0:00:22 > 0:00:25This is the story of a quest to capture reality.
0:00:29 > 0:00:32Of how filmmakers gained the freedom of movement.
0:00:34 > 0:00:37Which allowed them to shoot real life on the hoof.
0:00:41 > 0:00:44It all happened in 1960.
0:00:44 > 0:00:46The dawn of a new era.
0:00:51 > 0:00:56Two teams of filmmakers, one in America
0:00:56 > 0:01:00and one in France, each developed a new camera.
0:01:01 > 0:01:03It was a real revolution.
0:01:06 > 0:01:09They shared the same dream.
0:01:11 > 0:01:14Of a camera that could capture life as they saw and heard it.
0:01:14 > 0:01:16That was an outstanding...
0:01:16 > 0:01:19In the history of storytelling, that never happened before.
0:01:19 > 0:01:23They changed the way we saw the world.
0:01:23 > 0:01:25Factually, cinematically.
0:01:27 > 0:01:30And poetically.
0:01:30 > 0:01:331960, that's when everything started.
0:01:44 > 0:01:49It started with a camera and the camera changed the world.
0:02:02 > 0:02:05DOG BARKS
0:02:09 > 0:02:10Oh, doggie.
0:02:13 > 0:02:16Richard Leacock is a giant of documentary filmmaking.
0:02:16 > 0:02:20His work spans its history.
0:02:27 > 0:02:29Today he's 89.
0:02:30 > 0:02:35But in his youth he helped invent a portable camera that sparked a revolution.
0:02:43 > 0:02:47The revolution happened in 1960,
0:02:47 > 0:02:50in France and in America.
0:02:52 > 0:02:55When a handful of filmmakers pioneered a new kind of documentary.
0:03:00 > 0:03:04They made it possible to simply pick up a camera and follow the action.
0:03:08 > 0:03:12They made it possible to record a person's voice in the moment.
0:03:14 > 0:03:16Bonjour.
0:03:16 > 0:03:19They wanted one thing.
0:03:19 > 0:03:23To capture the immediacy of life.
0:03:23 > 0:03:26I know I was obsessed with it.
0:03:26 > 0:03:30I was looking for something that gave you the feeling of being there.
0:03:32 > 0:03:36In the 1950s, Leacock's dream was impossible to achieve.
0:03:36 > 0:03:38The problem was the equipment.
0:03:38 > 0:03:40It's Alexander Palace, here.
0:03:40 > 0:03:44Can you get the silent camera up in Plymouth to St Mawgan?
0:03:44 > 0:03:46Now, we're going to send sound down from London.
0:03:46 > 0:03:49Tell these chaps to get a move on, will you?
0:03:51 > 0:03:54Cameras were designed for shooting drama in a studio.
0:03:54 > 0:03:57They were as heavy and cumbersome as a lawnmower,
0:03:57 > 0:04:02so needed the support of a tripod. And there they remained.
0:04:07 > 0:04:09BBC calling Harrods.
0:04:09 > 0:04:11Hello, Harrods. Can you hear me?
0:04:11 > 0:04:13The sound gear was even heavier than the camera,
0:04:13 > 0:04:17needing two or more men to cart it around.
0:04:17 > 0:04:22The result was documentaries as stilted as the equipment.
0:04:22 > 0:04:23There's the country solicitor,
0:04:23 > 0:04:27the sort of man whose clients stop him in the street.
0:04:27 > 0:04:29I've got a problem with these coach parties
0:04:29 > 0:04:32coming past the farm and throwing their rubbish over the hedge.
0:04:32 > 0:04:34Come in and seen me this afternoon at 3 o'clock.
0:04:34 > 0:04:36Let's see what we can do.
0:04:36 > 0:04:38Much of Ukrainian folklore's quaint appeal
0:04:38 > 0:04:41is to be found in a favourite song of its peasant girls.
0:04:41 > 0:04:44THEY SING
0:04:46 > 0:04:47Oh, god!
0:04:49 > 0:04:52Leacock dreamt of following the action as it happened.
0:04:52 > 0:04:57But the bulky camera equipment of the '50s made this impossible.
0:04:57 > 0:05:01We didn't have the equipment, it didn't exist.
0:05:01 > 0:05:02It was hopeless.
0:05:06 > 0:05:09God help you if you had to move.
0:05:12 > 0:05:15HE WHISTLES
0:05:17 > 0:05:21In 1958, a French filmmaker thought he'd found an ingenious way
0:05:21 > 0:05:23around the technical problems.
0:05:25 > 0:05:29Jean Rouch was France's leading ethnographer.
0:05:29 > 0:05:32I try to make films about man.
0:05:32 > 0:05:35About the life of the everyday,
0:05:35 > 0:05:41of the small villages where I spend weeks and weeks, months and months.
0:05:42 > 0:05:44This way, I made the film Moi Un Noir.
0:06:01 > 0:06:05Moi, Un Noir follows the lives of immigrants
0:06:05 > 0:06:08living on the Ivory Coast.
0:06:08 > 0:06:10It seemed to capture the feeling of being there
0:06:10 > 0:06:12that Leacock and others were after.
0:06:18 > 0:06:22In the late '50s, Michel Brault was another cameraman
0:06:22 > 0:06:25desperate to revolutionise the documentary.
0:06:25 > 0:06:27Jean Rouch, he's a pioneer.
0:06:27 > 0:06:34I see Moi Un Noir and I am in full discovery land now. You know...
0:06:38 > 0:06:41You have to realise that film-makers
0:06:41 > 0:06:45were longing to see people themself.
0:06:45 > 0:06:47Their sound of life,
0:06:47 > 0:06:48their language.
0:06:50 > 0:06:53Their music, their rhythms.
0:06:53 > 0:06:55That was
0:06:55 > 0:06:57a very important goal.
0:07:04 > 0:07:07Moi Un Noir is full of life
0:07:07 > 0:07:09in a way that was extraordinary for its time.
0:07:12 > 0:07:16Rouch achieved this by ignoring conventional camera technology.
0:07:16 > 0:07:19Instead of the bulky equipment used by professionals,
0:07:19 > 0:07:24he shot solo with a small wind-up camera, the kind used by amateurs.
0:07:26 > 0:07:30I used only a very light camera. A 16mm Bell and Howell.
0:07:32 > 0:07:34With his tiny handheld camera,
0:07:34 > 0:07:37Rouch could follow the action wherever it took him.
