- 14 hours ago
CNN's White House correspondent and anchor Kaitlan Collins reviews broadcast news scenes from films and television including 'The Newsroom,' 'The Morning Show,' 'The West Wing,' 'Bombshell,' 'Anchorman,' and 'Good Night and Good Luck.' From determining what to report on air to teleprompter fails, find out what Hollywood has gotten correct and incorrect.Be the first in line to unlock unlimited streaming and articles, including 24/7 global news, award-winning shows and films and of course Kaitlans reporting available from anywhere, on your favorite device. For more, go to https://www.cnn.com/allaccessDirector: Adam Lance GarciaDirector of Photography: Jack BelisleEditor: Jeremy Ray SmolikTalent: Kaitlan CollinsProducer: Madison CoffeyLine Producer: Natasha Soto-AlborsAssociate Producer: Lyle NeelyProduction Manager: Andressa PelachiAssociate Production Manager: Elizabeth HymesTalent Booker: Jenna CaldwellCamera Operator: Chloe RamosGaffer: Niklas MollerAudio Engineer: Rachel SuffianProduction Assistant: Quinton Johnson; Ryan CoppolaPost Production Supervisor: Christian OlguinSupervising Editor: Eduardo AraujoAssistant Editor: Justin Symonds
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LifestyleTranscript
00:00Dealing with misinformation is tough.
00:02It's prolific.
00:03It spreads like wildfire.
00:04You don't want to elevate something and elevate a conspiracy that's circulating or something.
00:08So you're addressing it on air, but you're also dealing with it when you're dealing with officials
00:11who may have seen this misinformation and think it's real.
00:14And this is why it's important to be right in on everything and be extremely prepared
00:17is because if somebody brings it up in an interview,
00:20you as the anchor need to be able to say that's not true or that was exaggerated
00:24or that was a clip actually from 2012 that wasn't even relevant to this
00:28because you need to be able to nip that stuff before it spreads even further.
00:32Hi, I'm Caitlin Collins.
00:33I'm CNN's Chief White House Correspondent and anchor of The Source at 9 p.m.
00:38And today we're going to be reviewing movie clips and TV shows
00:41to review how the news is done on TV versus real life.
00:45Let's start with watching a scene from the newsroom.
00:47Heads up!
00:51What's going on?
00:52All hands, there's been a shooting in Tucson and a congresswoman, Gabrielle Gitt, that's been shot in the head.
00:56Okay, this is pretty realistic just in terms of when there is breaking news,
01:01people are running inside the newsroom, yelling, screaming.
01:04There's a bit of a frantic atmosphere at times,
01:07especially when it's something incredibly serious
01:09and that you know is going to potentially take over the news cycle.
01:12Give me our Tucson affiliate.
01:14Charlie Skinner, New York, controls breaking in in 15 minutes.
01:17Tess, I'm giving you a phone number.
01:19That's something that I do think resonates in terms of obviously the newsroom
01:24is a dramatized version of what actually happens in real newsrooms.
01:28But that moment when you are covering a story and it goes from
01:31every network is covering something different or there's specials happening
01:34and then everyone breaks in with the same story.
01:36If there is a mass shooting or a major death or a huge development,
01:41it's this feeling covering news that things can change any moment.
01:45And anytime you say it's a slow news day in an instant, that can change.
01:50We're cutting into our program with breaking news.
01:52A local Tucson newspaper has reported that Arizona Congresswoman Gabrielle Giffords
01:57has been shot while holding a public event in Tucson outside of the grocery store.
02:01There's such a difference in a regular program and when there is breaking news
02:05because when there's a regular show, you've thought through all the segments and the guests.
02:09And as an anchor, I've reviewed pretty much every word that is in the show
02:13that I'm going to be reading that night, the questions that we're going to be asking.
02:16But when there's breaking news, you don't have time to do that
02:19because sometimes it happens as you're sitting down in the chair as it does here.
02:23I mean, clearly he has one piece of paper in front of him.
02:25He has no information in front of him.
02:26And you kind of are sitting down, helming this moment where you know
02:30you have a very limited set of information available to you
02:33and you figure it out on a rolling basis.
02:35You don't know who you're going to be talking to next.
