A Quote by Theodore White

When a reporter sits down at the typewriter, he’s nobody’s friend. — © Theodore White
When a reporter sits down at the typewriter, he’s nobody’s friend.
When a reporter sits down at the typewriter, he's nobody's friend.
I think I sit down to the typewriter when it's time to sit down to the typewriter. That isn't to suggest that when I do finally sit down at the typewriter, and write out my plays with a speed that seems to horrify all my detractors and half of my well-wishers, that there's no work involved. It is hard work, and one is doing all the work oneself.
I used to go round to Aunt Mimi's house and John would be at the typewriter, which was fairly unusual in Liverpool. None of my mates even knew what a typewriter was. Well they knew what it was but they didn't hae one. Nobody had one.
A police reporter walks into the worst moment in someone's life on every single story that he covers. It's not like being a sports reporter. That's a great job and all that and takes certain skills. But, you know, they're glad to see you when you show up to cover the football game. Nobody is ever glad to see a police reporter when he shows up.
You could walk around behind the typist and read the text, which was about hearing, and what you heard was the sound of the typewriter. Of course, this was a pre-electric typewriter, a typewriter that made noise.
It took time to learn that the hard thing about writing is to let the story write itself, while one sits at the typewriter and does as little thinking as possible. It happened over and over again, and the beginner learned - when you start puzzling over an idea, and slowing down on the keys, the writing gets worse and worse.
Yesterday I did not want to be borrowed but this is the typewriter that sits before me and love is where yesterday is at.
Typically, when there are corporate habits that undermine individuals, it has emerged without any sort of central planning. Nobody sits down and says, 'I'm going to create an evil habit for this corporation.'
I made a sort-of living in the beginning of my acting career as a reporter. I think my very first job was 'Early Edition' as reporter no. 1, and for 'Light It Up,' I was reporter no. 2.
When forced to leave my house for an extended period of time, I take my typewriter with me, and together we endure the wretchedness of passing through the X-ray scanner. The laptops roll merrily down the belt, while I’m instructed to stand aside and open my bag. To me it seems like a normal enough thing to be carrying, but the typewriter’s declining popularity arouses suspicion and I wind up eliciting the sort of reaction one might expect when traveling with a cannon. It’s a typewriter,’ I say. ‘You use it to write angry letters to airport security.
The image of the reporter as a nicotine-stained Quixote, slugging back Scotch while skewering city hall with an expose ripped out of a typewriter on the crack of deadline, persists despite munificent evidence to the contrary.
Sometimes I sits and thinks. Other times I sits and drinks, but mostly I just sits.
Time passes slowly. Nobody says a word, everyone lost in quiet reading. One person sits at a desk jotting down notes, but the rest are sitting there silently, not moving, totally absorbed. Just like me.
A reporter started off: "I know a lot of this is kind of speculation." Popovich interupting: "You're going to ask me anyway." Reporter: "And you're going to shoot it down." Popovich replied: "Next question."
A lot of people don't realize that I started my career in sports and was a sports reporter long before I was on television. I used to be an NBA reporter and an NHL reporter.
Nobody was ever better than Roddy Piper was when it came to interviews. He didn't pull no punches. He wasn't afraid of nothin' or nobody. He was a trip, and he was good people, too. He was a good friend. A damn good friend.
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