A Quote by Emily Maitlis

I have to listen to the midnight news and I have to see if any of my interview lines have been picked up. — © Emily Maitlis
I have to listen to the midnight news and I have to see if any of my interview lines have been picked up.
When we were done and not picked up to series yet, they wanted us to read lots of writers. I was like, "No." Then we finally were picked up. It is hard not to start thinking of story lines. It is like doodling.
I'm confused about who the news belongs to. I always have it in my head that if your name's in the news, then the news should be paying you. Because it's your news and they're taking it and selling it as their product. ...If people didn't give the news their news, and if everybody kept their news to themselves, the news wouldn't have any news.
They have been deprived nutritionally, or some illness has not been picked up, or they have not been screened for vision or hearing defects, or they have not had some kind of a chronic illness or error of metabolism picked up.
I once did a three-hour interview with Radio Oxford only to be told the microphone hadn't picked me up.
Once we get them in the studio, you interview a person the same way you would interview another. You ask them a question. You let them answer. You try to listen closely and then ask a follow-up.
I'd written a lot of songs with hummingbirds in them. None of them ever came to anything, but I did write a few lines last month. It went like this: 'Listen to the hummingbird whose wings you cannot see. Listen to the hummingbird, don't listen to me'.
I've always been - as a teacher, as graduate student, as a student, and I think, really, as a child - I've been interested in poems, but not so much for what the take home pay is, what you might sum up from them in moral or intellectual terms or whatever, but what's in the certain lines and how lines relates to other lines.
Had it not been for 'The Apprentice' and Donald Trump, I wouldn't have met my wife through an interview with 'E! News.'
I want to be able to just act and never do any interview, but I don't have the balls to stand up to the studio and say, "I'm never doing another interview in my life!"
In the mid-1970s, there was this huge boom of stand-up comedy throughout North America. I went to see a show at a club called Yuk-Yuks, in Toronto, and I was just fascinated. I ended up coming back for amateur hour on a Monday at midnight and got up there without any thought as to what might come of it.
You cover the bad news about America. You do. But you don't get up in the morning hating your country. And so, until somebody shows me lines at the border trying to get out, I think there's some good news.
Journalism is straying into entertainment. The lines between serious news segments, news entertainment, and news comedy are blurring.
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.
At what price do we get our news? The role of economics in defining the nature of contemporary journalism has never been better explained. A valuable, important book for those of us who watch, read, or listen to the news.
Now your kids can't escape. Thirteen-year-olds back then, if they didn't watch the evening news, they didn't see news. If they didn't watch the 6:30 or seven p.m. news, they didn't see news. Today younger people have much more access to that kind of hard news than you did when you were 13 back then.
For a long period of time, the media covered rap music and hip hop the same way they cover a lot of black people, people of color, you know, the bad news happens to be news. They used to have these little stupid colloquialisms that pop up like, "You know what? No news is bad news!" They trick the masses into thinking that any news is great for you. And I just think that's a piece of crap.
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