Issue link: https://digital.copcomm.com/i/832212
74 CINEMONTAGE / Q2 2017 74 CINEMONTAGE / Q2 2017 n L illian is a force of nature. She is an extremely gifted editor who cares as much about the people whose story she's telling as she does about the craft of editing that story. These qualities were in full view during her work on the seminal PBS civil rights series produced by Blackside, Eyes on the Prize II. She understood the complex issues of race and class involved in the stories. Most importantly, she edited them in a way that those complexities were revealed, but not to the point that they overwhelmed the storytelling. You don't have to know film editing to feel the power of Lillian's work on her signature hour in the Eyes series: The Promised Land. That segment covered the wrenching but empowering story of Dr. King's last year. Her visceral understanding of the economic justice issues and Vietnam War opposition covered in that hour is evident. Head of Blackside and executive producer of the series Henry Hampton's high regard for Lillian's talent was obvious, even during the early production screenings. Beyond that, the editing of the section on Dr. King's assassination and funeral is nothing short of brilliant. I have shown that hour numerous times over the years — as a visiting professor at Brown University, at the professional development workshops I conduct for teachers, during my residency at Connecticut College last year, and during visits to various colleges and universities. I watch as the power of those scenes affects all, regardless of age, gender or racial identification. It's never just a job for Lillian. She brings an uncommon passion and intelligence to her work. And for that, all of us who worked on the Eyes series will be eternally grateful. Judy Richardson Colleague; Producer, Educator n I 've had the pleasure of working alongside Lillian for many years on the ACE Board of Directors. She was elected to the Board in 2002 and has served as Secretary since 2006. Over the past 15 years, her dedication and contribution to the organization has been enormous. As well as her continued responsibilities as Secretary, she is now the co-chair of the Diversity Mentorship Program, which was formed to provide opportunity and mentorship to young professionals from diverse backgrounds who have an interest in post-production. Besides her great commitment to her work, which has led to a very successful career in television and documentary editing, her dedication to the community and helping others has been even greater. She has never hesitated to come to the aid of people seeking help with their career paths. Lillian Benson is the very definition of what the Fellowship and Service Award is all about. Congratulations, Lillian, on this well-deserved recognition! Stephen Rivkin, ACE Colleague; Editor, President, American Cinema Editors n P ioneer, trailblazer, groundbreaker…all words to exemplify Lillian's influence on our craft. My personal regard for her and what she meant to me as a rising young editor far exceeds customary description. I believe when we choose our professional paths, we look to those who have successfully achieved our desired goals. My early days in the editing room did not present a vision of anyone who looked like me until I met Lillian. What I saw in her was a beautifully fierce, talented and honorable force of nature. Her presence reflected what was possible. Her selfless desire to advise, counsel and support me has had a profound effect on my professional trajectory, as it has for countless others. Lillian Benson was the first African- American woman to be invited to join the American Cinema Editors, and when I was invited into ACE, she was the first to offer a warm welcome. She was the first to celebrate my achievement of being the first African American to win an ACE Eddie award. Her honesty, unshakeable moral compass and grace are inspiring. I have watched Lillian's relentless commitment to creating an opportunity for future editors of all colors with deep admiration. Her influence is far-reaching in our growing inclusiveness. My editing room has benefited from her mentorship of others. My life has benefited from her friendship, humor, and wisdom. I am grateful to have Lillian as my beacon. Terilyn A. Shropshire, ACE Colleague; Editor n I met Lillian nearly 30 years ago, when we were both working in Boston's South End on Blackside's Eyes on the Prize II. That intense, life- changing experience cemented my friendship with Lillian, and inspired me to co-direct Brother Outsider, a documentary on the visionary but long- overlooked civil rights activist Bayard Rustin, who dared to live as an openly gay man during the fiercely homophobic 1950s, '60s and '70s. When we were assembling our team, Lillian was our first choice to edit the Rustin film. She cared so much about the prospect of reclaiming Rustin from the margins of history that she offered to relocate to Berkeley in order to collaborate with us. While logistical considerations ultimately meant that she wound up becoming a consultant to the project, her passion for social justice and her strong belief in the need to tell intersectional stories — coupled with her conviction about the importance of celebrating key figures and moments in the labor movement — proved invaluable as we