Combining print stories, videos, interactive maps, podcasts, a chatbot, graphics, a virtual reality experience and a full-length documentary to examine the impact of building a wall along the U.S. border with Mexico, staffs of The Arizona Republic and the USA Today Network were awarded the 2018 Pulitzer Prize for Explanatory Reporting. In conversation with Dennis Wagner, The Arizona Republic reporter designated to examine every mile of the border by air in a single, continuous trip.
How was the project, "The Wall," born?
DENNIS WAGNER: When Donald Trump brought his presidential campaign to Arizona, border security was the most prominent plank in his platform, and supporters were chanting, “Build the wall!” Nicole Carroll, then editor of The Arizona Republic (now editor of USA Today), witnessed the fervor surrounding that idea, and decided it was important to tell America just what it would take to build a wall, and what the impact might be. The effort required a careful analysis of the history, politics, economics, topography, civil engineering, costs, environmental factors and myriad other issues. It also required a clear understanding of the border today — what barriers and security already exist, and what it would take to build a wall. Carroll wanted a multi-media presentation that would not just tell the story, but show it.
How many journalists were on the team?
DW: More than 30 journalists spent time in the field working on the project, and more than 100 people contributed all told. We hired three students from Arizona State University who helped meticulously map border fencing matched to the video images.
How was it like working in a multidisciplinary team? Walk us through the reporting process.
DW: Such a project requires extreme planning and coordination. When possible, ideas were pre-reported in the field with test videos. Then three-person crews returned to sources and locations to capture the full story with video and pictures. The border flight exemplifies the logistics and collaboration. The idea needed corporate buy-in and approval, then funding, then a helicopter, pilot and filming and LIDAR expert. Once those were secured, the trip required a reporter and photographer in the air with a complementary team on the ground. Weeks of advance research developed an itinerary and identified key locations for each border issue and event to be covered — smuggling, migrant deaths, enforcement, environment, etc. Before takeoff, we analyzed the history, politics, geography, culture and economies of target locations, scripting voice narratives to be recorded inside the chopper during flight. Journalists love teaming up for important stories. While there are glitches in any major project, the collaboration among writers, visual experts, editors and designers was inspiring, fun and mostly seamless. Differences in expertise allowed us to feed off one another for creative ideas, courage and stamina.
What was it like going on a 2,000-mile border journey?
DW: It was daunting and spectacular. No journalist had ever flown the border in this way. The project represented a massive undertaking for our company. The flight, at huge expense, was to be a centerpiece. And, somehow, 10 days of air travel had to be transformed into print and video narratives covering one of America’s most crucial issues. So, there was this huge challenge, this adrenaline rush, this sense of honor and responsibility. We flew in desert heat, 300 to 3,000 feet above ground, rotors pounding, trying to take notes and photos with wind ripping through the cockpit, constantly moving forward, recording commentaries, cracking jokes… We ascended jagged peaks, dropped into river chasms, crossed vast deserts … It was [expletive] cool.
It has almost been a year since The Wall was published. What has changed?
DW: If anything, the idea of the wall may be more important than ever. Each round of federal budget discussions seems to bring new brinksmanship over wall funding. The idea looms large, even though no actual wall has been built.
The project lets you experience the wall in virtual reality. This probably wouldn't have been possible a couple of years ago. How do technological advancements play a role in the way stories are told, and also the way in which audiences consume news?
DW: Technology advances offer liberating opportunities and difficult choices. They require editors and reporters to think creatively, but plan carefully. Which tools and techniques will best tell a story? Which will reach the biggest audience? Does the news staff have enough expertise? Does the outcome justify the expense? Not all projects can be so expansive. But, in an age when information is consumed in distinct ways by disparate groups, all options should be considered.
How did the team find out about winning the Pulitzer Prize?
DW: Most of those who worked on “The Wall” were gathered around a monitor in the middle of the [Arizona Republic] newsroom, watching the broadcast. I was convinced our project had no chance of winning, so I remained at my desk, working. A colleague in the next cubicle started live-streaming, so I heard the announcement: “For Explanatory Journalism, The Arizona Republic and USA Today Network.” The colleague began jumping up and down, yelling. People in the middle of the newsroom turned in confusion and looked at him as if he was crazy. I figured whatever he played on his computer was a practical joke. But it turned out his livestream was about 15 seconds ahead of the groups’ broadcast, and all of a sudden the entire newsroom erupted. One reporter on the team began screaming hysterically. Hugs and backslapping everywhere. Confetti flying. Then bosses pulled out champagne and plastic cups. I remember being shocked at everyone’s joy, wondering where the confetti and champagne came from. I took a sip — the first time in 40 years I’ve had booze at the office — then returned to work.