After a career spanning 60 years, British film-maker Mike Leigh is considered the godfather of British cinema.
He's got experience as an actor, producer, screenwriter and director - and he's used his platform to explore the struggles of ordinary people and their real-life problems.
His latest feature, Hard Truths, is set to hit theatres in the coming days.
"We've got the film, the budget's in place, we know how much time there is - and then I invite actors to take part, I usually have quite extensive auditions...most of the actors in Hard Truths are new to me."
LISTEN ABOVE
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Mike Lee is considered the godfather of British cinema. Across
his sixty years in the film industry, Mike has been
an active producer, screenwriter and director. His films famously focusing
on the struggles of ordinary people, were trying, real people
and their real life problems. His latest film, it's called
Hard Truths. It's a Tragy comedy telling the story of
a woman, Pansy, who is deeply unhappy with the world.
Speaker 3 (00:36):
Look at you, fix your face. You're dealing with the public,
handling people's books. People can't stand him, cheerful, grinning people.
You know, I've got healthy shoes.
Speaker 2 (00:55):
I've been harassed people all day.
Speaker 3 (00:58):
I'm sick to death with it.
Speaker 1 (01:02):
I just don't want to Tobi stop.
Speaker 2 (01:09):
It's said, deeply Unhappy. Our Truths released in cinemas this
week and director Mike Lee is with me. Mike, it's
so good to have you with us. Let's start by
talking about Mary Angel Baptiste, who plays Pansy. You last
work together on Secrets and Lies in nineteen ninety six,
A bit a time there between films, isn't there has
a reunion always been on the cards.
Speaker 3 (01:30):
Yes, of course. I mean we're stay in touch. I
mean we're close, we're friends, you know, and she lives
in la and so she comes over occasionally. So we
had to arrange to get her over for a stretch
of time to do it, which she's very happy with that. Yeah,
I mean it was always going to happen, and finally,
and it was actually going to happen sooner. It was
going to happen in twenty twenty, but the pandemic scupping that.
(01:54):
But yeah, finally we did it two years ago.
Speaker 2 (01:57):
Pansy is a unique character. I can't imagine anybody else
taking her on.
Speaker 3 (02:02):
Well, I mean, that's kind of that's an interesting we're
putting it. I mean, of course, there are lots of
very good character actors who would have done their own
version of the same sort of character, but that's not
really the point. The way I work with actors, as
you will know probably is, you know, I regard them
as creative artists in their own rights, and we create
(02:23):
a space for them for us to explore and to
develop and grow the characters and the relationships and their world.
So in that context, I mean, she is a brilliant
she's a brilliant character actor. She's a brilliant she's very versatile.
She's got a great sense of humor, she's got a
great sense of We share a sense of humor and
(02:44):
a sense of the grotesque, you know. And so yeah,
as it were, Pansy's right up our street, so to speak.
Speaker 2 (02:53):
Asy you mentioned to start a directing and involves developing
the characters and the script through improvisation and rehearsal, this
collaborative effort. What is it you love so much about
this approach?
Speaker 3 (03:04):
Well, I mean the point is this, it's this is
not quite answering your question. It's the only way that
I know about to create things. I mean, you know,
I obviously in the early days I sat in rooms
and wrote things, but I could never come up with
anything like any of the films that I've made other
than the way that we've made them, where there's no
(03:26):
break distinction between the acting, the direction, the script. It's
all part of a whole. So to me, it's the
natural and natural way. It's become very early on, it
became a natural way to create material and the actual
definition of the actual action itself happens during the actual
(03:49):
shoot where we shoot. You know, we build each sequence,
each scene seen by seeing location by location, by improvising
and then scripting through rehearsal, and then being rejoined by
the crew and working on how to film, and then
filming it. So all of which is preceded by a
(04:10):
few months of preparatory work. And really that's to me,
it's the only way to work. Actually, as a much
of interest, this year it's the sixtieth anniversary of when
I first worked it this way. Congratulations, thank you very much,
(04:30):
nineteen sixty five.
