What I notice now is that a lot of the things that are said to us on camera, on air, are not particularly believed and quite often not true. It is an extraordinary position to be in. It is a really weird position to be in as a journalist.
I have three different groups of girlfriends and I swear to you, we put the world to rights between 8.15 and whenever we end. Some days there's a lot of running and a bit of talking, some days there's a lot of talking and a bit of running. But by the end I'm oxygenated and body-tired, as opposed to mind-tired.
I have to listen to the midnight news and I have to see if any of my interview lines have been picked up.
You sort of assume that everyone knows how television works, but they don't actually, why should they?
If you interrupt somebody too early, if you miss it and don't interrupt at all - that's the difference between a good interview and a bad interview. It's about the absolute moment.
I'd like to get up and instantly have perfectly blow-dried hair.
What appears on the screen is what people see. Everything else is just interpretation.
To switch off, I will take a sleeping pill if I have to. I also found myself realigning things.
The only routine I have is going for a run and a swim with the dog in the morning, between 8am and 9am - that is my head-clearing space. I am religious about holding on to that time: whatever happens, I don't want to know about it until after that.
I was covering the Manchester attack and was asked to stay another day and do the programme from there. But I had promised my little boy I would be at his sports day, and I had this really sharp sense that I needed to be there.
I find I process the news by listening to someone else's report.
Always come to a conversation armed with two drinks. Then if it's dire you can pretend you were on the way to find someone else. And if it's interesting, you can stay and down both glasses without moving.
I did everything the wrong way round. I started in an odd place, with the wrong skill set and arguably worked backwards. I began my television career in Hong Kong, making longer format films from around Asia, then I went to the other extreme - presenting local London news.
I moved from current affairs to daily news over the Asia crisis of 1998 - mainly because the news agenda demanded I become economically literate.
Women often seem to have a fear of being 'found out'. Of thinking they've pulled the wool over their boss's eyes to get a job they don't deserve. I thought like that for years - but I'm massively over it now.
The people I enjoy most are the ones who don't stick to script.
I don't think I would move into politics, but our job is often about pulling things down. It's about why something won't work, which I think is valuable, but it's not always constructive.
I love a daily deadline.
The first time I went to the cinema was with my father. He was a huge fan of Peter Ustinov, so we went to see 'Death on the Nile' at the Hampstead Ionic.
When I was 11, I was terrified about the world.
