IMDb > Page One: Inside the New York Times (2011)
Page One: Inside the New York Times
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Page One: Inside the New York Times (2011) More at IMDbPro »

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Page One: Inside the New York Times -- Unprecedented access to the New York Times newsroom yields a complex view of the transformation of a media landscape fraught with both peril and opportunity.
Page One: Inside the New York Times -- Unprecedented access to the New York Times newsroom yields a complex view of the transformation of a media landscape fraught with both peril and opportunity.
Page One: Inside the New York Times -- Featurette: New York Premiere
Page One: Inside the New York Times -- PAGE ONE: INSIDE THE NEW YORK TIMES deftly gains unprecedented access to The New York Times newsroom and the inner workings of the Media Desk.

Overview

User Rating:
6.9/10   2,764 votes »
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Director:
Writers:
Kate Novack (written by) &
Andrew Rossi (written by)
Contact:
View company contact information for Page One: Inside the New York Times on IMDbPro.
Release Date:
29 September 2011 (Denmark) See more »
Genre:
Tagline:
This year, the biggest story is their own.
Plot:
Unprecedented access to the New York Times newsroom yields a complex view of the transformation of a media landscape fraught with both peril and opportunity. Full summary » | Add synopsis »
Plot Keywords:
Awards:
3 wins & 9 nominations See more »
NewsDesk:
(141 articles)
Week in Review: Rip David Carr, New York Times culture writer
 (From SoundOnSight. 13 February 2015, 8:45 AM, PST)

New York Times Media Columnist David Carr Dies at 58
 (From Variety - TV News. 12 February 2015, 7:57 PM, PST)

Interview: Andrew Rossi (Ivory Tower)
 (From ioncinema. 28 July 2014, 8:00 AM, PDT)

User Reviews:
Are Newspapers Really Dying Off? See more (15 total) »

Cast

  (in credits order)
Sarah Ellison ... Herself
Larry Ingrassia ... Himself

David Carr ... Himself
Dennis Crowley ... Himself
Bruce Headlam ... Himself
Evan Williams ... Himself
Richard Perez-Pena ... Himself
Paul Steiger ... Himself
Clay Shirky ... Himself
Markos Moulitsas ... Himself
Brian Stelter ... Himself
Seth Mnookin ... Himself
Alex S. Jones ... Himself
Nicholas Lemann ... Himself
Ian Fisher ... Himself
Claiborne Ray ... Herself
Noam Cohen ... Himself
Carla Baranauckas ... Herself
Susan Chira ... Herself
Katherine Bouton ... Herself
Bill Keller ... Himself
Nick Denton ... Himself
Jeff Jarvis ... Himself
Katrina vanden Heuvel ... Herself
Jimmy Wales ... Himself
Rick Lyman ... Himself

Shane Smith ... Himself
Dean Baquet ... Himself
Tim Arango ... Himself
Brian Lam ... Himself
Gay Talese ... Himself
Charles Strum ... Himself
David Remnick ... Himself

Joseph Kahn ... Himself
James McQuivey ... Himself
Carl Bernstein ... Himself
Michael Hirschorn ... Himself
John Carr ... Himself

Andrew Ross Sorkin ... Himself
rest of cast listed alphabetically:

Julian Assange ... Himself (archive footage)

Directed by
Andrew Rossi 
 
Writing credits
Kate Novack (written by) &
Andrew Rossi (written by)

Produced by
Josh Braun .... executive producer
Andrew Coffman .... research producer
David Hand .... producer
Kate Novack .... executive producer
Alan Oxman .... producer
Daniel Pine .... executive producer
Andrew Rossi .... executive producer
Adam Schlesinger .... producer
Daniel Stern .... executive producer
 
Original Music by
Paul Brill 
 
Cinematography by
Andrew Rossi 
 
Film Editing by
Chad Beck 
Christopher Branca 
Sarah Devorkin 
 
Sound Department
Matt Anthony .... sound recordist
Rich Bologna .... sound editor
Tom Efinger .... sound re-recording mixer
Tom Efinger .... sound supervisor
John Moros .... sound effects editor
Jeff Seelye .... sound editor
 
