When I was a teenager, 'Playboy' was the most interesting magazine in the world, and not just for the playmates. I liked the interviews and the stories, and all that, but nowadays most of the stuff in there doesn't interest me.
I buy tons of magazines. They're a big part of how I research characters. And I keep them around and go back to them years later. I just have stacks.
Quite frankly, I'm a member of the investigative committee, one of the senior members of the panel. I don't take our investigative facts and information from a magazine or some article.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
I did decide that you have to put your name about a bit, and so, although I would have preferred to have never done publicity or an interview or a fashion shoot for a magazine or a chat show.
I wrote an article on a new Porsche for 'Automobile Magazine.' I knew the editor, and she asked me to write this article. So I'm more proud of that than anything.
Mostly, I was only interested in television as a kid, and the majority of reading material I collected was an adjunct to that central concern, comic books and magazines included.
By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'
In 1927, if you were stuck with idle time, reading is what you did. It's no accident that the 'Book-of-the-Month Club' and 'The Literary Guild' were founded in that period as well as a lot of magazines, like 'Reader's Digest,' 'Time,' and 'The New Yo...
When I first started out, 'Time' magazine did an article on what it called 'the sick comics,' and they were myself, Shelley Berman, Nichols & May, Jonathan Winters, Lenny Bruce, and Mort Sahl. We were considered 'sick.'
We don't have access to a national forum that we had in those days, through the news magazines which were the television news of the time. It's very disturbing to me that we've sort of been pushed to the corners.
Most magazines have become wallpaper, they're all the same, all the same celebrities. It's really an abysmal time in American journalism right now. But occasionally one story or two will pop out.
I don't like just traveling in for a short time. I've done that before, because sometimes you work for magazines and they have a budget, and if you're working for them, they want something by a certain time.
My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
I'm a lad of the '60s. I started a magazine to try and end the Vietnam war, but it was a number of years before I had the profile, the financial resources and the time to do more.
I'm not obsessively a follower of fashion in the way I used to be. But I still have all those magazines I bought at the time because I bought ones that felt a little timeless, more like books.
If you were an alien who came to our bookstores - or browsed our teen magazines - you'd think that only Earth girls who look like Mila Kunis ever got any action.
It used to be that artists thought of nature as their environment. Now media is our environment. It has been for the past 50, 70 years. It's what you see on TV, on the computer, what is in the magazines and newspapers.
The classic rule of thumb is that if you are an intellectual ideological magazine, you do better in opposition than you do if your views are reflected by people in power.
Let's leverage the power of the Web - don't get rid of it, but make the Web beautiful again. We need to give the content room to breathe and give magazine-style advertisements the opportunity to flourish.
The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, b...