The 1980s teen idol has vowed to expose at least six names of men involved in a “paedophile ring” which he claims operates in Hollywood and were responsible for abusing him and his late co-star Corey Haim almost 30 years ago.
The money, Feldman said, will be enough to cover the production and distribution of the film, but also to hire a legal team to protect him against possible lawsuits.
“I’ve been silenced my whole life but just over the past few days since I’ve made the announcement, I’ve been arrested, I had a near-death experience last night where I thought I was almost going to be killed,” he said in the crowdfunding video.
“Two trucks came speeding at me at the same time on a crosswalk. And then several of my band members have decided to quit because they were fearing for their lives.
“I’m very alone, but I need to protect myself and I need to protect myself and my family. I need additional security and I need a legal team to help represent me so I can fulfil this mission.”
It is unclear whether the US statute of limitations could affect possible prosecutions on Feldman’s case, and the LAPD has said there is “no further information at this time”.
“My proudest moment was when I invested in a leaf-blower,” she tells BBC News.
“I take great care of my garden, and I think there are moments in life when you realise you’re an adult, and one of those is when you buy your first leaf-blower from Argos.”
Successful leaf maintenance aside, Dotty (whose real name is Ashley Charles), has every reason to be in a good mood.
Last month’s radio listening figures (or Rajars, as they’re known in the industry), showed that the 1Xtra breakfast show she fronts now reaches 390,000 people every week – making her the most successful morning host in the station’s history.
“The Rajars were great news, it’s always an incredible vote of confidence to see statistically, in an industry-recognised metric system, that you’re doing well,” she says.
“But I think if you allow the praise to define you, then you’ll ultimately allow the criticism to diminish you.
“So I try not to focus too much on the Rajars. As incredible as the figures have been, I try to just make sure it’s business as usual.”
The 29-year-old is speaking to BBC News ahead of Thursday evening’s Student Radio Awards, which recognise upcoming broadcasting talent.
(Winning best male at the ceremony in 2006 put Greg James on Radio 1’s radar and led to a daytime presenting job.)
Dotty says her advice to anyone keen to get into radio presenting “would be to not try and emulate any broadcasters that have come before you”.
“I think there are some greats,” she says. “Terry Wogan was an incredible broadcaster. Scott Mills, if you ever want to learn how to be absolutely slick on radio, is a great example.
“But I think the most important thing about being a new broadcaster is you can learn from those people that have come before you, but you should always try to find your voice, and work out exactly where you fit in this growing industry.”
She goes on: “For me, when I first started on radio, I wasn’t trying to be like any other presenter. I wanted to be the anti-presenter.
“So where your traditional presenter would say, ‘wasn’t that a brilliant song’, I’d rather be the person that says, ‘well, that song is six out of 10’ – you know, just be honest. And I thought maybe my thing can be that I’m honest, and say what people are thinking.”
The formula seems to be working – as her breakfast show has just been extended to four hours, and now starts at 6am.
“When Blue Planet II ended on Sunday, it was bedtime,” she says of her new early starts.
“Before, I might have another half hour. But the new start time means I have to go to sleep slightly earlier, I can’t stay up past 9.30 at all.”
But on the plus side, she’s turned into a morning person.
“If you’d asked me a year ago, I would’ve said it’s dreadful waking up early,” she says.
“But I’ve been doing the 1Xtra breakfast show for just over a year now and I’ve really found my groove in that time. I used to be a bit of a night owl, but now I’m as perky as you like, so I can’t complain about the early mornings at all.”
Her year on the breakfast show has seen her interview so many high-profile figures that she struggles to pick just one highlight.
“Ooh, that’s a tough one,” she laughs. “Might be Denzel Washington. He’s certainly up there.
“It was incredible to speak to Ellen as well, she was a great interview.”
In her answer, Ellen said: “I don’t wake up in the morning and go, ‘I’m gay, let’s go’,” – before Dotty brilliantly cut in, joking: “I do. Every day, in the mirror.”
Now that Dotty has a more public platform, does she feel any such responsibility to the LGBT community herself?
“For me, what I’m particularly proud of is that I’m able to be a voice or a face that people may not have readily had when I was growing up,” she says.
“There wasn’t anyone really that I could look to and say, ‘that’s a person like me on the TV’, so for me the responsibility is in hopefully being a great role model to those people that didn’t necessarily have one from my walk of life.”
This weekend, Dotty will be co-hosting 1Xtra Live, which will see Bryson Tiller, J Hus, Donae’o and Stefflon Don take to the stage in Manchester.