02:37There are moments in the control room where we've had breaking news happen
02:40and there's one person that is relevant that we want to hear from
02:44while they're still calling and getting other guests on air.
02:46And you're just with that one person or that one reporter.
02:49There's nothing imprompter.
02:51It's just totally blank.
02:52And there have been a lot of shows where we've had that for the entire show.
02:56And it feels like the 60 minutes passes in five minutes.
03:00There's no commercial breaks, nothing to reset.
03:02It's just you and the camera and you're just listening
03:05as these reporters are feeding in the news in real time.
03:08NPR saying she's dead.
03:14Anyone else?
03:15No.
03:16She's not dead yet.
03:17I think that was a great news instinct actually there
03:21because there are moments where this happens
03:23and when it is breaking news, whether it's a mass shooting or anything,
03:27you don't know what's happening
03:29and you don't want to report something erroneously.
03:31You want to report as updated and new information as possible,
03:34but you don't want to get anything wrong.
03:36I mean, we've seen moments of this with President Trump's attempted assassination
03:40where you don't know the extent of it.
03:42Was he hit?
03:43What happened?
03:44Obviously, with Charlie Kirk, I mean, we saw that play out as well
03:47because initially it was shots were fired at a Charlie Kirk event.
03:51That doesn't mean that he himself had been shot.
03:54You're still waiting to confirm that.
03:56Moments later, we confirmed that.
03:57But obviously, it's chaos happening on the ground in Utah
04:00as we've seen from the videos of the attendees.
04:03Then, obviously, later on, there were videos that surfaced.
04:07I mean, I think that is something that's changed
04:08in terms of the Gabby Giffords shooting
04:10and where we are now with social media,
04:12that you're watching all this in real time,
04:14trying to discern what's real and what's not.
04:16I think, obviously, with something as grave as this,
04:19you wait for official word.
04:21It's something you're reporting that's so serious
04:24and has such grave consequences
04:26that there is no room for error in a situation like this.
04:29We're going to show you now an interview
04:31Gabby Giffords gave just last year.
04:33This is Congresswoman Giffords.
04:3430 seconds.
04:35What's going on?
04:36I'll call security.
04:37Every second you're not current,
04:39a thousand people are changing the channel
04:40to the guy who is.
04:41That's the business you're in.
04:43This is real.
04:44That during a soundbite sometimes
04:46or when someone's talking,
04:48that that's when the anchor is getting fed
04:50a lot of the information
04:51or getting the latest updates
04:52that are approved for air
04:53because otherwise, in real time,
04:56you'll be listening to the control room,
04:58but you're also listening to what the guest is saying.
04:59And you kind of have to be able to do both
05:01at the same time and juggle both
05:03to know, you know,
05:04first, what's the latest
05:05in this breaking news situation?
05:07But two, also, what is your guest saying
05:09and making sure you're keyed into that as well?
05:11MSNBC, Fox, and CNN all say she's dead.
05:13Don, tell them.
05:16Don.
05:16You as the anchor are in control of what you say.
05:26Really, the buck stops with you
05:27because, yes, someone may say,
05:29this is how we should frame this
05:30or this is the question we should ask.
05:32You're the one who actually has to say it
05:33and to ask the question.
05:35And so I think, you know,
05:36with my team personally,
05:38everyone throws out ideas
05:40or has suggestions
05:41or we debate how to do something.
05:42But ultimately, it's your call as the anchor
05:45as to what you're saying on air.
05:46In a moment like this,
05:47I mean, he's basically encouraging him,
05:49saying everyone else is reporting
05:51that she's dead.
05:52We're the ones who are behind.
05:54We look slow.
05:55And you can see the editorial people
05:57seem to be in clear disagreement with him
05:59because they don't have it yet.
06:00NPR called it wrong.
06:01She's alive.
06:02She's alive.
06:05Well.
06:06All right.
06:07We're learning now that Giffords
06:08is being prepped for surgery
06:09and we have our ACN affiliate
06:11at University Hospital.
06:12There's no music playing in the background
06:14when this is all happening,
06:15just for the record.
06:16And now we're going to watch a scene
06:18from The Morning Show.
06:19Over two-thirds of its passengers and crew
06:21is freaking through the mysterious illness.
06:23What the fuck is she doing?
06:25I don't know.
06:26I love this moment
06:27where the control room is like,
06:29what the F is she doing?
