A Quote by Brooke Baldwin

I had to put in my time all through my 20s. Then I came to CNN in 2008 as a freelancer with no guarantees. — © Brooke Baldwin
I had to put in my time all through my 20s. Then I came to CNN in 2008 as a freelancer with no guarantees.
I was a freelancer all through my 20s and was very slow to get good at what I did.
I was a freelancer at CNN during the second semester of my senior year at George Washington University.
I've read in various media stories that my dad and I had demanded guarantees of playing time or that we didn't want to play at Florida. Nothing could be further from the truth. It was the exact opposite. We went in there and specifically said we weren't looking for guarantees.
I think I had a kind of pause for insight in my 20s when I wasn't in a relationship and my career wasn't going the way I wanted it to go. I had time for reflection then.
Television has certain imperatives that CNN had the luxury of ignoring for a long period of time. CNN could take the position that the news would be the star, because in most of the programming day, they were the only all-news operation on the air.
For me, it all started with 'Phoonk' around 2008 and then I landed a couple of more films and then came 'Makkhi.'
I saw that with Hillary Clinton and Sarah Palin in 2008. I mean, I came away from the 2008 campaign feeling really icky.
Soon after the financial crisis of 2008, I was at a meeting in Washington with a group of U.S. senators. They had invited me to provide a point of view on new regulation; regulation aimed at ensuring we never have to go through the events of 2008 ever again.
I grew up watching CNN, and my memory of CNN is James Earl Jones saying, 'This is CNN.'
I came to realize in my late 20s that my velocity is not going to grow so I had to learn to utilize what I had.
At that time [90th in Lagos], if you drove through the city, you drove through a foreground that always seemed to be incredibly dramatic and incredibly agonised - smoking, burning, incredible compression. In the first year we stayed on the ground and went everywhere. But then in order to discover whether this was the whole story, we rented a helicopter. And we began to understand that this is not chaos but a highly modern system that had been abandoned, then at some point went into reversal, then slowly came out of it.
I had a liver transplant, then I had a pacemaker put in, then I had a new knee put it, then I had a heart valve put in. I'm almost brand new. I have a lot of new parts.
The fact that the government had to put up hundreds of billions of dollars to Citibank in guarantees was a public declaration that Citibank was a mess. Making Citibank go through financial restructuring would not have conveyed any more different information. So it's very hard to see why it would have had that kind of a panic if it were done well.
It's hard to find genuine 20s vintage in good condition, but it is out there. One tip would be to look in the 70s rails. When the first Gatsby film came out in 1974, it promoted a 20s trend, so you often find 20s style pieces, that were actually from the 70s.
I had my appendix removed in my 20s. I was in the middle of a play with Helen Mirren at the Royal Court Theatre, a fabulous career break. Then two weeks in I began suffering the most horrendous pain and had to pull out. Sadly, by the time I'd recovered, the show's run had ended.
You cannot begin to imagine the shock I had when I came down on the floor for the first time. First of all, there's this whole thing about playing sitcom comedy. I didn't want to do the sitcom thing, but I didn't know what else to do. I went slowly. We went through the week of rehearsal, then we got on the floor with the cameras, which I'm used to because of my experience in the old days. Then came camera day, with an audience, and it was stunning, enthralling, exciting and chaotic. I had never experienced anything like that before, as an actor. I was part minstrel, part actor.
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