0:07:40 > 0:07:43But the wind-up device had serious drawbacks.
0:07:45 > 0:07:49You have to wind it and the action is going on.
0:07:51 > 0:07:55Then you can shoot. 20 seconds. That's it.
0:07:56 > 0:08:00The problem was that Rouch could only capture
0:08:00 > 0:08:02the world in 20 second chunks.
0:08:02 > 0:08:04And that wasn't all.
0:08:04 > 0:08:06CAMERA WHIRS It makes noise.
0:08:06 > 0:08:09Can you record sound? Yes, you can.
0:08:09 > 0:08:11But you hear the camera running.
0:08:13 > 0:08:15OK? Impossible.
0:08:15 > 0:08:19So you don't record sound at the same time
0:08:19 > 0:08:21as you record the camera.
0:08:23 > 0:08:24It has no sound.
0:08:26 > 0:08:28So the film was shot silent.
0:08:32 > 0:08:34Its soundtrack created after the film was edited.
0:08:46 > 0:08:48Rouch had brilliantly found a way
0:08:48 > 0:08:52around the limits of camera technology and made a classic film.
0:08:53 > 0:08:57But he knew that to really capture life on the hoof,
0:08:57 > 0:08:59he needed a different camera.
0:09:01 > 0:09:02One not yet invented.
0:09:20 > 0:09:21At the same time in America,
0:09:21 > 0:09:26by strange coincidence, another man was about to join the revolution.
0:09:29 > 0:09:31This is a head swipe.
0:09:37 > 0:09:41Journalist Bob Drew was working as a picture editor for Life Magazine,
0:09:41 > 0:09:44famous for its spontaneous photo essays.
0:09:52 > 0:09:54I worked with Life photographers.
0:09:54 > 0:09:57With them, we could go anywhere with our little camera
0:09:57 > 0:09:59and nobody would even see the camera.
0:09:59 > 0:10:06And we could record pictures that had emotion and power.
0:10:07 > 0:10:09In the '50s, Drew began wondering
0:10:09 > 0:10:13why these qualities were missing from documentary films.
0:10:13 > 0:10:17Documentaries couldn't record the kind of drama that we were getting.
0:10:17 > 0:10:20To capture real life and convey it.
0:10:22 > 0:10:25Seeing opportunity, Drew came up with a blueprint
0:10:25 > 0:10:29for a new type of documentary as dramatic as any fiction.
0:10:31 > 0:10:34It would be a theatre without actors.
0:10:34 > 0:10:38It would be plays without playwrights.
0:10:38 > 0:10:42It would be recording without summary and opinion.
0:10:42 > 0:10:48It would be the ability to look in on people's lives at crucial times
0:10:48 > 0:10:52from which you could deduce certain things.
0:10:52 > 0:10:54And see a kind of proof
0:10:54 > 0:11:00that can only be gotten by personal experience.
0:11:00 > 0:11:02A film that would put across a feeling
0:11:02 > 0:11:05of what it was like to be there.
0:11:08 > 0:11:10Drew had ideas, but he was no filmmaker.
0:11:10 > 0:11:12To realise his ambitions
0:11:12 > 0:11:17he knew he'd need to join forces with someone who was.
0:11:19 > 0:11:21I found Richard Leacock
0:11:21 > 0:11:24because I saw a film that he made on television.
0:11:24 > 0:11:26'Unloosen it, take it off the bag.
0:11:26 > 0:11:28'Take the bag off, pull it down.
0:11:28 > 0:11:30'That's it. All right.'
0:11:31 > 0:11:33Leacock had made a film
0:11:33 > 0:11:36about a travelling tent theatre in mid-west America.
0:11:36 > 0:11:40It gave Drew the feeling of being there.
0:11:40 > 0:11:41The way the film was made,
0:11:41 > 0:11:45it made you feel like you were in the tent with the show.
0:11:45 > 0:11:47That really knocked me out.
0:11:47 > 0:11:50We had drinks together.
0:11:50 > 0:11:52He came down and found me.
0:11:54 > 0:11:56Over drinks, Leacock came clean with Drew.
0:11:56 > 0:11:59The film's spontaneity was an illusion.
0:11:59 > 0:12:02One involving many months of filming.
0:12:02 > 0:12:09I manage to get a semblance of being there by cheating.
0:12:09 > 0:12:12And I cheated all over the place.
0:12:14 > 0:12:16Because of the heavy equipment,
0:12:16 > 0:12:19Leacock had carefully choreographed every shot.
0:12:22 > 0:12:25Drew wanted to capture real life as it happened.
0:12:25 > 0:12:28Leacock explained how it was impossible
0:12:28 > 0:12:30with the cameras of the time.
0:12:35 > 0:12:37I found out a couple of things.
0:12:37 > 0:12:40That anybody with ideas can't do anything.
0:12:40 > 0:12:43Because it was technically impossible.
0:12:47 > 0:12:51But Drew was a man who would not admit defeat.
0:12:52 > 0:12:57If no portable camera existed, he'd find a way to make one.
0:12:57 > 0:13:00The problem was, it was going to cost a bomb.
0:13:01 > 0:13:05I needed a million dollars to make the equipment smaller.
0:13:07 > 0:13:10Drew made Life Magazine a proposition.
0:13:10 > 0:13:12If they gave him the money to create a new camera,
0:13:12 > 0:13:13he'd make gripping films
0:13:13 > 0:13:16that would break into the lucrative television market.
0:13:19 > 0:13:22In 1958, Drew got his money.
0:13:22 > 0:13:24That's how we finally got started.
0:13:38 > 0:13:40Ricky Leacock was quick to point Drew
0:13:40 > 0:13:44in the direction of a group of co-conspirators.
0:13:44 > 0:13:48Ricky was a kind of Godfather.
0:13:48 > 0:13:51He helped guide me.
0:13:53 > 0:13:57The first person he led Drew to was Don Pennebaker.
0:13:59 > 0:14:01Oh.
0:14:01 > 0:14:03Here it is.
0:14:07 > 0:14:11These days he's seen as a founding father of American documentaries.
0:14:11 > 0:14:13Wonderful.
0:14:13 > 0:14:17Back then he was a 19-year-old engineering graduate
0:14:17 > 0:14:20messing around with cameras.
0:14:24 > 0:14:29Oh, God, you see the case is in poor shape. OK, this is it. It's heavy.
0:14:29 > 0:14:31I haven't done this in so long.
