Quotes of All Topics . Occasions . Authors
Fortunately... 'With Fi and Jane' features BBC veterans Fi Glover and Jane Garvey sitting in the BBC cafe, nattering about whatever interests them.
I tend to read 'The New York Times' and 'The Washington Post' online, and I go to the website for the BBC. I am a junkie when it comes to the news.
The BBC should not have a cheerleader. It should have somebody who runs the organisation in the interests of the public and that should be a chairman.
I miss the BBC when I'm away. I'm away so much that it's a pleasure just walking back through the door and sitting on the sofa to watch some rubbish TV.
That's what I think is smart about 'Durham County.' It's not derivative of anything American. It's more in the vein of the BBC miniseries I grew up with.
Obviously, the BBC is funded by licence-payers. If you are paying for a TV licence, when you see what people are paid, then you know you're funding that.
I don't think the BBC supporting digital switchover is top slicing. Top slicing is putting the license fee up for grabs for other broadcasters to bid for.
At the BBC we've had plenty of women in good management jobs. It comes and goes but there's been plenty. On air, I think there's quite a bit more we can do.
The tsar of War and Peace, especially in the BBC version, is a complete popinjay and a useless character. The real tsar, Alexander I, had an amazing career.
People think all fame is the same, but being on BBC Two from time to time does not make you Warren Beatty. I honestly can't impress that upon people enough.
As an artist, you want as many people as possible to see your work with no interference. And usually, I've gone onto fringe channels: BBC Two, HBO, Channel 4.
They are scared that the BBC or CNN may call them radicals, so they remain soft instead. The problem lies there, with the Muslim leaders, not the Muslim masses.
I can go to the BBC and say, 'OK, my next drama is for women, and it is diverse women.' I take that to America, however, and I have another set of conversations.
You turn up on set, and somebody who has come out of Oxford, has done a BBC course, is telling you how to act. You think, 'Do me a favour. Go and make a coffee.'
After the war, I went to the BBC monitoring service in Caversham, a suburb of Reading. It was a big aerial system to listen to radio programmes all over the world.
It was sad leaving the BBC; not quite like being divorced, but you don't leave after a period stretching from 1960 to 1999 without feeling a certain number of pangs.
Hair is also a problem. I remember once, when I was reporting from Beirut at the height of the civil war, someone wrote in to the BBC complaining about my appearance.
I once worked with Emma Thompson's mother, Phyllida Law. I worked with her on a BBC drama, and she was hilarious. I loved her so much, and she was great to work with.
I have always loved broadcasting - as a child in Liverpool, I would wake up and listen to Morning Merseyside on BBC Radio Merseyside and wonder, 'How do they do that?'
For the BBC and others, a free website is an obvious and relatively cheap addendum to their main purpose of streaming news and entertainment on screen to a mass audience.
I'm working harder now than ever before. I couldn't turn down the BBC job because I've never been offered the opportunity of killing three or four people on screen before!
The other two things are... well, I had a huge appetite for old black and white movies on BBC 2. At the weekends they used to run matinees, and the more romantic the better.
China is starting an English-speaking television network around the world, Russia is, Al Jazeera. And the BBC is cutting back on its many language services around the world.
The BBC were not playing the music that was happening on the street so we did an independent production because we knew we had an audience. Then we licensed the album to EMI.
I come out of TV. I come out of live television, BBC drama: that's where I started first as a designer, then a director. Then I went independent TV, then television advertising.
I have been in discussions with the BBC regarding my involvement with SPOTY after hearing what I believe to be very outdated and derogatory comments from a fellow SPOTY nominee.
Sewing is getting more mainstream, helped by the BBC show, 'The Great British Sewing Bee,' and we have to look at those types of things to see how we can use it as an opportunity.
I'm not sure I buy the argument that the public is more mistrustful - the debate will always garner that kind of traction because anything the BBC does is always in the spotlight.
When the BBC decided to bring Doctor Who back as a feature film a few years ago, one national newspaper ran a poll to ask its readers who should be the new Doctor, and I topped it.
Growing up, there was only classical music on BBC Radio. We had to listen to the American Forces Network in Germany, which played pop songs, or the pirate radio boats off the coast.
I used to do all my programming on a BBC computer. It was limited to 16 tracks, and you used the keyboard, not a mouse, to input, but I was using it so long, I got quite fast at it.
I am greatly impressed with the BBC's TV adaption of Charles Dickens' 'Bleak House.' The costumes, the sets, the acting and the screenplay are all superb. Every episode is riveting.
I did an audition for Henry Hall, a well-known dance man at the BBC, when I was about 15. I have lost the letter I was sent, but it said: 'your voice is unsuitable for broadcasting.'
I've downloaded the BBC's 'Cranford' with Judi Dench because I like a bit of bonnet acting, and I can turn it on and off without worrying about whether I can follow what's happening.
My YouTube videos have literally millions of views... Yet I'm still airbrushed out of the BBC Stalinist revision of history; the chart shows have been instructed not to play my music!
I always got very excited about the Masters as a kid. I could hardly wait until the Wednesday when you'd get the BBC's preview. And I'd then be glued to the screen until Sunday night.
I plan with the BBC African Player of the Year award to become an agent of hope and positive change in the lives of the millions of African youths who have lost hope and are deprived.
Following the principle that you should know your enemy, the BBC has assiduously recorded the relentless rise of Rupert Murdoch and his assault on the old 'decadent' elites of Britain.
I've played the leads in two British TV series. I've done a bunch of mini-series. Everybody in Australia is a bit in awe of BBC. I've worked for there, and that was a great experience.
When I was a young kid, the best stuff on television was always the BBC period dramas - it was what we sat down as a family to watch and what people talked about and looked forward to.
The BBC is locked to the reading of the economy that is run out of Ed Miliband and Ed Balls' office. They think if only you spend and borrow more money you can create growth everywhere.
Prior to doing a 'Bond' film, I was a young actor doing classical theater and some BBC dramas. Then, suddenly, I was thrown into this franchise. I had never experienced anything like it.
In my opinion, the BBC are one of the best producers of drama in the world, and it made me incredibly happy to get the opportunity to be one of the leading men in one of their productions.
They respect rappers in the U.S., but in England, it's the Queen's country. She'll forever be putting out the message on these BBC networks that there's no hood: it's tea and red phoneboxes.
The BBC is consistently manipulated by Brexiteers into providing them with false parity in arguments where their views add nothing, represent nobody and are demonstrably and factually wrong.
There was a long period where every time someone was shot or stabbed the BBC would call me. I started to think, 'I'm an actor and a musician, I don't want to be a politician or a spokesperson.'
My first boss at the BBC was Aubrey Singer. The main thing I learned from him was discipline. I also learned things about myself: namely, that I hated commuting and didn't really want a 9-5 job.
My first job was a film called 'Storm Damage' for the BBC. I was 16 and working with really respected British actors. I didn't have an agent at the time, and it kind of threw me into real acting.
For better or worse, MTV sort of bridges the whole country together almost like the BBC does in England. It's opened up everything so wide that it's possible for everyone to have different ideas.
The BBC TV programme 'Back In Time For Dinner' doesn't just have one of the cleverest titles ever. It is a more-than-usually-serious attempt to recreate the recent past, the day before yesterday.