Speaker 2 (04:31):
It's very impressive. It's interesting because when people sort of hear, oh,
there's no script and they improvise and things like that,
it's very misleading because it implies that there's sort of
something lucy goosey about these films, but in fact it's
the complete opposite. If you watch one of your films,
there is so much precision involved, not just worth the
(04:53):
dialogue and the characters, but with the locations that you choose,
with the at direction, with the wardrobe. It all informs
these characters.
Speaker 3 (05:01):
I think that's right, and I appreciate your saying that
because that is absolutely summed it up better than I could.
And of course the collaboration with the actors, with the
production designer, the costume designer, the makeup designer, and indeed
the cinematographer is always central to the whole operation of
preparing and creating the world of the film. And that's
(05:23):
what it's all about. And yes, I mean, as you
what you're talking about is the great myth about the
films is that is a sort of ad hoc ad
lib mess of people just add libbing in front of
the camera and then it's somehow we go away and
bail it all out like a bolus spaghetti. Well, of
course that is, as you say, about a million miles
(05:44):
away from the other end of the spectrum from the truth.
I mean, that is a way of making films. But
it had no appeal to me at all.
Speaker 2 (05:53):
Actually, I can't imagine it would be for everyone. Is
it something that you have to be quite mindful of
when you cast your films and and how you're.
Speaker 3 (06:00):
Care Yeah, definitely are. There are actors and actors. There
are very good actors who can't who aren't character actors,
they play themselves. There are actors who really unless you
give them a script. They are saying they don't get
it and they don't want to, you know, they you know.
And there are people, of course, the other thing about
(06:21):
which I have to be vigilant, people who think they
they'd be good at this, but actually what they think
it's about, you know, I mean, what it's not about.
And there's improvisation is a huge plays a huge role
in the creative process. But it is about being in
character and behaving how your character will behave, not trying
(06:43):
to think of funny things to say, and you know
it's absolutely not theater.
Speaker 2 (06:53):
More accurately, do you have actors in mind when you're
conceiving your films?
Speaker 3 (06:59):
Yeah, but I don't ever commit to I know we
have got the film, the budgets in place, and we
know how much time there is. Yeah, and then I
invite actors to take part. Usually have quite extensive auditions.
I mean they're always new actors. Most of the actors
in Hard Truth are new to me. Not some of
the ones playing minor parts have come in short notice.
(07:22):
But the central characters only Michelle and Marie Anne are
people I've worked with before.
Speaker 2 (07:30):
Do you enjoy that life working with new people all
the time.
Speaker 3 (07:36):
It takes about five minutes to forget that their first
time is you know, we get down to it and
it's all going on.
Speaker 2 (07:41):
Are you a bit of a per fictionist or a
control freak when it comes to your films?
Speaker 3 (07:46):
Yes, I am, of course, But there's a difference between
a fascist control freak who doesn't let anybody express themselves
as such a and somebody who needs to be in control,
but for whom it's important that everybody expresses themselves and
we really let things go in on predictable directions. But
in the end, yeah, I mean we're under control and
(08:08):
you know, and and done with a high degree of perfectionalism.
So I think it was I think it's worth qualifying
that slightly.
Speaker 2 (08:17):
This approach that you hea towards making your films. How
does how difficult does that make life for your producers?
And you're working with Georgina Lowe at the moment? Is
it hard to sell a film when you don't necessarily,
you know, have the script and do everything the way
everybody else does things?
Speaker 3 (08:33):
We don't know, we don't It isn't that we don't
necessarily we don't have we apart from historical films, we've
always had to say, can't tell you what it's about,
can't discuss casting, and don't interfere with it. Occasionally you
get back, as you say it fantastic, go for it.
And mostly we get people either telling you to f
off or they say, well, yes, we really really really
(09:00):
respect what you do and we like your films, but
not for us, and not for us it's code for
we can't get involved in a project that we can't
interfere with and generally screw up. So that's what happens.
So it's tough. It is very difficult, and indeed it's
got harder, and even as we speak we're struggling with
the budget for the next film.
Speaker 2 (09:21):
But not all directors get to make the films they
want to make, or make them the way they want to.