0:14:35 > 0:14:38The equipment was still just old-fashioned equipment.
0:14:38 > 0:14:40Nobody had got to the next step.
0:14:40 > 0:14:42But Drew came in.
0:14:42 > 0:14:44He had the money.
0:14:44 > 0:14:46And that was interesting.
0:14:46 > 0:14:49From then on it was really a do-or-die effort
0:14:49 > 0:14:51to get a camera that would work.
0:14:55 > 0:14:59There must have been an million dollars of purchase order issued
0:14:59 > 0:15:01and nobody was on to us, you know?
0:15:01 > 0:15:05There was a sense of doom, you know? I'll just do it if I want to.
0:15:09 > 0:15:12Work on the equipment began with a critical decision.
0:15:12 > 0:15:16To take an existing camera and adapt it to their purposes.
0:15:17 > 0:15:21The camera that we started with was the Auricon.
0:15:23 > 0:15:26The Auricon was the smallest camera available,
0:15:26 > 0:15:29but it was still too heavy, weighing over 30 pounds.
0:15:31 > 0:15:34The problem was we had these Auricons,
0:15:34 > 0:15:37which were meant to go on a tripod.
0:15:37 > 0:15:39They had a little hole underneath
0:15:39 > 0:15:42and you put it on the head and you cranked it.
0:15:42 > 0:15:44And I could see that we weren't going to use tripods ever.
0:15:44 > 0:15:47The tripod was something we didn't want anything to do with
0:15:47 > 0:15:49because you couldn't set them up,
0:15:49 > 0:15:52you couldn't carry them around, you couldn't deal with them.
0:15:55 > 0:15:57To get a camera they could carry,
0:15:57 > 0:16:00the Auricon would require brutal adjustments.
0:16:01 > 0:16:04He made the camera lighter
0:16:04 > 0:16:08by cutting off pieces of it and throwing it away.
0:16:09 > 0:16:11After months of ruthless adaptation,
0:16:11 > 0:16:14the camera had lost a third of its weight.
0:16:14 > 0:16:16It was now light enough to carry.
0:16:16 > 0:16:18But how?
0:16:18 > 0:16:21I drilled a hole in the front and threaded it
0:16:21 > 0:16:24and we put the handle on the front of the camera
0:16:24 > 0:16:25and that was it.
0:16:25 > 0:16:29When we did that, suddenly the whole thing became like that.
0:16:29 > 0:16:31The handle on the camera.
0:16:31 > 0:16:33I should have patented it right away
0:16:33 > 0:16:35but I didn't know how to patent anything.
0:16:35 > 0:16:40But that was the thing that changed the whole camera operation.
0:16:40 > 0:16:43Everybody could put it on their shoulder.
0:16:43 > 0:16:46Here they are. Well...
0:16:46 > 0:16:48here's the camera.
0:16:51 > 0:16:53Always the handle from the very start
0:16:53 > 0:16:56so that we didn't put it on a tripod, we put it on our shoulder.
0:16:56 > 0:16:59But I just would hold the camera like this
0:16:59 > 0:17:03and I learnt by looking in a mirror and watching,
0:17:03 > 0:17:09exactly how to hold it to know that I was getting you or you or you.
0:17:09 > 0:17:11And that was very helpful in many instances.
0:17:11 > 0:17:14And getting it on your shoulder meant it was going to be steady
0:17:14 > 0:17:17because as long as you could lock the camera against your cheek
0:17:17 > 0:17:20and support it with your shoulder, you could shoot anything.
0:17:20 > 0:17:23The Auricon probably wouldn't recognise them,
0:17:23 > 0:17:25they'd probably disown them, actually.
0:17:27 > 0:17:28But they worked.
0:17:28 > 0:17:32And they worked in ways that you could carry them around easily.
0:17:32 > 0:17:35It didn't look like much, you know?
0:17:35 > 0:17:36It still is a pretty good camera.
0:17:36 > 0:17:37Well...
0:17:44 > 0:17:48By early 1960, the team had transformed the Auricon
0:17:48 > 0:17:52into the first professional lightweight handheld camera.
0:17:54 > 0:17:56This is basically the Auricon camera,
0:17:56 > 0:17:58which weighs at least a third...
0:17:58 > 0:18:01The Auricon weighs at least a third more than this baby.
0:18:01 > 0:18:05And this one has been cut down.
0:18:05 > 0:18:10There's probably 100,000 of special engineering in that camera alone.
0:18:14 > 0:18:17Drew and his team could now go out with their new camera.
0:18:19 > 0:18:24And if people moved, they could follow them.
0:18:24 > 0:18:27That camera took months and months to make.
0:18:27 > 0:18:31That camera made the revolution possible.
0:18:31 > 0:18:34But just barely.
0:18:40 > 0:18:42At exactly the same time in France,
0:18:42 > 0:18:46a small group of engineers were facing the same challenge.
0:19:02 > 0:19:04Jean-Pierre Beauviala has had a lifelong passion
0:19:04 > 0:19:07for handheld cameras.
0:19:07 > 0:19:11He's one of the great technical innovators of camera history.
0:19:11 > 0:19:16You know, every time a TV team are coming here
0:19:16 > 0:19:19and they're asking me, would you sit?
0:19:19 > 0:19:24They have prepared with lamps, a stool.
0:19:24 > 0:19:27Please, sit on that stool.
0:19:27 > 0:19:31And the camera was there and there and the lamps and other stuff.
0:19:31 > 0:19:33And I said,
0:19:33 > 0:19:37you are doing that to me?! You know?
0:19:38 > 0:19:40You are doing that to me?
0:19:44 > 0:19:47You're talking to me? You're doing that to me?
0:19:47 > 0:19:51And I say, no, au revoir, and I left.
0:19:51 > 0:19:56And I left them with their cameras. You know?
0:19:56 > 0:20:00I had developed the most mobile camera in the world.
0:20:00 > 0:20:06Through the shape of the camera. And they want me to be on a stool?
0:20:06 > 0:20:08Don't make this mistake!
0:20:11 > 0:20:14Yeah? I think so.
0:20:14 > 0:20:18If I remember. If I remember.
0:20:22 > 0:20:25France's legendary camera manufacturer, Eclair,
0:20:25 > 0:20:28employed Beauviala straight out of engineering college.
0:20:30 > 0:20:36Alors. I think the film is in the reverse.
