Awarded annually, the Karen Schmeer Film Editing Fellowship was created in 2010 to honor the memory of gifted editor Karen Schmeer. It is a year-long experience that encourages and champions the talent of an emerging documentary editor. It creates opportunities to help cultivate an editor’s artistry and craft, and expand his or her professional and creative community.
We're excited to announce that Eileen Meyer is our 2016 fellow! Eileen impressed us with her her confident spirit, strong work ethic, and the ways in which she has been pushing herself to new professional heights. We also loved her playful and insightful editorial style in her work as an editor of Best of Enemies , a documentary about ideological opposites William F. Buckley Jr. and Gore Vidal as they hold a series of riveting, nationally televised debates that usher in a new era of public discourse and pundit TV. She will receive the fellowship on Tuesday, March 15, 2016 at the SXSW Film Festival Awards Ceremony in Austin, Texas.
At this year's Sundance Film Festival, documentary editing legend Kate Amend gave an inspiring keynote speech at the Art of Editing Lunch co-hosted by Sundance Institute and the Karen Schmeer Film Editing Fellowship.
DOC NYC EDITING MASTERCLASS
What do documentary editors do to bring a story to life? Esteemed documentary editors Karen K.H. Sim (Watchers of the Sky, Back on Board: Greg Louganis) and Fiona Otway (Hell and Back Again, Iraq In Fragments) share storytelling secrets as they review favorite scenes from their own work.
Sunday, November 15 at 11:30am, Bow Tie Chelsea Cinemas.
15 Questions with Eileen Meyer
Check out Manhattan Edit Workshop's "15 Questions with Eileen Meyer" to find out what films have inspired her, what she does when she's stuck on a scene and more.
Today, PBS' POV Documentary Blog is publishing "Entering the Edit with Karen Schmeer Fellow Eileen Meyer," an interview with Eileen about her process and her goals for the fellowship.
An editor is brought in to work on a long form documentary. The editor initially brings distance, the outsider’s eye, to the screening of the director’s footage. But ultimately, the editor’s job is to absorb the subject of the film through the footage, to live and breathe with the material, making it his or her own, and, ultimately, to emerge with a vision for the possibilities (and impossibilities) of the film. If the editor isn’t doing this, the editor won’t be able to do his or her job, which is to find and write the narrative of the film using the words and moving images of the subject. Whatever the particular shape of the ensuing collaboration, the editor’s artistic process is critically important to the creation of the film.