06:30Obviously, this is a really serious story
06:32that she's about to reveal.
06:34But, you know, as an anchor,
06:35you think about what are they saying
06:36in the control room
06:37versus what you're doing out on the set.
06:39A spokesperson for the cruise line
06:41says that they are working.
06:44She walks in front of the camera,
06:45which is obviously a huge no
06:47that you never walk in front of the camera.
06:49Even if you're in commercial break,
06:50I walk behind the camera.
06:52It's a good lesson to have as a reporter.
06:54So that never happens.
06:56What's your name?
06:57Our quote, sorry, this cruise...
06:59Joe?
07:00...short of the standards...
07:0115 years, I've never met Joe.
07:02There are definitely people
07:03who don't always know the names
07:04of the photojournalists
07:06who are behind the cameras.
07:07I think a good lesson for every reporter
07:09is to always know your PJs.
07:10When I started at the White House,
07:11they were immensely helpful to me
07:13because they're reporters.
07:14I mean, they watch everything
07:15just as much as we do.
07:17And they were instrumental
07:18in my success covering the White House.
07:20And they're my boys.
07:21I love them.
07:22The PJs are the best.
07:24What the hell?
07:24All of the ship's passengers
07:26will get a full refund
07:27due to the outbreak.
07:29Stay on three.
07:31I mean, you can see it in Bradley's face here
07:33as she's reading the report
07:34about this cruise
07:35that she's not even really
07:36paying attention to,
07:37but she's also keeping an eye
07:38on what's happening beside her.
07:40That's actually a skill
07:41you do have to have
07:41if you're on camera
07:42is to kind of be self-aware
07:44of what's happening around you,
07:46especially in the press briefing room
07:47at the White House.
07:48You know, you're delivering a report
07:50and speaking to the anchor,
07:51but there's four people next to you
07:53doing the same thing.
07:54And you have to have this ability
07:55to kind of tune out
07:56what is happening around you,
07:58but also still be paying attention
07:59enough to be aware of
08:01if someone's walking into the room,
08:03they're trying to hand you
08:04something, a piece of paper
08:05with information on it.
08:06You do have a moment
08:07where despite what's happening
08:08in your surroundings,
08:09you have to kind of ignore it
08:11and just pay attention to the camera.
08:13And there are some really bad things
08:14going on here,
08:15some really bad things,
08:16some really bad,
08:18there are bad people and...
08:19Are we doing this?
08:21Yeah.
08:21You wanna?
08:22We should just tell the truth quickly.
08:23They're gonna cut us off.
08:24We have one minute.
08:25Roll the fucking tape.
08:26Ignore that, Donnie.
08:27Do not roll tape.
08:28Stay on the teacup
08:29and get everything.
08:30It's such a great scene
08:31with Jennifer Aniston.
08:32I mean, she really...
08:33The buildup to this moment,
08:35I think they did a really good job with.
08:37Just dramatically in terms of,
08:38you know,
08:39she's being self-critical,
08:40saying she's never met Joe,
08:41the camera operator.
08:42Her co-worker is trying
08:43to kind of hold it down
08:45in case she's just having a meltdown.
08:46Clearly, this is the moment
08:47where it switches
08:48and I think Bradley starts
08:50to realize what's about to happen.
08:52We would like to share
08:53some information
08:54about our network.
08:56We believe Fred Micklin
08:57to have been central
08:58in creating an environment
09:00that silenced women
09:01who came forward
09:02to complain about
09:02sexual misconduct.
09:03Those motherfuckers!
09:05No!
09:06Typically,
09:06a CEO would not be in...
09:08The president of the news company
09:10would not be in the control room.
09:11That happens on special occasions
09:13or sometimes
09:14that they're just dropping by.
09:15But I do think that
09:16if you were in a moment like this
09:18and the president or the CEO
09:20was inside the control room,
09:22they'd probably listen
09:23to what they are saying
09:24if they're saying,
09:25no, keep going,
09:26stay on this.
09:27I think that would be a debate
09:28maybe between the news team
09:30that's in there
09:30and the CEO,
09:31but typically,
09:33they'd probably listen.
09:35Corporate culture
09:36comes from the top down
09:38and Fred Micklin
09:39dictated a culture
09:41of fear and silence.