0:20:38 > 0:20:41He followed in the footsteps of another gifted camera inventor,
0:20:41 > 0:20:45Eclair's chief engineer, Andre Coutant.
0:20:45 > 0:20:49In 1960 he was on the same quest as Bob Drew,
0:20:49 > 0:20:51but with one major difference.
0:20:51 > 0:20:54Instead of adapting an existing camera,
0:20:54 > 0:20:56Coutant was making a new one from scratch.
0:20:58 > 0:21:03He was very smart. He was a very good listener to people's requests.
0:21:05 > 0:21:07Coutant learned from listening to filmmakers
0:21:07 > 0:21:09that standard cameras were too noisy.
0:21:09 > 0:21:11The cause of this was the mechanical claw
0:21:11 > 0:21:13that pulled the film through the camera.
0:21:21 > 0:21:25The secret was in the claw movement.
0:21:25 > 0:21:28These claws must enter the perforation,
0:21:28 > 0:21:31pull down on the film and then get out. You know?
0:21:31 > 0:21:34Doing this.
0:21:34 > 0:21:38Down, out, up, in.
0:21:38 > 0:21:39Understood?
0:21:39 > 0:21:45And the way Eclair invented the silence, the quietness,
0:21:45 > 0:21:51is that while you are entering the perforation,
0:21:51 > 0:21:54you are slightly gliding.
0:21:54 > 0:21:58You are not doing this, boom, noise.
0:21:58 > 0:22:04Noise, noise. Like in the older cameras.
0:22:04 > 0:22:08It was landing like this.
0:22:08 > 0:22:10The claw...
0:22:12 > 0:22:16OK? Down, in.
0:22:16 > 0:22:18Up.
0:22:18 > 0:22:21Out.
0:22:21 > 0:22:28So you only had this nice gliding noise, which is virtually noiseless.
0:22:28 > 0:22:30Voila.
0:22:31 > 0:22:34It was a real, real, real revolution.
0:22:34 > 0:22:35Real revolution.
0:22:39 > 0:22:42The change to this tiny part of the camera
0:22:42 > 0:22:44was an engineering masterstroke.
0:22:46 > 0:22:49It would become the foundation for a completely new camera.
0:22:51 > 0:22:54The prototype was designed for carrying around
0:22:54 > 0:22:56and weighed a mere four pounds.
0:22:57 > 0:23:01This was a major step in the camera revolution.
0:23:01 > 0:23:04Portability, the magazine, the viewfinder,
0:23:04 > 0:23:06the position on the shoulder.
0:23:06 > 0:23:10But the revolution was the quietness of the machine.
0:23:22 > 0:23:26Back in America, Drew was under pressure.
0:23:28 > 0:23:32In 1960, having spent vast sums of Life's money,
0:23:32 > 0:23:35it was time to deliver a film.
0:23:35 > 0:23:36I had to find a story.
0:23:36 > 0:23:40But finding stories was my job at Life, I knew how to do that.
0:23:40 > 0:23:44And I looked at the country and I looked at what was going on
0:23:44 > 0:23:48and what the stories were. And I liked this young senator
0:23:48 > 0:23:54who was running an impossible race for the presidency.
0:23:54 > 0:23:59I said, we won't ask you to do anything, we won't light,
0:23:59 > 0:24:00we won't interview you,
0:24:00 > 0:24:05but you'll have to let the camera be with you all day long, every day.
0:24:05 > 0:24:07And you can't think about the camera,
0:24:07 > 0:24:10you can't worry about when it's on and off.
0:24:10 > 0:24:11Just forget it.
0:24:11 > 0:24:14He thought that over for a while.
0:24:14 > 0:24:16And he said, are you out to get me?
0:24:18 > 0:24:22I said no. He said, if I don't call you tomorrow, we are on.
0:24:22 > 0:24:24He didn't call me.
0:24:24 > 0:24:27We went to Wisconsin and made Primary.
0:24:36 > 0:24:39Primary follows the story of a young senator's campaign
0:24:39 > 0:24:42to win the Wisconsin Democratic Primary,
0:24:42 > 0:24:44the first stage of the race for the Presidency.
0:24:46 > 0:24:48The candidate was John F Kennedy,
0:24:48 > 0:24:51a millionaire outsider from the East Coast.
0:24:55 > 0:24:58Drew's team were about to make filmmaking history.
0:25:05 > 0:25:08We were having a wonderful time.
0:25:11 > 0:25:16Primary was filmed in just four days with four two-man crews.
0:25:16 > 0:25:19Ricky was shooting with the new camera
0:25:19 > 0:25:22that had been silenced and made smaller and so forth.
0:25:22 > 0:25:24I'm Richard Leacock.
0:25:24 > 0:25:28This camera is as light, quiet and portable as we can make it.
0:25:30 > 0:25:34Drew was recording sound with an early portable recorder.
0:25:34 > 0:25:39Another young filmmaker, Albert Maysles, had joined the team.
0:25:41 > 0:25:42Like Pennebaker,
0:25:42 > 0:25:46he would become one of the great documentary cameramen of his time.
0:25:49 > 0:25:53Pennebaker, Leacock and Drew were about to do something revolutionary
0:25:53 > 0:25:56in film-making and be great if I came on board.
0:25:56 > 0:26:00Pennebaker and Maysles were shooting with Aeroflexes.
0:26:00 > 0:26:03Just a regular camera. They made a racket.
0:26:03 > 0:26:05We had Terry Filgate, who was terrific.
0:26:05 > 0:26:09The final man to join was Terry Macartney Filgate,
0:26:09 > 0:26:12an ace cameraman from the Canadian Film Board.
0:26:14 > 0:26:16So, I was fortunate to have
0:26:16 > 0:26:22really good cameraman who were gung-ho.
0:26:28 > 0:26:30There was just one rule.
0:26:30 > 0:26:32Follow the unfolding action.
0:26:32 > 0:26:34That meant no tripods.
0:26:37 > 0:26:40If someone moved, the camera would go with them.
0:26:40 > 0:26:42CHEERING
0:26:50 > 0:26:51When you see Primary,
0:26:51 > 0:26:54you feel that you are in the shoes of JFK or Jackie.
0:26:54 > 0:26:58The films had such a sense of freedom,
0:26:58 > 0:27:01being in a real place with real people.
0:27:01 > 0:27:04We weren't directing people, they were doing it for a huge audience
0:27:04 > 0:27:07and we were just getting what the audience got.
0:27:07 > 0:27:09That was very exciting.
