In the beginning we had a great deal of freedom and Jerry wrote completely out of his imagination - very very freely. We even had no editorial supervision to speak of because they were in such a rush to get the thing in before deadline. But later on we were restricted.

I am proud and more than a little excited to be asked to work with Faber in an editorial capacity. It is my dearest hope that we will produce some fantastic books together.

I think I'm becoming more relaxed in front of a camera. I suppose I'll always feel slightly more at home on stage. It's more of an actor's medium. You are your own editor nobody else is choosing what is being seen of you.

The essays in The Great Taos Bank Robbery were my project to win a Master of Arts degree in English when I quit being a newspaper editor and went back to college.

Those who write the editorials and those who write the columns they simply are unaccountable. They're free to impose their cultural politics in the name of freedom of the press.

It's all about who's where on the food chain. When I'm the story editor I expect my writers to follow my vision. When I'm working for another editor I'm obliged to follow their vision.

I was getting a lot of editorial as in lots of pages in 'Vogue ' but it's far more important to get your dresses on the back of a famous person. Charlotte Rampling in Bruce Oldfield. That sells.

There were all us baby boomers who had a grammar school education started to learn then went on the pill the whole thing and so there are today a lot more women writers editors producers and so a lot more women's stories. God the BBC's practically run by women.

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.'

I got that experience through dating dozens of men for six years after college getting an entry level magazine job at 21 working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.

My dad was an editor and a writer and that's actually what I aspired to be.

I admired Eugene McCarthy's courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the 'Washington Post ' I remained an admirer.

When I decided to launch my first knitwear line it was because I saw a void in the basics category. The editors were always looking for cool fashion-forward tees and sweaters. So that's where I started.

There is a growing literature about the multitude of journalism's problems but most of it is concerned with the editorial side of the business possibly because most people competent to write about journalism are not comfortable writing about finance.

Editor: a person employed by a newspaper whose business it is to separate the wheat from the chaff and to see that the chaff is printed.

If I weren't performing I'd be a beauty editor or a therapist. I love creativity but I also love to help others. My mother was a hairstylist and they listen to everyone's problems - like a beauty therapist!

As an editor I read Charlotte Rogan's amazing debut novel 'The Lifeboat ' when it was still in manuscript. I read it in one night and I really wanted my company to publish it but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.

If the nineteenth century was the age of the editorial chair ours is the century of the psychiatrist's couch.