Who should regulate the media? Who should control the press? The commentariat agonises, as if the choice was between state control through some autocratic press law or a new Press Complaints Commission redecorated with false teeth. But there is another way. Let journalists regulate themselves. . . . Let's have a little democracy in the media. Even in the Murdoch papers, the number of journalists who are irretrievably lawless and callous is quite small. Most of the disasters at the News of the World happened because its editors treated their staff in the style of Muammar Gaddafi.
I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.
The best comics editors have the smallest egos. The worst ones feel like they have to justify their salaries by making changes just so they can leave their fingerprints. Every creative medium has those guys, and they're all loathsome.
I walked all around it [the Guggenheim Bilbao] and couldn't find one clear, clean shot. To make things worse, the weather was lousy. Nothing about this rang commercial money shot. In a situation like this there's only one thing to do: forget about pleasing editors, please yourself.
Let's not pretend there isn't a huge industry driven by the choices made by editors and writers who decide what a story is.
It would be absurd for me or any other editor to review the authenticity or accuracy of stories that are nominated for prizes.
I've been around so long, most editors think I'm dead.
If you chase two rabbits, you catch none.
It is unsound for an independent editor to be a financial contributor to any cause which would cause any type of special pleading.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
When coming up with Wonder Woman cover designs, sometimes people will pitch ideas to me, either the writer or the editor. And it's interesting, because I know they're not trying to, but they end up pitching things that end up feeling like damsel-in-distress covers, where the tension comes from her needing to be rescued somehow. And it's something I immediately push back against.
Letters to the editors of English and American newspapers often contain expressions of horror about the new terms that creep into the language, and these expressions are usually accompanied by dire predictions about ruination of the mother tongue.
Whatever I wrote was heretical. It offended the editors of the women's magazines.
I'm so used to being separate from the publication process. I turn in the book to the editor and then I'm done.
if the way ahead is not clear, time is often the best editor of one's intentions.
The Denver Post has actually hired an editor to promote pot.
In Austria an editor who can write well is valuable, but he is not likely to remain so unless he can handle a sabre with charm.
I work with a lot of different editors at different publishers and magazines and so on, and having a system of shared folders makes keeping track of things a snap.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out. ' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.
And then my editor really likes that because he's left alone to do what. . . to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.