0:27:10 > 0:27:14I was really able to get close to Jackie.
0:27:14 > 0:27:18And I walk round the back and her hands were going like this.
0:27:18 > 0:27:23Because it was the only thing by which you knew she was nervous.
0:27:25 > 0:27:29You try to be witness to all of the driving forces of the story.
0:27:29 > 0:27:32So that later when you edit it and put it together,
0:27:32 > 0:27:35you have the material. It's just like the material you'd have
0:27:35 > 0:27:39from actors, if you're working with actors. It's no different, really.
0:27:42 > 0:27:47Like in that wonderful scene where I hold the camera from up high,
0:27:47 > 0:27:49down onto the back of Kennedy's head.
0:27:52 > 0:27:54One of the most remarkable shots in Primary
0:27:54 > 0:27:56shows the power of the approach
0:27:56 > 0:27:59that Drew and his team were pioneering.
0:28:02 > 0:28:06This 85 second shot reveals Kennedy's star power.
0:28:24 > 0:28:27This could never have been understood
0:28:27 > 0:28:29without seeing it in real time, as it happened.
0:28:34 > 0:28:37Up to now, all presidents were old farts.
0:28:37 > 0:28:41And suddenly here was this young guy who might be president.
0:28:41 > 0:28:43That was sort of interesting.
0:28:45 > 0:28:50You kind of wanted to hear him and see him as a person
0:28:50 > 0:28:53and not as a sort of public aperture.
0:28:56 > 0:28:59It was the newly-adapted Auricon used by Leacock,
0:28:59 > 0:29:01with Drew recording dialogue,
0:29:01 > 0:29:06that really went beyond the public figure to reveal Kennedy the man.
0:29:06 > 0:29:09There's Ricky.
0:29:09 > 0:29:14Get him? That's my little Ricky-poos with his big ears.
0:29:14 > 0:29:17OK, on we go.
0:29:20 > 0:29:24In this scene, the Auricon faced its first test.
0:29:24 > 0:29:30In the middle of the first day, John Kennedy jumped out of the car,
0:29:30 > 0:29:31ran into a photographer's studio
0:29:31 > 0:29:36and sat down and posed for a photographer.
0:29:36 > 0:29:38Ricky and I were right with him,
0:29:38 > 0:29:41we went through the doorway and shot everything that happened.
0:29:41 > 0:29:44Then we stopped and looked at each other and grinned.
0:29:44 > 0:29:46This was the first time.
0:29:47 > 0:29:50This was what we dreamed of forever.
0:29:50 > 0:29:52INAUDIBLE
0:29:54 > 0:29:56It was a feeling of being there.
0:29:56 > 0:30:00It wasn't telling you what it was, it was just showing it.
0:30:00 > 0:30:05It was the first moment when we really fastened on a character,
0:30:05 > 0:30:06went through a doorway, into a room,
0:30:06 > 0:30:10shot what happened and came back out.
0:30:10 > 0:30:13It exorcised all the difficult things
0:30:13 > 0:30:17that should be done to shoot and it worked.
0:30:22 > 0:30:26It was with the Auricon that Leacock captured one of the films most powerful moments.
0:30:28 > 0:30:29On the last day of filming,
0:30:29 > 0:30:31his camera was in Kennedy's private suite
0:30:31 > 0:30:33as he awaited the final result.
0:30:34 > 0:30:37One question... What did Nixon do in the fourth and fifth?
0:30:37 > 0:30:39In the fourth and fifth...
0:30:40 > 0:30:42Leacock got the whole thing.
0:30:42 > 0:30:44PHONE RINGS
0:30:44 > 0:30:46There's the microphone.
0:30:46 > 0:30:49You can see it there.
0:30:49 > 0:30:51In the ashtray.
0:30:54 > 0:30:58Thanks a million for calling.
0:31:00 > 0:31:01Yeah?
0:31:01 > 0:31:04SHE WHISPERS
0:31:07 > 0:31:12Yeah. Now, it could go on. The third, we have a chance in.
0:31:15 > 0:31:20But just a chance, it depends on the cross. We have a chance, yes.
0:31:22 > 0:31:24Just a chance.
0:31:24 > 0:31:28Now, get the... Hi.
0:31:30 > 0:31:32How are you?
0:31:35 > 0:31:39317 for Jack? 92 for Humphrey?
0:31:39 > 0:31:4120-and-a-half through 10-and-a-half
0:31:41 > 0:31:44would be a two to one victory for Jack.
0:31:44 > 0:31:47It would be a great victory, actually.
0:31:47 > 0:31:50THEY SING
0:31:53 > 0:31:56Kennedy won the Wisconsin Primary and moved on,
0:31:56 > 0:31:59taking his campaign to other states.
0:32:01 > 0:32:04But Drew and his team were going nowhere.
0:32:07 > 0:32:11As they began cutting their material in a makeshift edit suite,
0:32:11 > 0:32:13their problems had only just begun.
0:32:14 > 0:32:16Watching their footage,
0:32:16 > 0:32:20they feared their new method had failed to deliver a film.
0:32:20 > 0:32:24None of the sound recorded by Drew matched the images they'd shot.
0:32:24 > 0:32:28All of the stuff that Drew had done on his tape-recorder,
0:32:28 > 0:32:29none of it was in sync.
0:32:31 > 0:32:35The problem was that Drew's tape recorder ran at a different speed
0:32:35 > 0:32:37to Leacock's adapted Auricon.
0:32:37 > 0:32:38This meant that all the voices,
0:32:38 > 0:32:42though recorded, weren't perfectly synchronised with the pictures.
0:32:43 > 0:32:46He shall determine what shall be our policy on Berlin.
0:32:46 > 0:32:49He shall determine whether we shall be...
0:32:49 > 0:32:51Even the slightest breakdown in sync
0:32:51 > 0:32:53is painfully obvious on the screen.
0:32:53 > 0:32:56And I run for the Presidency because, like you,
0:32:56 > 0:33:00I have strong ideas about what this country must do...
0:33:00 > 0:33:02A huge job now faced the team.
0:33:02 > 0:33:04Every spoken word had to be synchronised
0:33:04 > 0:33:06to the image of the person speaking.
0:33:08 > 0:33:11I had to set up a way of getting it to be in sync.
0:33:11 > 0:33:16So I had to set up this transfer arrangement in this hotel room.
0:33:17 > 0:33:21Pennebaker devised a machine that would adjust the speed of the sound
0:33:21 > 0:33:24to lock it in sync with the pictures.