Until 2012, it could easily have been A.Dot herself performing at such an event – she was a rapper before getting into radio.
But she says: “I haven’t done music for four years now, so for me I wake up every day and I’m a broadcaster, and I get to be a music fan again.
“When you’re making music, you’re very much in your own bubble, you’re having your studio sessions, and you’re focused on your music and your sound.
“Being a musician for all of those years made me the best version of a broadcaster that I can be, so I look at that as the prelude to where I am now.”
1Xtra Live will be broadcast live on BBC Radio 1, 1Xtra and Asian Network from 20:30-23:00 GMT on 11 November, and will be available on 1Xtra’s website and the BBC iPlayer.
Backstage at the BBC’s studios in Elstree, Sam Smith is wandering around in a silk kimono and ruby red stilettos.
“Babe, I don’t understand,” he complains down his phone. “They’re letting Fearne [Cotton] wear heels, so why can’t I wear heels?”
Don’t worry, he’s not gone full Mariah. It’s all in aid of a sketch for his TV special, Sam Smith at the BBC, which airs on Thursday.
In real life, the singer tries his best to remain humble.
“I don’t ask for puppies in my dressing room,” he laughs.
“But sometimes – and I’m really embarrassed about this – when they’re doing my make-up before I go onstage, people do up my laces for me.
“I hate it. I feel like a diva. A diva or a three-year-old.”
Still, there was a time after the phenomenal success of Smith’s debut album, In The Lonely Hour, when his head was turned by fame.
He was hanging out with Beyonce and Justin Timberlake at Taylor Swift’s 25th birthday party, and jetting off to Mexico for the world premiere of Spectre, the Bond film for which he wrote the Oscar-winning theme.
“I did get a bit… I wouldn’t say big-headed, but I was living in that scene way too much, and I needed to be brought back down to earth,” he says bashfully.
“There was one time when I wore a new pair of pants every day and threw all the old ones away. I got obsessed with wearing different pants every night.
“But that only lasted a month,” he says with a huge peal of laughter. “I rewear all my pants all the time now.”
Smith, it has to be said, is not the sad, fragile young man he’s often portrayed to be. Yes, his emotions run close to the surface, but he’s also funny, forthright and supremely ambitious.
“I want to play Wembley Stadium one day,” he declares, the suggestion being it’s inevitable, not some distant dream.
We speak on the day his second album, The Thrill Of It All, is released. Smith has just come back from a signing at HMV in Oxford Street, where he wasn’t mobbed so much as sobbed.
“The stories people were telling me: Oh my God! I was trying not to cry the whole time.”
“I forget sometimes just how intense the music is.”
The ‘dangerous’ second album
Smith’s second album has a lot to live up to. Its predecessor was the fastest-selling debut by a British male solo artist in US chart history; making the 25-year-old a four-time Grammy winner, with four UK number one singles and an Oscar to boot.
In interviews, he’s described the new album as “dangerous” – a description that seems at odds with its accessible, soul-searching ballads. So what did he mean?
“For me, it was dangerous because I couldn’t hear these songs on the radio,” he explains. “Just because of the climate of pop music right now. I don’t think my music fits that well.”
He’s wrong, of course. The album went silver in the space of three days, and it’s comfortably winning the race to be this week’s number one – on both sides of the Atlantic.
“The reception has been incredible. I’m just so shocked,” the star says.
Settling down in his record company’s boardroom, surrounded by his own gold discs, Smith delved into the album’s key tracks, revealing some of the secrets behind his latest love songs.
Too Good At Goodbyes
The album’s first track is also its first single; a gospel-inspired ballad in which Smith pushes his lover away to avoid getting his heart broken.
Key lyric: “I’m never gonna let you close to me / Even though you mean the most to me / ‘Cause every time I open up, it hurts.”
Sam says: “The relationship this song is about was kind of tumultuous. It ended a few times… but by the last time, I knew I’d be OK because I had a plan in place.
“That’s what the song is saying: Every time you’re hurting me, I’m crying less. I know I’m going to be OK because I’ve become too good at this now. I’ve done it before.
“So I’m actually not that good at goodbyes. I’m the worst! But I was trying to convince myself in this song.”
Sam tells the story of a boy in Mississippi coming out to his father. It was partly inspired by criticism that Smith didn’t use gender-specific pronouns like “he” and “him” on his first album.
Key lyric: “Don’t you try and tell me that God doesn’t care for us / It is him I love, it is him I love.”