I mean, you know, remaining independent is obviously is clearly
a decision that you've made, if one, I think you
should be very proud of.
Speaker 3 (09:36):
Well, I mean, I'm my concern at this stage of
the proceedings. I mean, I'm in my eighties, Michael said.
Is for the young filmmakers and filmmakers of the future.
In the context of independence people, you know, I want
filmmakers to have that freedom to make films the film
(09:57):
they want to make, how they want to make them,
and not to be dictated to or to be kept
endlessly being strung along by procrastinating bach and executives and
all the rest of it. Streamers. So yeah, people's young
filmmakers said, what advice do you have? And I also say, well,
(10:18):
the only advice I got is never compromised. And it's
a hard journey. I mean, they'ren't getting around it. It's tough,
you know, but you have to. My late producer would
come back from meetings with potential backers. He'd say, look,
they don't care that there's no script, and they don't
care they don't know what it's about, but they will
insist on a name, meaning a Hollywood name. Yeah, hey listen,
(10:44):
And I'd say, well, let's walk away. So yeah, but
but they'll give you, well they know they won't. They'll
give the hard time, you know, And that's so you know,
you have to you have to not compromise with it.
Speaker 2 (10:56):
Throughout your career, you've focused on real life, real issues,
real people. Have you always been an observer.
Speaker 3 (11:04):
Of people who from an early age really yeah, I
mean when I was I think I was. I was
twelve when one of my grandfathers died and it was
a very cold, snowy day in Manchester, and we were
in the house, and the house was full of morelers
(11:26):
of various kinds, and the guys struggled down the stairs
with the coffin. One of the guys carrying the pall
bearers had a long drip at the end of his nose,
and I remember thinking, this is I'd like to make
films about this sort of thing. You know, It's inspired me,
you know, that's for example, you know.
Speaker 2 (11:47):
So, Yeah, One thing I love about your films is
that you recognize that sometimes the best, you know, one
way to get through tragedies and difficult times is to
do it with humor and the importance of sort of
humor in our lives. Do you think if there was
ever a time we recognized how much humor there is
alongside tragedy? This is the time, the sort of the
(12:08):
world out there is a little bit of a hell
and a handbang at the moment, Michael, Or do you
think no more than usual?
Speaker 3 (12:15):
Well, it's that's that's a tough question in a way,
because I love your expression of hell in a handbag.
I mean, yeah, Actually, the world at the moment is
entering on a daily basis ever more disastrous territory than waters.
And it ain't funny, that's for sure. However, what you're
(12:37):
actually talking about is the fact, as far as I'm concerned,
is that life is comic and tragic. People say to me, oh,
you when you decide to be funny, and when I
don't Actually, I mean, I think you know, I for
hard truth is a very much. You know, people laugh
uproariously in the early part of the film, and it
isn't that what's happening is just zany because what's happening
(12:59):
you laugh, but you know what underlying what's going on.
Of course, there's a certain point in the and when
you stop laughing, but that just is organic and comes
out of what's going on.
Speaker 2 (13:12):
Mike, I know that you don't like to reveal too
much about new projects, but I understand you are seat
to shoot your next film this year. Is that right,
I hope?
Speaker 3 (13:24):
So what do you say, we're set to shoot it.
We're not set to shoot it because money together. I
would like to say we're set to shoot it. We're
planning to if we can and given what I've already
mentioned several times, which is I discover what the film
is on the journey of making it, you won't be
surprised if I'm not going to tell you what it
is that we don't know, because yet we don't know
(13:46):
what it is, so to speak.
Speaker 2 (13:47):
Still a lot, a lot of observations to put on screen, though, Mike,
it's one. It's wonderful.
Speaker 3 (13:53):
Obviously life goes on, you know, and life is there
to explore.
Speaker 2 (13:58):
Wonderful. I can't thank you enough of your time. Thank
you so much. It's been a pleasure to meet you.
That was legendary British filmmaker Mike Lee. His new film
Had True is in cinemas this Thursday.
Speaker 1 (14:09):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks it B from nine am Sunday,
or follow the podcast on iHeartRadio.
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Mike Lee is considered the godfather of British cinema. Across
his sixty years in the film industry, Mike has been
an active producer, screenwriter and director. His films famously focusing
on the struggles of ordinary people, were trying, real people
and their real life problems. His latest film, it's called
Hard Truths. It's a Tragy comedy telling the story of
a woman, Pansy, who is deeply unhappy with the world.
Speaker 3 (00:36):
Look at you, fix your face. You're dealing with the public,
handling people's books. People can't stand him, cheerful, grinning people.
You know, I've got healthy shoes.
Speaker 2 (00:55):
I've been harassed people all day.
Speaker 3 (00:58):
I'm sick to death with it.
Speaker 1 (01:02):
I just don't want to Tobi stop.
Speaker 2 (01:09):
It's said, deeply Unhappy. Our Truths released in cinemas this
week and director Mike Lee is with me. Mike, it's
so good to have you with us. Let's start by
talking about Mary Angel Baptiste, who plays Pansy. You last
work together on Secrets and Lies in nineteen ninety six,
A bit a time there between films, isn't there has
a reunion always been on the cards.
Speaker 3 (01:30):
Yes, of course. I mean we're stay in touch. I
mean we're close, we're friends, you know, and she lives
in la and so she comes over occasionally. So we
had to arrange to get her over for a stretch
of time to do it, which she's very happy with that. Yeah,
I mean it was always going to happen, and finally,
and it was actually going to happen sooner. It was
going to happen in twenty twenty, but the pandemic scupping that.
(01:54):
But yeah, finally we did it two years ago.
Speaker 2 (01:57):
Pansy is a unique character. I can't imagine anybody else
taking her on.
Speaker 3 (02:02):
Well, I mean, that's kind of that's an interesting we're
putting it. I mean, of course, there are lots of
very good character actors who would have done their own
version of the same sort of character, but that's not
really the point. The way I work with actors, as
you will know probably is, you know, I regard them
as creative artists in their own rights, and we create
(02:23):
a space for them for us to explore and to
develop and grow the characters and the relationships and their world.
So in that context, I mean, she is a brilliant
she's a brilliant character actor. She's a brilliant she's very versatile.
She's got a great sense of humor, she's got a
great sense of We share a sense of humor and
(02:44):
a sense of the grotesque, you know. And so yeah,
as it were, Pansy's right up our street, so to speak.
Speaker 2 (02:53):
Asy you mentioned to start a directing and involves developing
the characters and the script through improvisation and rehearsal, this
collaborative effort. What is it you love so much about
this approach?
Speaker 3 (03:04):
Well, I mean the point is this, it's this is
not quite answering your question. It's the only way that
I know about to create things. I mean, you know,
I obviously in the early days I sat in rooms
and wrote things, but I could never come up with
anything like any of the films that I've made other
than the way that we've made them, where there's no
(03:26):
break distinction between the acting, the direction, the script. It's
all part of a whole. So to me, it's the
natural and natural way. It's become very early on, it
became a natural way to create material and the actual
definition of the actual action itself happens during the actual
(03:49):
shoot where we shoot. You know, we build each sequence,
each scene seen by seeing location by location, by improvising
and then scripting through rehearsal, and then being rejoined by
the crew and working on how to film, and then
filming it. So all of which is preceded by a
(04:10):
few months of preparatory work. And really that's to me,
it's the only way to work. Actually, as a much
of interest, this year it's the sixtieth anniversary of when
I first worked it this way. Congratulations, thank you very much,
(04:30):
nineteen sixty five.
Speaker 2 (04:31):
It's very impressive. It's interesting because when people sort of hear, oh,
there's no script and they improvise and things like that,
it's very misleading because it implies that there's sort of
something lucy goosey about these films, but in fact it's
the complete opposite. If you watch one of your films,
there is so much precision involved, not just worth the
(04:53):
dialogue and the characters, but with the locations that you choose,
with the at direction, with the wardrobe. It all informs
these characters.
Speaker 3 (05:01):
I think that's right, and I appreciate your saying that
because that is absolutely summed it up better than I could.