09:44I always say
09:45I have no idea
09:46what's going on
09:46in the control room
09:47because I know my role
09:49at the desk
09:50and in front of the camera
09:51and I defer to the control room
09:53for a lot of issues
09:54because, you know,
09:55they're in there
09:55and they are listening
09:56to a million things.
09:57Everyone's got headsets on.
09:59So a lot of people
10:00can key in to me
10:01and talk to me
10:02if they want to.
10:03Typically,
10:04it's only one person
10:05unless it's a big interview
10:06or a breaking news situation
10:08and the executive producer
10:10is doing something else.
10:11But it's basically
10:12the senior producers
10:13sit at the front.
10:14Then you've got
10:15the more junior producers.
10:16You've got bookers in there.
10:18So if there is breaking news,
10:20I mean,
10:20it's chaos in the control room
10:22because the bookers
10:23are trying to get people on air.
10:24Then they're telling the producers
10:26who they've gotten ready,
10:27when they're ready to go on air.
10:29People are preparing graphics.
10:30People are preparing questions,
10:32intros,
10:32and they're also doing math
10:34the whole time
10:35because they have to time it
10:36with the commercial breaks,
10:37something that I am not
10:38very helpful with
10:39when my interviews go long.
10:41But I always say,
10:42my job is not to do the math.
10:43My job is to ask the questions.
10:45And this is a scene
10:46from the West Wing.
10:47We're at threat condition
10:48Bravo right now.
10:49Why?
10:50Why?
10:50Because five Baye sleepers
10:52we were watching disappeared.
10:54They disappeared?
10:55Yeah.
10:56And it coincides
10:57with increased chatter
10:58we're hearing.
10:59You print,
11:00we did this right now
11:01and I'm worried
11:01what the five guys
11:02are going to do.
11:07Three days
11:08and I get an exclusive
11:10on the sleepers.
11:11Done.
11:11This scene is actually
11:12really interesting
11:13because I do think
11:14that happens to a degree
11:15where there have been moments
11:16where people try to get you
11:17not to report things
11:18and there are moments
11:19where you hear officials say
11:21it's a national security matter,
11:23you shouldn't report on it
11:24for this reason.
11:25Is that sometimes the case?
11:26I do think so.
11:27Is it usually the case?
11:28Probably not.
11:29I think when Trump got COVID
11:31and he tested positive,
11:32we heard from people
11:33who said
11:34it was a national security issue
11:35to report before that
11:37that people around him
11:38had gotten COVID.
11:38Obviously it was relevant
11:39to the president's health.
11:40We reported it anyway
11:42but there were moments
11:43where people try,
11:44I mean they'll try anything
11:44to get you not to report
11:45what you're reporting,
11:46I think.
11:47And so you have to be good
11:48at discerning as a reporter
11:49what's truth,
11:51what's bullshit,
11:52what's spin
11:52and knowing that.
11:54I don't think
11:55the national security advisor
11:56and the press secretary
11:56would come out
11:57to the press area
11:58where we sit
11:59which is actually
12:00underneath the briefing room
12:01that you watch on TV.
12:03We have little tiny offices
12:04underneath there
12:05where we're all kind of crammed in
12:06in very close quarters
12:07and that's where we work from
12:09when we're not in the briefing room.
12:10It would be rare
12:11to see the press secretary
12:11down in that area
12:13but there is this interaction
12:14between the press corps
12:15and the press office
12:16where you can go upstairs,
12:17you can stand outside
12:18the press secretary's office
12:19and often when there's breaking news
12:21you'll see a line of reporters
12:22outside the office
12:23waiting to get comment
12:24or clarity.
12:26I can remember this happening
12:27when President Zelensky
12:29visited the White House
12:30and there was a huge blow up
12:31with President Trump
12:32and then they basically
12:33pushed him out the door
12:34and had him leave.
12:36Several of us were upstairs
12:37in Caroline Levitt's office
12:38trying to get details
12:39on what happened
12:40behind the scenes
12:41after that huge blow up
12:42that everybody watched on TV.
12:43If it's determined
12:44that genocide is taking place
12:46the United States
12:46is compelled to intervene.
12:48The problem is
12:49the convention distinguishes
12:50between acts of genocide
12:52and genocide.