Sam says: “I had an amazing coming out experience and I forgot, maybe, how tough it is for some people.
“But after the first album I realised I have a responsibility as a gay pop artist. It’s important for me to be a voice and hopefully inspire some young children that are living in the outskirts and have no way in.
“I’m a little bit nervous, I’m not going to lie, about singing Him in certain parts of America. But on the other hand, I can’t wait. I want to sing Him in Mississippi more than anything.”
Baby, You Make Me Crazy
Backed by Amy Winehouse’s old band, The Dap Kings, Sam sings about heading out on the town to shake his ex “out of my system”.
Key lyric: “I’m gonna have to call my sisters / Be around the ones who listen / Anything to drown you out tonight.”
Sam says: “That’s about the day I got dumped. I was sitting with my best friend and my sisters in the garden on the day it happened. He dumped me over the phone and I remember walking back into the house and saying, ‘It’s over’.
“And they just said to me: ‘Let’s forget about it for one night. Let’s go out and get absolutely blotto drunk and dance and try to forget about it all for one night – then tomorrow we can wake up and deal with it.”
The Thrill of It All
One of the best vocal performances on the album, the title track is a simple piano-and-strings ballad that finds Smith musing on the perils of fame.
Key lyric: “I regret that I told the world / That you were with me.”
Sam says: “I was in a relationship when I released In The Lonely Hour and I posted pictures of us on Instagram. I very quickly learned a lesson: I don’t want to be famous in that way. I just felt embarrassed.
“When the relationship ended, I was like, ‘Wow, I really messed that up by putting pressure on it when I shouldn’t have’.
“I’m in a relationship now [with 13 Reasons Why star Brandon Flynn] and people taking pictures and talking about [us] scares me. But it’s important to not avoid speaking about it because it adds more drama. It gives people a reason to dig.”
One Last Song
The whole of In The Lonely Hour was about a married man who Smith had an unrequited crush on. He’s left that far behind – but not before writing one final tribute.
Key lyric: “I know you don’t want to talk to me, so this is what I will do / Maybe you’re listening, so here’s one last song for you.”
Sam says: “Towards the end of the writing process, he started to slip back into my mind. But the song wasn’t about longing for him – I was just remembering my relationships and summing up the similarities between him and the guy who this record’s about.
“I think when you sing about love, you’re singing about every love you’ve ever had. Not just always about one person.
“So this is just like a final love song to him. He’s done so much for me, and he’s such an amazing person. I miss him.”
Sam Smith’s album is out now. His TV special, Sam Smith at the BBC, will be broadcast on Thursday at 20:00 GMT on BBC One. The documentary On The Record: Sam Smith is available on Apple Music.
Speaking at the event in Coventry, Lord Hall said local radio was becoming “more important, not less” and held a key role in battling fake news.
“I’m a director general who believes in local radio,” he said.
“For many years the BBC has been reducing its investment in local radio.
“The development of new technology and the growth of smartphones has seen many people getting their local news, weather and traffic information digitally.”
With many of the radio stations operating on reduced budgets over the past decade, a number of distinctive local shows and presenters were dropped from their evening slots and replaced by a “shared broadcast” across all of England’s stations.
Former television news anchor Heather Unruh told a press conference in Boston that her son had been sexually assaulted by Mr Spacey, at the age of 18 in a bar in Nantucket, Massachusetts, in July 2016.
She said Mr Spacey had bought her son alcohol – the drinking age in Massachusetts is 21. After getting him drunk, Mr Spacey had “stuck his hand inside my son’s pants and grabbed his genitals”, she said.
She said Mr Spacey had invited her son to a party, but he had run away from the bar when Mr Spacey had gone to the lavatory.
A criminal investigation was now under way, Mrs Unruh said.
“Shame on you for what you did to my son. Your actions are criminal,” Mrs Unruh said through her tears.
Since the first allegation of sexual advances were made by actor Anthony Rapp on 30 October, US network Netflix axed further production of Mr Spacey’s House of Cards drama, the International Academy of Television Arts and Sciences announced it will no longer give the actor a special Emmy award, and his agent and publicist dropped him as a client.
In response to Mr Rapp’s claims, Mr Spacey said he has no memory of the incident and offered an apology.
Two weeks later, Mr Nixon was in the basement of the bar he had been working in, when, he said, he realised Spacey was two feet (60cm) behind him.
The actor grabbed Mr Nixon’s waistband and offered to “make it up” to him, he said.
“I didn’t want to make a scene about it – he was a customer. I didn’t want to get fired.
