Issue link: http://digital.copcomm.com/i/832212
75 Q2 2017 / CINEMONTAGE 75 Q2 2017 / CINEMONTAGE sought out innovative ways to chronicle Rustin's complex biography. In subsequent years, Lillian has made a point of seeing everything I've worked on and sharing insightful and supportive comments. She is not only a fiercely loyal friend and colleague but — as Rustin used to say — someone who understands the necessity of "speaking truth to power." I am so pleased that the Editors Guild is shining a spotlight on Lillian's decades of service and on the bountiful gifts she has brought to every project on which she has collaborated. Bennett Singer Friend/Colleague; Producer, Director n I met Lillian many years ago (1970s), when she applied for work at my editing business in New York City. She was eager to work and did what she was asked, which I liked a lot. We developed a friendship that has continued these many years and through many changes, including both of us moving to Los Angeles to continue our careers in the film Industry. In 2000, we started a small video editing company together and again continued our friendship and working relationship. Lillian is an incredibly hard worker and loyal friend. She brings her beliefs and values into her work and adds value to every job she does. She is the most amazing networker I have ever known. She is a gifted editor and artist who never gives up her dreams through good years and bad. She continues to be a treasured friend and respected colleague. Joseph Staton Friend/Colleague; Retired Editor, Cinematographer n I 'll never forget one memory from our days working on Eyes on the Prize II together, now almost 30 years ago. Lillian was editing our film about Dr. Martin Luther King, Jr.'s last year: his opposition to the Vietnam War, the poor people's campaign for economic justice and King's assassination in Memphis. When we got to Dr. King's death, she asked producer Jacqueline Shearer, myself, and our boss, Henry Hampton, to leave her alone in the editing room for as long as it would take to put together the sequence of his funeral in Atlanta, the march to the cemetery and his burial. For two days, behind that locked editing room door, the only sound you could hear outside was her crying. When she was done, Lillian had edited a sequence which progressed from Coretta Scott King looking at her husband in his casket, to the service and march, to the last flowers being tossed onto that casket before it was lowered into the ground — a sequence that made everyone who saw it cry. Paul Stekler Colleague; Producer, Director, Chair, Department of Radio-Television-Film, University of Texas at Austin n W e had the privilege of working with Lillian Benson on our first feature film, All About You, in 2000. It was a wonderful experience; her generosity of spirit was on magnanimous display every day as she held the hands of first-time filmmakers through the cutting process. She was collaborative, professional and very protective of our vision for the film right away. There was one particular scene in the movie that was difficult to cut and wasn't popping off the screen in the right way. We were at our wit's end because the scene just did not work and we had pressing deadlines. After a lot of energy spent, Lillian announced she was just going to sleep on it. The next day, she had it figured out and massaged the scene by adding dialogue over the images, while never losing the emotional intensity of the moment. It still remains one of the most memorable, poignant moments in the movie. This scene only worked because of Lillian's creative and brilliant touches. We are thrilled that Lillian is receiving this well-deserved award. She is a force of nature who, for many years, has made her quiet mark in the editing space as a generous mentor, astute editor and a great friend to all in the industry. Congratulations, Lillian! Christine Swanson Colleague; Writer, Director Michael Swanson Colleague; Producer n I t should go without saying that Lillian Benson is a pioneer. She was the first African-American female editor to join ACE, and has had an editorial career that is beyond impressive. But to me, she is so much more than her extraordinary resume. Lillian has shown the true spirit of what it means to give back and help others. A few years ago, Lillian and I started a new program at ACE that mentors young editors and assistant editors with a focus on women and people of color. She is a driving force in our Diversity Mentorship Program, running the lecture series for our group and always coming up with lecture topics that really make us think and learn. Her passion for bringing diversity to ACE, and the whole editing community, is infectious. At a time when she could easily rest on her laurels she chooses to give back and help others. Not satisfied with simply being a groundbreaking pioneer, Lillian gives her time, energy and love to mentor the groundbreakers of the future. For that, I am forever inspired and grateful. Troy Takaki, ACE Colleague; Editor, Co-Chair, ACE Diversity Mentorship Program n I worked with Lillian in 2006-2007 on a limited series called Craft in America. It was a three-part project for PBS. I was an executive producer with Carol Sauvion on that series and remember hiring Lillian to be the editor of the third part, entitled "Community." The series was all about honoring the incredible skill and meaning behind the work of the country's finest craftspeople and so required editors with