I think the biggest mistake anyone can make is trying to be the next someone, and try to mimic or copy someone who is already out there because you have to produce your own personality and your own sound, and go from there. That is something all great broadcasters have been able to do.
I don't know if other people have found it difficult relating to me, certainly that's not the feedback I've had. I don't think of myself particularly as a woman working in sport. I think of myself as a broadcaster, a journalist, and the right person for the job, regardless of whether I happen to be female or male.
I made my first film McLibel independently but only by accident. I tried to get a commission from all the standard TV broadcasters but because they had been sued by McDonald's in the past none of them would commission me so I ended up making it by credit cards and rich boyfriends (I'm joking - about the boyfriends).
When you start out in this business, the Hall of Fame is not what you're thinking about. You think all you want to do is make it to the major leagues. That's your goal, and that's your ambition as a broadcaster, just as it is with playing.
I wanted to be a broadcaster, sportscaster, or gameshow host from a very early age. I did my first broadcasting when I was 10 or 11 - into a tape recorder for my brother's football game, and for local events. A local radio station was experimenting with high school disc jockeys for rock and roll shifts - I applied - and got the job.
The joy of being a broadcaster is, if you're still allowed to choose your own music.
I imagine myself as the broadcaster for a Cubs-White Sox World Series, a Series that would last seven games, with the final game going extra innings before being suspended because of darkness at Wrigley Field.
I love baseball. I love watching baseball. As a broadcaster, I get to watch the best 700 players put on the uniform year after year. That, to me, is exciting.
We need creative people working with broadcasters, making smart content to inspire people to be geniuses.
The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
All of us somehow felt that the next battleground was going to be culture. We all felt somehow that our culture had been stolen from us-by commercial forces, by advertising agencies, by TV broadcasters. It felt like we were no longer singing our songs and telling stories, and generating our culture from the bottom up, but now we were somehow being spoon-fed this commercial culture top down.
As a professional broadcaster, I can tell you that over the course of my career, there is an adage: don't ever apologize.
I remember one of the legendary German broadcasters saying, "Germany's future is America's present," and it really was that with the penetration of television.
If the broadcasters were to win on their claims, they'd outlaw the DVR.
... the precedents for feminine self-expression run back through all the ages since the art of writing was invented. ... The era may witness the first female engineer, motor truck chauffeur, radio broadcaster, head of an aviation school, or federal prohibition officer, but it has not produced the first thinking, creative, and writing woman by any means.
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