Hi Workshop Alumni,
Please Do Not Forward This Listing. If you think you know someone who might be interested, please send me their contact info and I will reach out to them. Thank you!
That said, I'm wondering if anyone out there has any suggestions for an amazing editor who might be interested in this opportunity.
A FRAGILE TRUST tells the shocking story of Jayson Blair, a promising, young, African-American reporter who became entangled in a plagiarism scandal that brought the New York Times to what publisher Arthur Sulzberger dubbed "a low-point in the 152 year history of the paper.” In 2003 Blair was caught plagiarizing the work of other reporters and supplementing his own reporting with fabricated details in over 70 different stories published in the Times. The ensuing media frenzy left a major blemish on the history of the “Old Grey Lady” which just a year earlier had won a record 7 Pulitzer prizes for its coverage of 9/11. It was a spectacular fall from grace for both Blair and the paper. The daily operations of the Times newsroom became a public spectacle as every major news outlet picked up the story. The fact that Blair is African-American was emphasized again and again as accounts of the “Blair Affair” served up sordid details in a soap-opera style tale of deception, drug abuse, racism, mental illness, hierarchy, white guilt, and power struggles inside the hallowed halls of the New York Times. Accusations of favoritism, lowered standards for minorities, and racism in the newsroom were hotly debated by pundits while minority journalists everywhere said they felt as if their work was suddenly under the microscope because of Blairʼs flagrant lies. Ultimately, the scandal resulted in new management at the Times, some system-wide changes in how newsrooms across the country do business, and a suicide attempt by Blair. But lack of diversity in the mainstream media is a sustained, and growing problem worthy of close examination. A FRAGILE TRUST will unpack the numerous teachable moments embedded in the Jayson Blair/New York Times saga, thereby giving viewers a framework with which to think about these sensitive and complicated issues in the context of journalism and beyond.
Seeking an experienced, passionate, highly organized editor to join our team. The ideal candidate is smart, enthusiastic, experienced, creative, a good communicator, and a team player, with at least 2 feature docs under their belt. We are not seeking a button pusher, but rather a collaborative storyteller who can bring their heart, mind, and technical skills to the table. This editor is an experienced visual storyteller (narrative experience and sensibility appreciated) and is someone who will happily and thoroughly immerse themselves in the story, going above and beyond to gain a deep and nuanced understanding of this complex and sensitive story. Also, someone both technically savvy and highly organized, who knows FCP 7 inside and out and can edit quickly and effectively is a necessity. Ideally, we're also looking for someone who is familiar with After Effects and Motion and who can create mock ups for a graphics person and/or work closely with an animator to bring some innovative and creative visuals to the project. The ideal candidate will have a journalism background, or at least a strong passion for and understanding of journalism, as well as some experience dealing with storytelling that addresses race issues. Finally, since this is a film that does deal with race in the media and specifically the problems caused by the lack of a strong minority perspective in the mainstream media, candidates who can offer a different perspective than the director (a 30-something caucasian woman from New York) or can bring an intimate understanding of this issue to the table, are encouraged to apply.
BENEFITS: This is a contract position so there are no benefits.
START DATE: January/February 2012
LOCATION: The director is based in San Francisco, and would prefer to work with someone in the Bay Area, but working remotely is possible if the editor has experience working this way (has edited at least one feature film remotely) and is willing to travel when necessary. Alternately, if someone were willing to move to the Bay Area for the edit that could work too.
My friend Philip Harrison is a terrific editor. Just finished the HBO doc Vito and is available in your time frame: