Tina Brown

So that is in itself extremely interesting.

You know, there are people who are as human as you and I, but they're actually in this cage and somehow have to find a life inside it.

You could almost argue it's too cruel a predicament for modern humans.

I mean, I think Anna's really remarkable.

I mean, she's got such an incredible work ethic.

And I mean, she just, in a sense, I mean, she became Condé Nast.

I mean, she went from being the editor of Vogue to being sort of... Connective tissue.

Connective tissue for the entire company.

And, I mean, hats off to her.

That's obviously something she wanted to do.

I think it must have been a kind of a bit nightmarish, frankly, to be staying in that same environment as it changed and changed and changed.

But, you know, she's always found a way to reinvent.

I think her role, though, is a really difficult one because, you know, the whole question of a magazine company like Condé Nast has changed so utterly from the times when we were there.

in the great days when SI Newhouse Jr.

owned it.

And we were so lucky to have him, actually, working in this private company where we were just allowed to get on with our work and our creativity.

And I think a lot of her time now is spent on all this kind of corporate hell.

So, you know, I think that she must love what she does.

Do I regret leaving the New Yorker to go and work with Harvey Weinstein?

Let's cut to the chase here.