0:33:24 > 0:33:27He sat there for weeks, turning the crank,
0:33:27 > 0:33:31with all of us behind him saying, "No, turn it to the left,
0:33:31 > 0:33:33"turn it to the right, turn it faster."
0:33:33 > 0:33:38The problem was that it could vary.
0:33:38 > 0:33:41It could go in and out and you couldn't keep track of it.
0:33:41 > 0:33:45So it would drive you nuts. But we all sat there.
0:33:45 > 0:33:48Even for Al, who never edits,
0:33:48 > 0:33:52Al just grinds it through and looks at it over and over again.
0:33:52 > 0:33:55Editing is not interesting to him.
0:33:55 > 0:34:00Every night we would collapse on the floor of the hotel
0:34:00 > 0:34:01without even getting to bed,
0:34:01 > 0:34:03without even getting undressed, you know?
0:34:05 > 0:34:09For Drew, the pressure to overcome the technical problems was intense.
0:34:11 > 0:34:14About three weeks into the editing, I went blind.
0:34:15 > 0:34:17I couldn't see.
0:34:17 > 0:34:21Maysles had to lead me around to a chair and so forth.
0:34:21 > 0:34:24And I thought, well, it's finally happened.
0:34:24 > 0:34:27I finally broke under the strain.
0:34:27 > 0:34:30Well, it turned out I had broken for a day.
0:34:30 > 0:34:32I got my sight back the next day.
0:34:32 > 0:34:35He shall determine what shall be our policy...
0:34:35 > 0:34:39After weeks of work, they managed to sync up people's voices.
0:34:39 > 0:34:41But some scenes escaped them.
0:34:41 > 0:34:43And I run for the Presidency...
0:34:43 > 0:34:46In Primary you will see some scenes that are out of sync.
0:34:46 > 0:34:51- Now, anybody I didn't get, could I just relay?- Me!
0:34:51 > 0:34:55You can hear that thing straining to get voice into sync.
0:34:55 > 0:35:00That's because we were just too tired to synchronise that last scene.
0:35:03 > 0:35:08Anyway, we were able to synchronise enough to make Primary.
0:35:11 > 0:35:14While Kennedy went on to make history,
0:35:14 > 0:35:16documentaries would never be the same again.
0:35:28 > 0:35:31Leacock, with an adapted Auricon on his shoulder,
0:35:31 > 0:35:34had given birth to the fly-on-the-wall documentary.
0:35:41 > 0:35:44That was April 1960 in Wisconsin.
0:35:46 > 0:35:51But in May in Paris, another new camera was about to turn over.
0:36:00 > 0:36:04A bunch of intellectuals and filmmakers were soon to embark
0:36:04 > 0:36:06on a major film production.
0:36:10 > 0:36:14The director was France's most famous ethnographic filmmaker,
0:36:14 > 0:36:18Jean Rouch, the man behind the ground-breaking Moi Un Noir.
0:36:19 > 0:36:24Last spring, one of my friends asked me a very embarrassing question.
0:36:24 > 0:36:29He said, why are you always making films in Africa?
0:36:29 > 0:36:33Maybe we can try to make another film here in Paris?
0:36:33 > 0:36:37An anthropological film in Paris.
0:36:37 > 0:36:41In the Paris June. Summer people in Paris.
0:36:49 > 0:36:52Chronique D'un Ete was an experiment in documentary filmmaking
0:36:52 > 0:36:56that set out to explore the lives of ordinary Parisians
0:36:56 > 0:36:58and follow them over a summer.
0:36:59 > 0:37:01It was a collaborative effort.
0:37:03 > 0:37:07Marceline Loridan-Ivens was one of the film's protagonists.
0:37:07 > 0:37:09She also helped out behind the scenes.
0:37:27 > 0:37:30At the start of filming they shot with a standard camera
0:37:30 > 0:37:33that weighed over 40 pounds.
0:37:33 > 0:37:37Too heavy to carry, it had to be put on a tripod.
0:37:39 > 0:37:42Rouch soon became frustrated by a familiar problem.
0:37:42 > 0:37:46The restrictive and bulky equipment.
0:38:01 > 0:38:03A few weeks into the shoot,
0:38:03 > 0:38:07Rouch got a message from Eclair's chief engineer, Andre Coutant.
0:38:10 > 0:38:14He'd just produced a prototype for a completely new kind of camera.
0:38:14 > 0:38:16It was portable and it was silent.
0:38:18 > 0:38:21Would Rouch like to try it on Chronique d'Un Ete?
0:38:37 > 0:38:39But Rouch needed a cameraman
0:38:39 > 0:38:42equally obsessed with handheld cameras.
0:38:47 > 0:38:49A man like Michel Brault.
0:39:02 > 0:39:08So I go as fast as I can. I'm there.
0:39:08 > 0:39:12I arrive in Paris and Jean
0:39:12 > 0:39:16puts in my hand a camera
0:39:16 > 0:39:20designed by Andre Coutant from the maison Eclair.
0:39:21 > 0:39:25The first camera that I have in my hands
0:39:25 > 0:39:28that can shoot out in the open.
0:39:31 > 0:39:34Without a tripod. And it's light.
0:39:34 > 0:39:35It's silent.
0:39:38 > 0:39:42With Coutant's prototype, Brault's handheld skills
0:39:42 > 0:39:45and Rouch's desire to experiment, the camera moved
0:39:45 > 0:39:47from the dinner table into the streets.
0:39:50 > 0:39:54What was exciting was that we could finally shoot
0:39:54 > 0:40:00in the streets, in the houses, without bringing a huge camera.
0:40:00 > 0:40:05There's no difference between life and shooting.
0:40:08 > 0:40:11One of the first to see the impact of this handheld style
0:40:11 > 0:40:13was the film's editor, Nena Baratier.
0:40:33 > 0:40:37All the handheld material was shot by me.
0:40:44 > 0:40:47I had the camera on the shoulder and walking with that.
0:40:47 > 0:40:52Like a tiger, you know? It was a special dance, you know?
0:40:52 > 0:40:57You have to put your legs like this.
0:40:59 > 0:41:00That is the trick.
0:41:05 > 0:41:07You cannot walk like that.
0:41:10 > 0:41:12You didn't do that.
0:41:12 > 0:41:18You had to invent the dance with the camera.
