I sailed through my childhood with a complete lack of any drama.

But in the first Gulf war the United Kingdom was not under any threat from Iraq, and is still less so in the second one. Then there is no justification for obstructing freedom of information, particularly as nations have a right to know what their soldiers are being used for.

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 also read modern novels - I have just had to read 60 as I am one of the judges for the Orange Fiction Prize.

I don't sit there and speculate. I'm not that sort of person. It wastes time, actually.

If I'm in danger then it's usually my fault and it's up to me to get myself out of it. I am not in it just to get an adrenalin rush. No way!

In Sierra Leone last year there was just the two of us hanging out of a helicopter and, when we were in Bosnia, I drove an armoured vehicle, thousands of miles.

My job is to get to the heart of a story, to find out what's really going on; to get it verified and, then, to get it out to as many people as possible as fast as.

Up until about 12 years ago we never, ever, wore flak jacket or helmets but now the nastiness has got worse.

No two wars are identical.

I will never retire.

The better the information it has, the better democracy works. Silence and secrecy are never good for it.

Now children as young as nine carry AK47s which can kill 30 people in seconds.

I don't want to be involved in endless media gossip.

People always seem to assume that we have a full, back-up support team - make-up, costume and a driver - but usually, in a war zone, there's only me and the cameraman.

I have never been attracted to any kind of violence.

I keep telling myself to calm down, to take less of an interest in things and not to get so excited, but I still care a lot about liberty, freedom of speech and expression, and fairness in journalism.

It's totally mistaken to suppose that an armed escort is going to give a journalist any protection - on the contrary, journalists who turn up surrounded by armed personnel are just turning themselves into targets and in even worse danger.

I have nothing to do with the selection of stories. I'm the reporter.

I was timid and frightened as a child. Yours truly did not shin up mountains or do any other kind of adventurous stuff.

It wasn't glamorous in my day. In the regions, reporters were seen as such low life that they didn't merit their name in the Radio Times. Now people are interested in being famous. I never gave it a thought.

I wrote in the book very specifically what I wanted to write about, period, and left it at.

I've never been one to sit around and eat my heart out. Life's too short.

I was sent to a nice Church of England girls' school and at that time, after university, a woman was expected to become a teacher, a nurse or a missionary - prior to marriage.

Beslan, where the Russian authorities stopped live coverage of the school being stormed, was an illustration of the progress we still have to make.

When you are covering a life-or-death struggle, as British reporters were in 1940, it is legitimate and right to go along with military censorship, and in fact in situations like that there wouldn't be any press without the censorship.

On the Northern Ireland question, for instance, the British and Irish governments prohibit media contact with members of the IRA, but we have always gone ahead, believing in the right to information.

I sailed through my childhood with a complete lack of any drama.

I have no time for the endless nostalgia: 'Oh gosh I used to . . . ' Life is too short; I don't have any time for sitting and saying I miss things. What's the point? Go and do something else.

War zones are dangerous, protests can be violent, also, natural disasters are difficult to cover, so there are going to be risks.

A sister is a little bit of childhood that can never be lost.

A lot of people have gotten into comedy because of certain influences in their lives or events that were painful, and I really have wracked my brain to figure it out. I pretty much have had a normal childhood. Maybe it was too normal.

It sounds ideal, a sort of beach childhood. But it wasn't really. I didn't use the beach very much at all.

All our pursuits, from childhood to manhood, are only trifles of different sorts and sizes, proportioned to our years and views.

The secret of the truly successful, I believe, is that they learned very early in life how not to be busy. They saw through that adage, repeated to me so often in childhood, that anything worth doing is worth doing well.

I don't carry any early childhood trauma around with me, if that's what you're hinting at. The story of the bicycles - and there were three of them which were stolen from me - I've dealt with it well.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

Hors d'oeuvres have always a pathetic interest for me; they remind me of one's childhood that one goes through wondering what the next course is going to be like - and during the rest of the menu one wishes one had eaten more of the hors d'oeuvres.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Everything I write comes from my childhood in one way or another. I am forever drawing on the sense of mystery and wonder and possibility that pervaded that time of my life.

Well I was an asthmatic child. So that for most of my childhood I was in bed. Bedridden.

Happy, happy Christmas, that can win us back to the delusions of our childhood days, recall to the old man the pleasures of his youth, and transport the traveler back to his own fireside and quiet home!

I think actors always retain one foot in the cradle. We're switched on to our youth, to our childhood. We have to be because we're in the business of transferring emotions to other people.

If a nation loses its storytellers, it loses its childhood.

I had a kind of Dickensian childhood.

Friendships in childhood are usually a matter of chance, whereas in adolescence they are most often a matter of choice.

I didn't have a happy childhood.

These days, there are a great many books about childhood trauma and its effects, but at the time all the experts agreed that one should forget about it as quickly as possible and pick up where you left off.

Concepts, like individuals, have their histories and are just as incapable of withstanding the ravages of time as are individuals. But in and through all this they retain a kind of homesickness for the scenes of their childhood.