And of course the collaboration with the actors, with the
production designer, the costume designer, the makeup designer, and indeed
the cinematographer is always central to the whole operation of
preparing and creating the world of the film. And that's
(05:23):
what it's all about. And yes, I mean, as you
what you're talking about is the great myth about the
films is that is a sort of ad hoc ad
lib mess of people just add libbing in front of
the camera and then it's somehow we go away and
bail it all out like a bolus spaghetti. Well, of
course that is, as you say, about a million miles
(05:44):
away from the other end of the spectrum from the truth.
I mean, that is a way of making films. But
it had no appeal to me at all.
Speaker 2 (05:53):
Actually, I can't imagine it would be for everyone. Is
it something that you have to be quite mindful of
when you cast your films and and how you're.
Speaker 3 (06:00):
Care Yeah, definitely are. There are actors and actors. There
are very good actors who can't who aren't character actors,
they play themselves. There are actors who really unless you
give them a script. They are saying they don't get
it and they don't want to, you know, they you know.
And there are people, of course, the other thing about
(06:21):
which I have to be vigilant, people who think they
they'd be good at this, but actually what they think
it's about, you know, I mean, what it's not about.
And there's improvisation is a huge plays a huge role
in the creative process. But it is about being in
character and behaving how your character will behave, not trying
(06:43):
to think of funny things to say, and you know
it's absolutely not theater.
Speaker 2 (06:53):
More accurately, do you have actors in mind when you're
conceiving your films?
Speaker 3 (06:59):
Yeah, but I don't ever commit to I know we
have got the film, the budgets in place, and we
know how much time there is. Yeah, and then I
invite actors to take part. Usually have quite extensive auditions.
I mean they're always new actors. Most of the actors
in Hard Truth are new to me. Not some of
the ones playing minor parts have come in short notice.
(07:22):
But the central characters only Michelle and Marie Anne are
people I've worked with before.
Speaker 2 (07:30):
Do you enjoy that life working with new people all
the time.
Speaker 3 (07:36):
It takes about five minutes to forget that their first
time is you know, we get down to it and
it's all going on.
Speaker 2 (07:41):
Are you a bit of a per fictionist or a
control freak when it comes to your films?
Speaker 3 (07:46):
Yes, I am, of course, But there's a difference between
a fascist control freak who doesn't let anybody express themselves
as such a and somebody who needs to be in control,
but for whom it's important that everybody expresses themselves and
we really let things go in on predictable directions. But
in the end, yeah, I mean we're under control and
(08:08):
you know, and and done with a high degree of perfectionalism.
So I think it was I think it's worth qualifying
that slightly.
Speaker 2 (08:17):
This approach that you hea towards making your films. How
does how difficult does that make life for your producers?
And you're working with Georgina Lowe at the moment? Is
it hard to sell a film when you don't necessarily,
you know, have the script and do everything the way
everybody else does things?
Speaker 3 (08:33):
We don't know, we don't It isn't that we don't
necessarily we don't have we apart from historical films, we've
always had to say, can't tell you what it's about,
can't discuss casting, and don't interfere with it. Occasionally you
get back, as you say it fantastic, go for it.
And mostly we get people either telling you to f
off or they say, well, yes, we really really really
(09:00):
respect what you do and we like your films, but
not for us, and not for us it's code for
we can't get involved in a project that we can't
interfere with and generally screw up. So that's what happens.
So it's tough. It is very difficult, and indeed it's
got harder, and even as we speak we're struggling with
the budget for the next film.
Speaker 2 (09:21):
But not all directors get to make the films they
want to make, or make them the way they want to.
I mean, you know, remaining independent is obviously is clearly
a decision that you've made, if one, I think you
should be very proud of.
Speaker 3 (09:36):
Well, I mean, I'm my concern at this stage of
the proceedings. I mean, I'm in my eighties, Michael said.
Is for the young filmmakers and filmmakers of the future.