12:53It distinguishes between
12:54acts of genocide
12:55and genocide?
12:56It does, Mark.
12:56How many acts of genocide
12:58constitute a genocide?
12:59I don't know, Danny?
13:00What's the weather report
13:01for Sunday?
13:02Two below with the wind chill.
13:03That's a full lid.
13:04Good night.
13:04If you're a White House correspondent
13:05you are tracking
13:06every single thing
13:07the president does
13:08and you're trying
13:09to talk to your sources
13:10about what's coming next,
13:11what they're doing,
13:12what's happening behind the scenes.
13:14You're tracking all of his movements
13:16and speeches.
13:17I mean, there's so many
13:18quotes of President Trump's
13:20or even President Biden's
13:21both of whom I've covered
13:22where you can kind of
13:23recite it from memory
13:24because a lot of politicians
13:25say the same thing repeatedly
13:27over and over again.
13:28I think being a White House correspondent
13:29is the greatest job in the world
13:31because you're covering history.
13:33You can cover healthcare one day.
13:34You're covering Russia the next day.
13:36You're covering Jeffrey Epstein
13:38the day after that.
13:39It's kind of like school.
13:40You're studying constantly.
13:42I mean, I remember during COVID
13:43calling doctors
13:44and asking them to explain
13:46spike proteins to me
13:47because I wanted to make sure
13:48I knew what I was talking about
13:49when I was on TV
13:50subsequently or in briefings.
13:52And so being a White House correspondent
13:53you really have to know
13:55at least something
13:56about almost everything
13:57because you never know
13:58what's going to come up.
14:00And now we're going to watch
14:01a scene from Bombshell.
14:03Yes, sir?
14:03You fucking idiot!
14:05That's not Glenn Frey!
14:06That's Don Henley!
14:06Dump the B-roll.
14:07Dump, dump, dump.
14:08Back to anchor?
14:09That's not Glenn Frey.
14:10That's Don fucking Henley.
14:11Oh, shoot.
14:12What the fuck, Kayla?
14:13I'm sorry.
14:14I don't know secular music.
14:16The Eagles?
14:17Luckily, that has not happened to me.
14:19I have an excellent team
14:19who ensures that this doesn't happen
14:21because you're not in control
14:23of what goes up on screen
14:24but you are accountable
14:24for what is on the screen
14:26when this is happening.
14:27And so obviously
14:28when it's something like that
14:29you never want to get it wrong.
14:31You never want to...
14:31All these are people
14:32that you're reporting on
14:33and you don't want
14:34to misspell their names.
14:35You don't want to misidentify them.
14:37You don't want to use
14:38the wrong picture.
14:38I mean, that is like
14:39the ultimate control room rule.
14:43Mistakes do happen
14:44but you want as few as possible.
14:45I would like none, basically.
14:47Down in the basement
14:49is the Fox Newsroom.
14:51All our shows and crews
14:53are working these pods.
14:55This is my staff.
14:56We do have a whole newsroom section
14:58at CNN.
14:59We have a round section
15:00in the middle
15:01where a lot of the editors sit
15:02and that's basically
15:03kind of the nucleus
15:04when like decisions are made.
15:05What are we going with?
15:06Is this cleared for air?
15:08Is this source approved
15:09for reporting on air?
15:11And then there are show teams
15:12that are in pods as well
15:13in different areas.
15:14It's rowdy
15:15and they're all talking
15:16and debating
15:17what guests we should have on
15:19or what question we should ask.
15:20And so it roughly is like that.
15:23The actual studios
15:24are scattered around the building.
15:26Most anchor and show offices
15:27are here.
15:29Above are Fox Business,
15:31Radio, New York Post,
15:32and the Wall Street Journal.
15:33Most of the American
15:34conservative establishment
15:35in one building.
15:37I mean, my show is actually,
15:39our set is actually
15:39in the newsroom in Washington.
15:41And so you can see behind us,
15:43like those are desks
15:43and they're not fake desk.
15:45Real reporters actually sit at those.
15:46They're working late
15:47if they're there
15:47when we're on air.
15:49But yeah,
15:49that is generally
15:50what it looks like
15:51in every section.
15:52Every show is like
15:53kind of sectioned off
15:54by show team.