0:41:26 > 0:41:29ALARM RINGS
0:41:32 > 0:41:34Brault filmed a factory worker as he wakes
0:41:34 > 0:41:36and is brought breakfast by his mum.
0:41:40 > 0:41:44Capturing a tender moment in everyday life.
0:41:47 > 0:41:50Jean wanted the camera to see the people,
0:41:50 > 0:41:53the French people, in their homes.
0:42:04 > 0:42:06All these new techniques
0:42:06 > 0:42:12that made it possible to go behind the official aspect of people.
0:42:20 > 0:42:24The French fell in love with having the freedom to follow real life.
0:42:26 > 0:42:30But as the camera developed, Rouch wanted to push its role further.
0:42:33 > 0:42:37In one scene, he asked Nadine Ballot and Marceline
0:42:37 > 0:42:39to collude with the camera to ambush reality.
0:43:50 > 0:43:51THEY LAUGH
0:44:31 > 0:44:33There were laws of film-making.
0:44:33 > 0:44:36But Jean said ... the laws!
0:44:36 > 0:44:38You know?
0:44:50 > 0:44:54After Chronique d'Un Ete, the rules of filmmaking lay in tatters.
0:44:55 > 0:44:59With the Eclair prototype, Rouch had shown that a handheld camera
0:44:59 > 0:45:01could bring real life to the screen.
0:45:05 > 0:45:09Rouch's camera had probed deeper into the lives of ordinary people
0:45:09 > 0:45:10than anyone before.
0:45:12 > 0:45:16By the end of 1960 there were two films, one in France
0:45:16 > 0:45:21and one in America, each made with a revolutionary new camera.
0:45:22 > 0:45:26It's a pivotal date, 1960.
0:45:26 > 0:45:28That's when everything started.
0:45:41 > 0:45:43But the films had something else in common.
0:45:46 > 0:45:48Like the Americans with Primary,
0:45:48 > 0:45:51Rouch had failed to record sound
0:45:51 > 0:45:54that synchronized with his pictures.
0:45:56 > 0:46:00The reason was that portable sound recorders were unpredictable.
0:46:05 > 0:46:08It was Swiss engineering that solved this problem.
0:46:08 > 0:46:10BELL CHIMES
0:46:10 > 0:46:12Ah! 12.
0:46:16 > 0:46:19In Switzerland, a new kind of portable tape recorder was invented.
0:46:21 > 0:46:23It was run by a precise motor
0:46:23 > 0:46:27which played back sound at exactly the same speed it was recorded.
0:46:30 > 0:46:33It was the brainchild of Stefan Kudelski.
0:46:33 > 0:46:36He called his new device the Nagra.
0:46:39 > 0:46:43Stefan Kudelski is one of the...
0:46:43 > 0:46:47best engineers I have ever met.
0:46:47 > 0:46:52The nautic mechanical design.
0:46:52 > 0:46:56He is a genius, Stefan Kudelski.
0:46:57 > 0:46:59And we fell in love of each other.
0:46:59 > 0:47:02He was a real master.
0:47:05 > 0:47:07Kudelski's genius was to discover
0:47:07 > 0:47:10that the answer to synchronous sound lay in clocks.
0:47:19 > 0:47:22This is the first time this lady is wearing a Longines.
0:47:24 > 0:47:27Inside this watch is a quartz crystal.
0:47:29 > 0:47:33It emits a precise electrical pulse, the most accurate in the world.
0:47:35 > 0:47:38This was the secret to the Nagra's precision.
0:47:38 > 0:47:42It, too, had a quartz crystal controlling its motor,
0:47:42 > 0:47:44making it as reliable as the camera.
0:47:46 > 0:47:49The crystal is a reference.
0:47:49 > 0:47:51The crystal beats with very high precision.
0:47:51 > 0:47:54So it means that after ten minutes,
0:47:54 > 0:47:58you have the same signal in the camera and in the recorder.
0:47:58 > 0:48:00Simple.
0:48:04 > 0:48:09In late 1960, the Americans took delivery of their first Nagra.
0:48:09 > 0:48:13My doggie.
0:48:13 > 0:48:15Now they were armed with a new handheld camera.
0:48:15 > 0:48:18With a Nagra recording sound in sync with it,
0:48:18 > 0:48:21nothing could stop the revolution.
0:48:26 > 0:48:29One of the first films on which they used this combination
0:48:29 > 0:48:31was Yanki, No!
0:48:35 > 0:48:38Filmed after Castro had swept to power in Cuba,
0:48:38 > 0:48:42Drew and his team went to document the political and social turmoil
0:48:42 > 0:48:44erupting in Latin America.
0:48:53 > 0:48:58There was one wonderful moment when there was a big meeting.
0:48:58 > 0:49:01Everybody from all the various states was there.
0:49:04 > 0:49:07This tense meeting between the US and Latin American states
0:49:07 > 0:49:10was filmed by Leacock and recorded by Drew.
0:49:12 > 0:49:15There was the American Secretary of State.
0:49:15 > 0:49:18Can you hear me now?
0:49:18 > 0:49:21And Raul Roa, the Cuban ambassador at the UN.
0:49:21 > 0:49:24I rejected completely and utterly
0:49:24 > 0:49:27the allegations made in this resolution
0:49:27 > 0:49:29by the Cuban government.
0:49:29 > 0:49:31I am going to say no more
0:49:31 > 0:49:36and I'll be glad to have the vote taken on this resolution.
0:49:40 > 0:49:42There came this fantastic moment
0:49:42 > 0:49:46and the entire Cuban delegation got up and walked out.
0:49:49 > 0:49:52And Ricky, with his camera, walked right out with them.
0:49:52 > 0:49:56So we got them walking in the streets, singing and going to...
0:49:56 > 0:49:58THEY SING
0:50:06 > 0:50:09And all the others, you could see them all with their big tripods.
0:50:09 > 0:50:11They couldn't move.
0:50:11 > 0:50:13THEY CONTINUE TO SING
0:50:18 > 0:50:21That's what you could do with a camera that you could carry.
0:50:32 > 0:50:34With the Auricon and Nagra,
0:50:34 > 0:50:37they captured the radical decade of '60s America.
0:50:40 > 0:50:44In their films, you hear real voices as you watch the unfolding stories.
0:50:52 > 0:50:55They followed the drama of a lawyer's fight to save a man
0:50:55 > 0:50:58facing death by electric chair.
0:50:58 > 0:51:00The second doctor and the third doctor,
0:51:00 > 0:51:03they proceed around and then they give you their findings.
