whether I would let down all
of those women who had done

this incredibly brave thing
trying to expose this.

So, it was a tremendous
breakthrough moment

to hear Harvey Weinstein
on that NYPD recording.

[ tape player clicks on ] [ Harvey
and Ambra Gutierrez speaking ]

[ tape player clicks off ]

FARROW: Once I had that
recording in hand,

it was clear to me
that I couldn't stop.

There was a smoking gun here.

So I went to Ken Auletta, a
wonderful writer at The New Yorker.

AULETTA: Ronan Farrow,
who I did not know,

called me up in the
spring of 2017,

and he said, "I've read your
2002 profile on Harvey.

Let me tell you what I'm doing."

He said to me that he
had eight witnesses,

people who were willing
to go on the record.

That's great. I mean,
I could not do that.

And he had the police
tape from Ambra.

HARVEY [ on tape ]: Please come in.
I'm a very‐‐ I'm a famous guy.

GUTIERREZ: I'm feeling very uncomfortable
right now. HARVEY: Please come in now.

HARVEY: And in one minute. And if you wanna
leave when the guy comes with my jacket‐‐

GUTIERREZ: Why yesterday
you touch my breast?

HARVEY: Oh, please, I'm sorry,
just come on in, I'm used to that.

FARROW: I think the moment the
New Yorker team heard that audio

and understood the number of
testimonials that we had about this,

they said, "Okay,
let's go to the mat.

Let's get as much as we can
together as fast as we can."

AULETTA: I would call
Ronan or e‐mail him,

I'd say, "What are you doing?
Wh‐Why isn't this story out?"

And he said, "Well, we're
still working on the story,"

and then I hear that The New
York Times is doing a story.

MEGAN TWOHEY: We had been working
around the clock for days and weeks

and had barely slept.

You know, when you are so thick
deep in a, an investigation

and you're right about to
finally publish the story,

you can really lose sight
of what you've got

and what the reaction
is gonna be to it.

JODI KANTOR: Our biggest
fear over the summer

was not of Harvey Weinstein

or of the paid spies
he used on us

or about the efforts
at intimidation.

It was the fear of failure

and the fear that we were going
to fail to get the story,

and we were going to have
to live with this knowledge

off the record for the
rest of our lives.

People were really
scared to talk.

Instead there was this
kind of miasma of rumors.

There were public
jokes in pop culture.

‐ Congratulations.

You five ladies no longer have to pretend
to be attracted to Harvey Weinstein.

[ laughter ]

‐ Oh please, I'm not afraid
of anyone in show business.

I turned down intercourse
with Harvey Weinstein

on no less than three
occasions‐‐ out of five.

REPORTER: Do you have any advice for
a young girl moving to Hollywood?

♪

O'CONNOR: I am a 28‐year‐old woman
trying to make a living and a career.

Harvey Weinstein is a
64‐year‐old world‐famous man

and this is his company.

The balance of
power is me: zero,

Harvey Weinstein: 10.

When I wrote my memo,

it was because I didn't
feel as if I had a choice.

You know, when the
memo was leaked

and subsequently published
in The New York Times,

what I couldn't imagine
or have conceived of

was the impact it had.

♪

ROSENBAUM: I read it...

I think with my
jaw on the floor.

They were outlining the
experiences of these women

as though they were
writing about me.

And I couldn't believe that
they were telling the story.

The fact that these
women had the guts

to tell the story
after all this time,

and for sure they weren't
the first to try,

and the machine had
squashed the story.

I can't tell you what it means to
me to see it coming into the light.

[ radio stations changing ]

NEWSMAN: Producer
Harvey Weinstein

is facing multiple sexual
harassment accusations

that span 30 years according
to The New York Times.

The Times reporting that
the Miramax co‐founder

has reached eight settlements
with various accusers.

NEWSWOMAN: In a
statement, Weinstein says

he came of age when rules about
behavior were different.

He says he knows he's caused a lot
of pain and sincerely apologizes.

D'AMORE: I don't think
he'll ever get it.

I don't think people
like that change.

