A Quote by Michael Wolff

Two opposite and instructive figures in U.S. journalism during the Trump years are Gerard Baker, editor of the Wall Street Journal, and Martin Baron, editor of the Washington Post.
I wear two hats at the 'Wall Street Journal': one as a columnist, the other as the editor responsible for our editorial pages in Asia and Europe.
I'd actually argue that the best thing to happen to the 'Washington Post' was hiring Marty Baron, maybe the greatest newspaper editor of his generation.
I had been a foreign correspondent in Japan for the 'Wall Street Journal' when my editor there became Washington bureau chief - this was 2007 - and he said, 'How would you like to go to Iowa and cover Hillary Clinton?' I was 28. I went to Iowa.
Marty Baron, 'The Post's executive editor, stopped me in the elevator lobby late one debate night and suggested we look into the Trump Foundation specifically. I also became interested in researching Trump's broader history of charity.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
Forty years after the greatest scandal of the American presidency, Elizabeth Drew's account in Washington Journal remains fresh and riveting, instructive and evocative. Her afterword on Nixon's post-Watergate life is equally compelling.
I don't want to romanticize the world in which everybody watched three networks and the Washington Post and the New York Times and the Wall Street Journal were incredibly dominant. That time has passed.
I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.
The establishment Trump talked about wasn’t really Wall Street. He said, “When Washington got rich.” Bernie Sanders would have said, “When Wall Street got rich, the country didn’t.” So I think when Donald Trump says "Washington," what he means is the government regulatory agencies.
When I started at the Wall Street Journal after college in 1990, there were lots of smart women around me all the time. They were writing for the paper, serving as managing editor, winning Pulitzers and anchoring the weekend show I worked on. It was so inspiring to me.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
Deep Throat was a very unfortunate name given to the source by the managing editor of The Washington Post.
It's funny, you know: my mother-in-law, who doesn't have an ounce of nerd in her, is just so excited by the fact that I write 'Batman' because she'll see an article about me in the 'Washington Post' or 'The Wall Street Journal' or something. And that means so much to me.
life becomes satire in real time, what good is the premiere satire magazine? It might as well just be the newspaper. You could pick up The Wall Street Journal and be like, "Oh, what a funny Onion headline!" And then the editor of The Onion is like, "Huh. I guess you won't be needing me anymore."
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting, I'm just aware in the back of my head what an editor might want.
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