0:51:03 > 0:51:09You turn to them, all three agree, walk out and pronounce the man dead.
0:51:09 > 0:51:13Has he said to the five victims whose skulls were bashed in,
0:51:13 > 0:51:18"I'm sorry I have treated you, my former employees, that way?"
0:51:18 > 0:51:21We got to make interesting films.
0:51:21 > 0:51:24We got to prove a lot of our points.
0:51:24 > 0:51:26They captured the extreme reaction
0:51:26 > 0:51:30to the desegregation of white schools in the Deep South.
0:51:30 > 0:51:35We feel that this is a communist front movement
0:51:35 > 0:51:41pushing these coloured people to try and destroy our nation.
0:51:41 > 0:51:43THEY SHOUT
0:51:52 > 0:51:56That's what they are - niggers.
0:51:56 > 0:51:59We gave those niggers all what they got.
0:51:59 > 0:52:03We are the white people, they are the negroes.
0:52:03 > 0:52:06He said negroes. I would have said niggers.
0:52:06 > 0:52:10It was the most frightening situation I have ever been in.
0:52:12 > 0:52:14When the crowd is after you.
0:52:16 > 0:52:18It was scary as hell.
0:52:20 > 0:52:23The films revealed pivotal moments of American history.
0:52:23 > 0:52:27But for the television networks, they seemed shockingly raw.
0:52:29 > 0:52:32It was like what they were doing was some sort of thievery,
0:52:32 > 0:52:36that it wasn't really television and we were pretending it was.
0:52:36 > 0:52:38Or something. I don't know what they really thought.
0:52:38 > 0:52:43We were never accepted by television in America.
0:52:43 > 0:52:46None of our stuff was shown.
0:52:46 > 0:52:49It turned out that the networks
0:52:49 > 0:52:53were never going to be able to make these films like these.
0:52:53 > 0:52:58I wanted to be total theatre and TV was never going to go that way.
0:52:58 > 0:53:00TV was just going to sell soap.
0:53:00 > 0:53:01As fast as it could.
0:53:05 > 0:53:08In 1963, Drew gained unrivalled access
0:53:08 > 0:53:10to the most famous man in America.
0:53:13 > 0:53:17But the television networks still weren't interested.
0:53:17 > 0:53:21One of them said, you've got some good footage, there, Bob.
0:53:21 > 0:53:25And without a narration and a correspondent,
0:53:25 > 0:53:27they didn't see the story.
0:53:27 > 0:53:29They didn't want to have any part of it.
0:53:29 > 0:53:31They didn't even want to see us.
0:53:31 > 0:53:34They wanted to be as far away from it as they could get.
0:53:41 > 0:53:44In 1963, Drew and his original team of filmmakers
0:53:44 > 0:53:46went their separate ways.
0:53:48 > 0:53:50Their ambitions too big for television.
0:54:04 > 0:54:06In France it was a different story.
0:54:10 > 0:54:13At Eclair, the prototype evolved into a fully-developed
0:54:13 > 0:54:17professional camera, made by engineers for the mass market.
0:54:19 > 0:54:25In 1963 it was released with huge success as the Eclair NPR.
0:54:29 > 0:54:34So that's the Eclair that made most of the cinema verite in the world.
0:54:34 > 0:54:37It was a very popular camera.
0:54:37 > 0:54:40I even think that for one year
0:54:40 > 0:54:45it was the biggest exportation of France.
0:54:45 > 0:54:49The biggest item of exportation in France.
0:54:49 > 0:54:52They conquered the whole world with this.
0:54:55 > 0:54:57By the end of the '60s
0:54:57 > 0:55:01the Eclair was the world's most popular handheld camera.
0:55:01 > 0:55:04The Auricon remained the tool of a handful
0:55:04 > 0:55:07of arthouse documentary filmmakers,
0:55:07 > 0:55:10but the Eclair conquered the world.
0:55:23 > 0:55:26Voila.
0:55:26 > 0:55:27Au revoir.
0:55:37 > 0:55:40# Johnny's in the basement Mixing up the medicine
0:55:40 > 0:55:43# I'm on the pavement Thinking about the government
0:55:43 > 0:55:46# The man in a trench coat Badge out, laid off
0:55:46 > 0:55:48# Says he's got a bad cough Wants to get it paid off
0:55:48 > 0:55:50# Look out kid... #
0:55:50 > 0:55:52Beauviala may caution modesty,
0:55:52 > 0:55:54but since the invention of the handheld camera,
0:55:54 > 0:55:57the world has never looked the same.
0:55:58 > 0:56:01# I wish I were a rich man. #
0:56:02 > 0:56:06The camera changed the world but it wasn't really the camera,
0:56:06 > 0:56:09it was the idea that changed the world.
0:56:19 > 0:56:21From the '60s onwards,
0:56:21 > 0:56:25the handheld camera became witness to a rapidly changing world,
0:56:25 > 0:56:27capturing history as it happened.
0:56:29 > 0:56:32We could see the people running everywhere. It was fantastic.
0:56:34 > 0:56:38Documentaries could now take their audiences into places
0:56:38 > 0:56:40that were previously inaccessible.
0:56:42 > 0:56:45You could see him because I filmed him.
0:56:45 > 0:56:48That never happened before,
0:56:48 > 0:56:52in the history of whatever it is, of storytelling.
0:56:52 > 0:56:53That was never possible before.
0:56:55 > 0:57:00That's something so amazing that that should take place.
0:57:00 > 0:57:03I feel lucky to have lived during that period.
0:57:04 > 0:57:06Don Pennebaker and Al Maysles
0:57:06 > 0:57:10went on to make classic cinema documentaries.
0:57:12 > 0:57:16Drew, Leacock, Brault and Rouch
0:57:16 > 0:57:20also went on to make films.
0:57:20 > 0:57:23Each true to the spirit of their early ambitions.
0:57:29 > 0:57:32The handheld camera gave us a window on the world.
0:57:34 > 0:57:37But it would also give us something else.
0:57:40 > 0:57:43As time went on, this window on the world
0:57:44 > 0:57:47became our window on the past.
0:58:18 > 0:58:23When I've looked at these films so many times,
0:58:23 > 0:58:26it's just part of my life.
0:58:56 > 0:58:59Subtitles by Red Bee Media Ltd
0:58:59 > 0:59:02E-mail subtitling@bbc.co.uk