15:56The anchors
15:56and their key producers
15:58have base canvas
15:58here on 17 and 18.
16:01Often decorated
16:02with viewer art.
16:03Actually, this is really funny
16:04because my office right now
16:06on my door in New York,
16:07there are two pictures of me
16:08that are not flattering,
16:10but that someone drew
16:11with good intentions,
16:12I believe,
16:13and mailed them to me
16:14and said that
16:15if I would like
16:16to get them framed,
16:17that I'm free to do so.
16:18And so we just put them
16:19on my door
16:21so everyone can see them.
16:22I get a lot of weird
16:23stuff in the mail.
16:24And now we're going
16:25to watch a scene
16:26from Anchorman.
16:28Well, that's going
16:28to do it for all of us
16:29here at Channel 4 News.
16:31You stay classy, San Diego.
16:33I'm Ron Burgundy?
16:36Dammit, who typed
16:37a question mark
16:38on the teleprompter?
16:39It's such a great scene.
16:41It's like,
16:41I'm Caitlin Collins?
16:43It does show you
16:43why punctuation
16:44is important
16:45because even if I've read it
16:46and I know what
16:47I'm going to be saying
16:48and I've edited it
16:49or even written it at times,
16:50you still have to have it right
16:52so when you're reading it,
16:53it doesn't sound
16:54like you're reading it.
16:55That is the art of,
16:56you know,
16:56being a good anchor
16:57is that you read off a prompter
16:58but people can't really tell.
17:00From the entire
17:01Channel 4 News team,
17:02I'm Veronica Corningstone.
17:04And I'm Ron Burgundy.
17:05Go fuck yourself, San Diego.
17:09It's harder than it seems.
17:11I think people think
17:12it's really easy
17:13and that I do think
17:14there is a bit of
17:15Anchorman-ish
17:16in some people's brains
17:17that reporters just sit down
17:19and read whatever's
17:19in the prompter
17:20and then that's it.
17:21Only anchors really use prompter.
17:22I, as a reporter
17:23at the White House,
17:24I never use a prompter
17:25because it's your reporting.
17:26You should be able to report it
17:28without needing scripts or notes.
17:30Obviously, when you're doing
17:31an entire show
17:32and you want to make sure
17:33editorially everything
17:34is crisp and clean,
17:35you basically type something
17:37into iNews,
17:38this news program,
17:39and whatever's in there
17:40pulls up on the teleprompter
17:42to where even if you make
17:43a small change
17:43and then you save it,
17:44it immediately changes
17:45on the teleprompter.
17:46And so you can see that
17:47this happens all the time.
17:48We cut introductions in half
17:50for segments or questions
17:52and they go out the window.
17:54And now we're going to watch
17:56a scene from
17:56Good Night and Good Luck.
17:58Missing the voice.
17:59Five seconds, that's too much.
18:00Don, you're in a commercial
18:01in the booth.
18:02What do you want me to do?
18:02Two minutes there, fellas.
18:03I just re-watched this whole movie
18:05recently, actually.
18:06There's definitely no smoking anymore.
18:08Maybe vaping.
18:10I'm just kidding.
18:11Three minutes.
18:12Keep it down, please.
18:14It's a little loud.
18:15Two minutes there, fellas.
18:16Can I just say one thing
18:17that stands out to me, though,
18:18about this when I watched
18:19this movie recently?
18:20It's all men, basically,
18:22who are making the decisions
18:23and reporting the news.
18:25You just, I mean,
18:25that's obviously you watch it
18:27and that was indicative
18:28of the time,
18:28but you watch it now
18:29and it's so different.
18:31Our reporter, Joe Worshba,
18:33cameraman, Charlie Mack.
18:35This is the town
18:35of Dexter, Michigan,
18:36population 1,500.
18:38This statue is at the end
18:39of Ann Arborist.
18:40In this, they're like
18:41doing interviews
18:42and then days later
18:43cutting the tape
18:44and recording it
18:44and putting it on.
18:45And oftentimes in the movie,
18:46a point of tension is
18:47they're just rolling it hot
18:49and they're truly running
18:50the tape over
18:51and it's seconds away
18:52from not making it.
18:53That's true to a degree.
18:54That still happens.