“Until Anthony Rapp spoke out, I never felt able to tell anyone.”
Meanwhile, an American film-maker has told the BBC that he was groped and sexually harassed by Mr Spacey as a 22-year-old junior crew member.
The man, now 44, who does not want to be identified, said the “powerful” director had made advances towards him on the shoot of Albino Alligator in 1995.
“He was very affable and nice to everybody. We shook hands and he took an interest in me. He offered to watch one of my student films, which I was very flattered by,” he said.
But, he said, Mr Spacey had quickly become “creepy” and one day insisted he sit in his director’s chair.
“He started massaging my neck and my shoulders, and I felt incredibly uncomfortable.”
The film-maker, from California, said he had been singled out as a target because of his youth and inexperience.
“On one of the last days of shooting… he sat down next to me and put his thigh against mine and put his hand on my thigh and moved it towards my inner thigh,” he said.
He told the BBC he had decided to come forward after hearing the allegations by actor Anthony Rapp but felt nervous about revealing his identity because of the influential position Mr Spacey continued to hold in the industry.
At the time, Mr Spacey’s powerful position had made him feel conflicted about his encounters with the director, he said.
“I was getting the attention of the most powerful person on the movie set, and I wanted to work in Hollywood,” he said.
“But it was an interest that made me feel totally uneasy, uncomfortable, confused. I didn’t know what to do, I felt trapped. I felt harassed, sexually harassed.”
The film-maker said he hoped coming forward would encourage others.
“I hope it makes those people who come forward feel less alone if they are feeling alone and confused, like I was when I was 22.”
One woman told the BBC that she suffered depression after an encounter with Mr Spacey.
Kate Edwards, now a performing arts teacher in London, claims Mr Spacey made advances towards her when she had been a production assistant on Broadway show Long Day’s Journey Into Night in 1986.
Ms Edwards, who was 17 at the time, said she had been alone in a lift with the 27-year-old Mr Spacey when he had invited her to a “James Dean birthday party” in his flat.
When she had arrived, she said, there had been no-one else there.
Ms Edwards said she had consensually kissed Mr Spacey, but then had started to feel uncomfortable and asked when others would arrive..
“I said I want to go home and change. I felt pressured, and it became quite clear that his intention was to have sex with me.
“He became cold and said, ‘Find your own way.’
She was left “confused, completely isolated, ashamed.”
She said the actor had “cut her dead” after the encounter, she had become depressed, had gained weight, and had eventually been unable to continue working on the show.
Ms Edwards said her message to Mr Spacey today would be: “I would like you to know that what you did hurt me, it affected me for years afterwards.
“What you did to me and what you did to other young people was unacceptable.”
French President Emmanuel Macron unveiled a £1bn newly-built museum in Abu Dhabi on Wednesday.
The new Louvre, built over the past 10 years, holds 600 artworks permanently and 300 loaned from France.
Praised by critics, the building boasts a latticed dome designed to allow the desert sun to filter through.
It holds art and items related to history and religion from around the world and Mr Macron called it a “bridge between civilisations”.
He said: “Those who seek to say Islam is the destruction of other religions are liars.”
The project, agreed between France and Abu Dhabi in 2007, was initially intended to open in 2012 but was delayed by the global financial crisis and plummeting oil prices, sending the final cost soaring over its original $654m (then £340m) budget.
In addition, the museum is paying France hundreds of millions of dollars for the use of the Louvre name and for loans of artworks and managerial advice.
The Paris Louvre is a landmark in the French capital and the world’s largest art museum, with millions of visitors a year.
The Abu Dhabi building, designed by French architect Jean Nouvel, brings to mind an Arab medina (an ancient quarter of a city).
None of its 55 rooms, including 23 permanent galleries, is alike.
The latticed dome protects visitors from the scalding heat, while allowing the rooms to glow with natural light.
On show are works from around the world – from established European masters including Van Gogh, Gaugin and Picasso, to Americans such as James Abbott McNeill Whistler (his painting Whistler’s Mother, above) and the modern Chinese artist Ai Weiwei.
The museum has also joined force with Arab institutions who have loaned 28 prized works.
Among the priceless artefacts on show are a statue of a sphinx dating back to the 6th Century BC and a frieze depicting figures from the Koran.
The museum’s doors open to the public on Saturday – with all entrance tickets, priced 60 dirhams ($16.80), sold out.
Emirati officials will hope the magnificence of the building will put concerns about the wellbeing of its workers and controversy about delays and overrunning costs in the shade.