They say that about child molesters,
they say it about rapists.

They don't change, he
just got better at it.

He just got bolder

and because he was more powerful
was able to get away with it

with more women and in...
in more obvious ways.

MAN: Hold on, hold on.
What are you doing here?

REPORTER: I'm media.

NEWSMAN: One of the most powerful
men in Hollywood has been fired,

effective immediately, by the board
of the studio he co‐founded.

‐ I'm hanging in there.
I'm trying my best.

REPORTER: Thank you, man.

NEWSMAN: Weinstein's wife
announced last night

she was leaving him in the
light of the allegations.

REPORTER: We're glad to
see you're doing okay.

‐ Guys, I'm not doing okay.

REPORTER: You're not? ‐ But I'm trying.
I gotta get help, guys.

You know what, we
all make mistakes.

Second chance I hope, okay?

REPORTER: No problem.
HARVEY: Thanks, guys.

You know what, I've always
been loyal to you guys.

Not like those fucking pricks
that treat you like shit.

I've been the good guy.
REPORTER: Have a good one.

HARVEY: Thank you. REPORTER:
Hope you feel better.

HARVEY: Thank you.

REPORTER: Get some help, man.
HARVEY: Thank you.

PROSECUTOR: We're happy with where
the investigation is right now.

We have an actual case here.

NEWSWOMAN: The
former movie mogul

surrendering to police
in New York City

amid a throng of
reporters and cameras.

TWOHEY: There were
so many things

that had helped protect
him for so long,

and today in the court
room it really felt

like those layers of
protection fell away.

KANTOR: These are not
individual experiences,

they're collective experiences.

There's a pattern here
and starting today,

he answers to the same system
of justice as the rest of us.

ROSENBAUM: I watched Wonder Woman
on the flight over here...

to try to feel heroic [
laughs ] even when I didn't.

Chris Pine has this great
quote and he says, um...

‐ If you see something wrong
happening in the world,

you can either do nothing
or you can do something...

and I already tried nothing.

‐ And I went, "Oh yeah,
that's perfect."

[ chanting ]

NEWSWOMAN: In the midst of a
scandal, two powerful words

are flooding social media.

Women across the country
are identifying themselves

as victims of sexual harassment

in the wake of Hollywood mogul
Harvey Weinstein's downfall.

‐ The Harvey Weinstein story
has helped people understand

that there's a really powerful
argument for speaking up.

SCHMIDT: I don't think
anyone could have foreseen

that this would spawn
a worldwide movement.

It's a different world.

It's a better world.

♪

EX: What's relatable is how power
structures like this exist

so other people watching can
relate into their lives,

because if we could do it in Hollywood,
you know, people can do it anywhere.

It's the David and
Goliath story.

The little guy can take down the
big guy, that is totally possible.

♪

ARQUETTE: This is a revolution,

so go fuck yourselves.

You know, how dare you.

And we are not going to be silenced.
we will not be silenced.

‐ There's no question,
no question

that Harvey's behavior
was monstrous

and that he, of course, should
be facing legal repercussion.

But there is a way, when you
pick out the most grotesque

and then you fire them,

maybe you send them to jail,

maybe you banish them
from their industry,

and then there's the sense that, "Okay,
we've taken care of the problem."

‐ Just, you know, locking up an individual
isn't going to solve the problem,

and the most sinister
aspect of all of this

is that the system enabled it, you
know, um, and still enables it.

‐ There are going to be
hundreds of these cases

happening around the country in
lots of different industries.

And these women are
going to be attacked.

Undermined, discredited.

That's absolutely
going to happen.

FARROW: It's easy to forget just
how recently it seemed impossible

to talk about Harvey Weinstein.

There is a Harvey Weinstein
in every industry,

and there are people who
are still vastly powerful

and around whom people are still
terrified to tell the truth.

So after this interview, I'll go back
to struggling with brave sources

to see if they're willing
to take that risk

of putting their name
on tough stories.

That challenge still
goes on every day

for people facing abuse
all over the world.

DE LA HUERTA: It's not over.

It continues.

♪

♪

♪

♪