Editorial Department
Adam Bolt .... additional editor
Marc Brown .... film output: digital intermediate
Stewart Griffin .... colorist
Thomas Humphreys .... transcriber
Caitlin Tartaro .... digital intermediate producer
Chase Voorhees .... on-line editor: trailer
 
Other crew
Victoria S. Cook .... legal services
Melissa Georges .... legal services
Hayden Goldblatt .... legal services
Thomas Humphreys .... transcriber
Michele Robertson .... publicist
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for language including some sexual references
Runtime:
92 min
Country:
Language:
Color:
Sound Mix:
Certification:
Netherlands:AL | Singapore:NC-16 | UK:E | USA:R (certificate #46776)

Did You Know?

Quotes:
Man being Interviewed:Journalism is a toolSee more »
Movie Connections:
Soundtrack:
Make the road by walkingSee more »

FAQ

This FAQ is empty. Add the first question.
2 out of 2 people found the following review useful.
Are Newspapers Really Dying Off?, 19 May 2012
Author: David Ryan McNeely from Edinburgh, Scotland

Director Andrew Rossi takes a candid look at the venerable Big Apple daily, and how it is adapting to the growing prevalence of the internet as people's primary news source.

This story is told primarily from the perspective of the staff on the media desk; editor Bruce Headlam, columnist David Carr and correspondent Brian Stelter. These are the guys in the unenviable position of reporting on (amongst other things) the bankruptcy of other newspapers caused by the growth of online news and the drop in advertising and circulation revenues. Carr in particular gets most of the screen time, and deservedly so. He is a profane and fiercely intelligent presence with a back-story worthy of Hollywood itself, while Stelter is that unique case of someone who started out as an anonymous news blogger before moving over to print media. After outing his identity in a series of stories about his site, the Times then went and offered him a job. He is one of the new breed – a journalist who embraces the advantages of developing technology. He is seen at his cubicle with several computers running, tweeting about his stories, even bringing in a brand new iPad to demonstrate to his dumbfounded old-school colleagues.

Rossi spent a year in the Times newsroom and the film covers a variety of stories and issues covered by the paper in that time, including the Iraq War; Carr's piece on the bankruptcy of the Tribune Company (which he linked directly to mismanagement by its new owner Sam Zell and his executives); and the explosion of Wikileaks into the public consciousness with their publication of the Afghan War logs. This last is also compared to the similar case of the infamous Pentagon Papers leak in 1971 by Daniel Ellsberg to the Times. The advances in the internet have essentially done away with the idea of a Deep Throat. No longer will an insider source need to work with a reporter. Now they can just go online and tell their tale to everyone. While this means that "the truth will out" so much more, it also takes away that important middle step of fact-checking, confirming and crafting a story that a properly trained and respected journalist provides.

In its examination of the slowly dwindling print business, this film covers similar territory to the final season of The Wire. David Simon built the conclusion of his opus around a somewhat fictionalised version of his own former haunt, the Baltimore Sun. Simon features in this movie briefly as well, in a short clip of a televised debate on the dying art of a reporter working a beat that also included Arianna Huffington of the all-conquering Huffington Post. He raises a very solid point though: even with everyone and his wife blogging the news from their bedrooms, there will always be a place for the reporter on the scene, notebook in hand. The delivery method may change with the times (pardon the pun) but the infrastructure, methods and ethics of the newspaper will always be necessary. The "more with less" evangelists are having their day in the sun, but hopefully a new day will dawn soon enough. The best way to make sure that happens is to accept the fact that news costs. The film touches on the idea of pay-walls on the online versions of the paper. I'm all for these personally. You have to pay for the physical newspaper, why shouldn't you pay for the digital version?

It's rare that I get to say this, but all the poster quotes are true. This is a fascinating film that covers a lot of ground in only 92 minutes. Now if you'll excuse me, I'm off to buy my online subscription to the New York Times.

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