18:55If we've done an interview
18:56right before the show
18:56that we've pre-taped
18:57and then we're airing it
18:59and we haven't had time
19:00to perfectly cut it
19:01and make it as nice
19:03and timed as we'd like,
19:04it would be nice
19:04to have it cut perfectly,
19:05but the news is not perfect,
19:07which is I always remind my team.
19:08And we want everything
19:09to be correct editorially,
19:11but sometimes, you know,
19:12you're living it in real time
19:14and you're just rolling
19:15the interview
19:15and then afterwards,
19:18you know,
19:18you can adjust
19:19and you don't have to stick
19:20to a script
19:21or anything like that.
19:22I think he's one of the best
19:41journalists of all time.
19:42And I think the takeaway
19:43from this movie
19:44and why I loved the play
19:45was so huge is that
19:47what Edward R. Moreau did
19:48was not guaranteed
19:50or preordained.
19:51And I think people accept it now
19:53as fact that he was able
19:55to push back on McCarthy
19:57and to hold these senators
19:59accountable who were
20:00intimidating people
20:01and getting them fired
20:02for no reason.
20:03I mean, he dealt with it
20:04on his own staff,
20:05but that wasn't a given.
20:06I mean, that was because
20:07he was brave and courageous
20:09and willing to fight
20:10with the top brass
20:12at his network
20:12and to say editorially,
20:15this is the right thing to do.
20:16And we don't actually know
20:17what the end result's going to be.
20:18He had no clue
20:19that he would be revered
20:20decades later
20:21for what he did.
20:22But he took that moment
20:23and I think it's important
20:24to remember
20:24he was risking
20:25his own reputation,
20:27his job,
20:28his financial security
20:29by just reporting
20:30what he felt was right.
20:32But we believe, too,
20:33that this case illustrates
20:34the urgent need
20:35for the armed forces
20:36to communicate more fully
20:38than they have so far done.
20:39They're in the control room,
20:41my team is,
20:42but they are,
20:43you know,
20:43when you're doing an interview
20:45or you have a big report,
20:46they're the ones
20:46who are in your ear
20:47saying, you know,
20:48two more minutes,
20:49got to wrap,
20:50this is it,
20:51or keep this going
20:52because we're going
20:52to skip a commercial break
20:53because something huge
20:54has just happened.
20:55You really have to have
20:56a trusting relationship
20:57with your producers
20:58because they're basically
21:00your eyes and ears
21:00for what you can't see
21:01when you're on air
21:02and when you're reporting
21:03the news.
21:04I loved the camaraderie, though,
21:05between the two of them
21:06in the film
21:07and in the play
21:07because I think
21:08that is actually
21:09really important
21:10with your team,
21:10whether it's
21:11your White House team,
21:12your producers,
21:13your show team,
21:14because you have to have
21:15a level of trust
21:16with them
21:16that you're all
21:17kind of in this together
21:18and you're all working
21:20for one great show
21:22that you want to produce.
21:23And it seems to us
21:25that is Fred Friendly
21:26and myself
21:27that this is a subject
21:28that should be argued
21:29about endlessly.
21:32Good night
21:33and good luck.
21:34I mean,
21:35I probably laughed
21:35the hardest at Anchorman
21:36because this is like
21:37my dad's favorite movie
21:38and his perception
21:40of what news was
21:41when I started
21:41and I love having
21:42like my family
21:43come into the newsroom
21:44and to CNN
21:45to see like
21:45what it's actually
21:46like behind the scenes
21:47because I think
21:47there's so much more
21:49behind the scenes
21:49than people realize
21:50than you just sitting down
21:52or people telling you
21:53what to ask
21:53and what to say.
21:54That's just not
21:55how it works.
21:56But I do love that
21:57and I unfortunately
21:58I think because
21:59Anchorman is so popular
21:59that it is now
22:00in the lexicon
22:01that people think
22:02that's a newsroom
22:03with Ron Burgundy
22:03and Veronica Corningstone.
22:05Most meaningful,
22:06probably good night
22:07and good luck
22:07because I do think
22:08Edward Moreau's work
22:10is instrumental
22:11and it's such
22:12a classic film
22:13but it still resonates
22:14today
22:15because all the undertones
22:16of what's in there
22:18and the messages
22:19and what the work
22:21that they were doing
22:21was still resonates.
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