All the arts, to varying degrees, involve some kind of a compromise. This being so, how far need the radio dramatist go to meet the public without losing sight of himself and his own standards of value?
I was a radio presenter in Dubai for five years.
I'd rather work on my radio show, which no one hears but I put about eight hours of programming and writing into it for those 30 people who do tune in.
I was so naive in radio technique that I knew nothing about timing. I would write pages on Honus Wagner and then get only half through by the time the show ended. I eventually learned, but there was nobody there to school me.
I'd like to do radio just like pictures - leave the imperfect stuff on the cutting-room floor.
Victor Papenack, who was teaching design, had his students making radios for a penny each that could be shipped to Third World people.
I was broadcast-struck from an early age; I had saved up for a tape recorder and started making programmes.
Ray and I both grew up with radio. Our whole hopes for the future were that we'd get into radio.
I remember that in Baltimore, where I grew up, we would drive by the radio station and tower of WBAL, and I would try to picture the people inside and what they did there.
In radio, they say, nothing happens until the announcer says it happens.
The good thing about radio is that it's the kind of career that really is a career with longevity. It's something you can do as long as you want to do.
I had two different degrees: One in International Relations/Political Science and another degree in Radio and Television Production.
As I went to college, I went into radio and television. Now I suppose most people think that's one step ahead of basket weaving as a major in college, but it was part of the journalism department.
Politics is not my life. I have a career in radio and another career in film.
You know, radio was a really easy way to do the shows. You'd come in, do a read-through, there'd be a few rehearsals, then you'd come the night of the show and do it in front of the audience and then go home.
Radio is the art form of sports casting. If you're any good, you can do a great job on radio.
I have two syndicated radio shows though United Stations Radio Network.
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?'
But you can make good radio, interesting radio, great radio even, without an urgent question, a burning issue at stake.
At 14, I began working in radio. I ran the board at a little radio station in Dallas.
I think the thing that I wish somebody would ask me is just to ask about the business side of the radio show. I feel like I actually work very hard to make sure the business side of the radio show runs, and no one has any interest in how a public radio show is run. And rightly so.
I fell in love with radio once I started working there, and I never stopped.
The luxury of radio is that you don't spend hours in make-up, and you can wear whatever you want. It's bizarre. You'll be saying lines, with various people around making sound effect noises.
I got into radio when I was eight, and I was one of the busiest child dramatic actors in America.
If I could be lucky enough to just have radio as the base for the rest of my life, I could build off that. No matter how successful I become, I always look at radio as the only skill set I can really call on. I even know how to operate the boards.