In the context of independence people, you know, I want
filmmakers to have that freedom to make films the film
(09:57):
they want to make, how they want to make them,
and not to be dictated to or to be kept
endlessly being strung along by procrastinating bach and executives and
all the rest of it. Streamers. So yeah, people's young
filmmakers said, what advice do you have? And I also say, well,
(10:18):
the only advice I got is never compromised. And it's
a hard journey. I mean, they'ren't getting around it. It's tough,
you know, but you have to. My late producer would
come back from meetings with potential backers. He'd say, look,
they don't care that there's no script, and they don't
care they don't know what it's about, but they will
insist on a name, meaning a Hollywood name. Yeah, hey listen,
(10:44):
And I'd say, well, let's walk away. So yeah, but
but they'll give you, well they know they won't. They'll
give the hard time, you know, And that's so you know,
you have to you have to not compromise with it.
Speaker 2 (10:56):
Throughout your career, you've focused on real life, real issues,
real people. Have you always been an observer.
Speaker 3 (11:04):
Of people who from an early age really yeah, I
mean when I was I think I was. I was
twelve when one of my grandfathers died and it was
a very cold, snowy day in Manchester, and we were
in the house, and the house was full of morelers
(11:26):
of various kinds, and the guys struggled down the stairs
with the coffin. One of the guys carrying the pall
bearers had a long drip at the end of his nose,
and I remember thinking, this is I'd like to make
films about this sort of thing. You know, It's inspired me,
you know, that's for example, you know.
Speaker 2 (11:47):
So, Yeah, One thing I love about your films is
that you recognize that sometimes the best, you know, one
way to get through tragedies and difficult times is to
do it with humor and the importance of sort of
humor in our lives. Do you think if there was
ever a time we recognized how much humor there is
alongside tragedy? This is the time, the sort of the
(12:08):
world out there is a little bit of a hell
and a handbang at the moment, Michael, Or do you
think no more than usual?
Speaker 3 (12:15):
Well, it's that's that's a tough question in a way,
because I love your expression of hell in a handbag.
I mean, yeah, Actually, the world at the moment is
entering on a daily basis ever more disastrous territory than waters.
And it ain't funny, that's for sure. However, what you're
(12:37):
actually talking about is the fact, as far as I'm concerned,
is that life is comic and tragic. People say to me, oh,
you when you decide to be funny, and when I
don't Actually, I mean, I think you know, I for
hard truth is a very much. You know, people laugh
uproariously in the early part of the film, and it
isn't that what's happening is just zany because what's happening
(12:59):
you laugh, but you know what underlying what's going on.
Of course, there's a certain point in the and when
you stop laughing, but that just is organic and comes
out of what's going on.
Speaker 2 (13:12):
Mike, I know that you don't like to reveal too
much about new projects, but I understand you are seat
to shoot your next film this year. Is that right,
I hope?
Speaker 3 (13:24):
So what do you say, we're set to shoot it.
We're not set to shoot it because money together. I
would like to say we're set to shoot it. We're
planning to if we can and given what I've already
mentioned several times, which is I discover what the film
is on the journey of making it, you won't be
surprised if I'm not going to tell you what it
is that we don't know, because yet we don't know
(13:46):
what it is, so to speak.
Speaker 2 (13:47):
Still a lot, a lot of observations to put on screen, though, Mike,
it's one. It's wonderful.
Speaker 3 (13:53):
Obviously life goes on, you know, and life is there
to explore.
Speaker 2 (13:58):
Wonderful. I can't thank you enough of your time. Thank
you so much. It's been a pleasure to meet you.
That was legendary British filmmaker Mike Lee. His new film
Had True is in cinemas this Thursday.
Speaker 1 (14:09):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks it B from nine am Sunday,
or follow the podcast on iHeartRadio.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Cold Case Files: Miami
Joyce Sapp, 76; Bryan Herrera, 16; and Laurance Webb, 32—three Miami residents whose lives were stolen in brutal, unsolved homicides. Cold Case Files: Miami follows award‑winning radio host and City of Miami Police reserve officer Enrique Santos as he partners with the department’s Cold Case Homicide Unit, determined family members, and the advocates who spend their lives fighting for justice for the victims who can no longer fight for themselves.