Browse content similar to Jonathan Miller. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
ORCHESTRAL INTRODUCTION | 0:00:26 | 0:00:29 | |
MAN SINGS COMIC OPERA | 0:00:33 | 0:00:35 | |
And then all this is going on in the kitchen at the same time, you see. | 0:01:11 | 0:01:16 | |
When you give him the soup, if you could do it like that, | 0:01:30 | 0:01:34 | |
go, "Hello, are you hungry for soup?" | 0:01:34 | 0:01:39 | |
Si, si, with, with, with gloves. | 0:01:42 | 0:01:48 | |
It's almost impossible to say what my next guest is and what he does. | 0:01:59 | 0:02:03 | |
Someone once said of him that he plays with the world | 0:02:03 | 0:02:05 | |
like an inventive child with a box of plasticine. | 0:02:05 | 0:02:08 | |
It was a brave attempt to describe the scope of his interests | 0:02:08 | 0:02:11 | |
and his achievements. | 0:02:11 | 0:02:12 | |
He is one of those rare and enviable human beings | 0:02:22 | 0:02:24 | |
who excels at everything he tries. | 0:02:24 | 0:02:27 | |
His first love was medicine. | 0:02:27 | 0:02:28 | |
And that's the paradox of the brain, | 0:02:28 | 0:02:30 | |
because although it has no experience of itself, | 0:02:30 | 0:02:33 | |
although it has no immediate sensations of its own, | 0:02:33 | 0:02:36 | |
it's only because we have an organ like this | 0:02:36 | 0:02:39 | |
that we can have any sensations at all, | 0:02:39 | 0:02:41 | |
or any experiences, for that matter. | 0:02:41 | 0:02:43 | |
And after becoming a doctor, switched to the stage | 0:02:43 | 0:02:46 | |
and became famous on both sides of the Atlantic | 0:02:46 | 0:02:48 | |
as one of the Beyond The Fringe team. | 0:02:48 | 0:02:50 | |
I wonder how many of these people | 0:02:50 | 0:02:51 | |
have realised that Jonathan Miller's a Jew. | 0:02:51 | 0:02:53 | |
Well, in fact I'm not really a Jew, just Jew-ish, | 0:02:55 | 0:02:58 | |
not the whole hog, you see. | 0:02:58 | 0:03:00 | |
Ladies and gentlemen, Doctor Jonathan Miller. | 0:03:00 | 0:03:03 | |
And there is the garden. | 0:03:42 | 0:03:43 | |
When we first came into this house, nearly 50 years ago, | 0:03:46 | 0:03:51 | |
that magnolia tree was only about as high as the first joint, | 0:03:51 | 0:03:58 | |
and it's now reached up almost to the top level of the house. | 0:03:58 | 0:04:02 | |
My father was one of the founders of child psychiatry. | 0:04:08 | 0:04:12 | |
That ensued as a result of the work that he did | 0:04:12 | 0:04:16 | |
during the First World War with what was then called shell shock, | 0:04:16 | 0:04:19 | |
which we now call, you know, post-traumatic disorders. | 0:04:19 | 0:04:23 | |
And in fact, one of his drawings is one of his patients in, | 0:04:23 | 0:04:27 | |
I think, 1920, drowsing under hypnosis. | 0:04:27 | 0:04:30 | |
And I've got a bust upstairs | 0:04:30 | 0:04:35 | |
of another one of his shell-shocked patients which he did. | 0:04:35 | 0:04:38 | |
The dignity of this man is amazing | 0:04:39 | 0:04:41 | |
and I do think it's a rather remarkable piece of handwork | 0:04:41 | 0:04:44 | |
on my father's part. | 0:04:44 | 0:04:46 | |
My father, when he came back from France, | 0:04:48 | 0:04:51 | |
he worked in a hospital near the Tate Gallery | 0:04:51 | 0:04:54 | |
and there were a lot of patients suffering from shell shock. | 0:04:54 | 0:04:57 | |
And you see these decorously seated people at the ends of their beds, | 0:04:57 | 0:05:03 | |
but just look what it's titled, | 0:05:03 | 0:05:05 | |
Ward 7 Hysterics. | 0:05:05 | 0:05:09 | |
Did he want you to be a doctor? | 0:05:11 | 0:05:13 | |
I think that he was pleased that I became a doctor, | 0:05:13 | 0:05:17 | |
I think he was more pleased that I was becoming what, | 0:05:17 | 0:05:19 | |
I think I rather flinchingly call, an intellectual. | 0:05:19 | 0:05:24 | |
Did he approve of your work in the theatre? | 0:05:24 | 0:05:26 | |
I think he was very bewildered by the fact that | 0:05:26 | 0:05:28 | |
I had drifted away from it. | 0:05:28 | 0:05:30 | |
And I can remember when I was nearly 40, | 0:05:30 | 0:05:32 | |
going to him in his consulting room where he would meet me, | 0:05:32 | 0:05:35 | |
and he would ask me, | 0:05:35 | 0:05:36 | |
"Have you decided what you're going to be yet?" | 0:05:36 | 0:05:39 | |
This is a portrait of, ah, my mother by Bernard Meninsky. | 0:05:39 | 0:05:45 | |
Um, I think it was done shortly before I was born. | 0:05:45 | 0:05:49 | |
She published her first novel when she was only 22 or 23. | 0:05:51 | 0:05:54 | |
I didn't know she was a novelist, | 0:05:54 | 0:05:56 | |
and she used to sit on the other side of the table, | 0:05:56 | 0:05:58 | |
when I was a little boy, typing, and I just thought she was a typist. | 0:05:58 | 0:06:01 | |
Both of them were from immigrant Jewish origins, | 0:06:02 | 0:06:06 | |
so that I had these two parents who were in fact, | 0:06:06 | 0:06:09 | |
you know, old-fashioned sort of Jewish Bloomsbury intellectuals. | 0:06:09 | 0:06:15 | |
I sense that there wasn't an enormous amount of warmth, | 0:06:15 | 0:06:17 | |
which is so different from our family, | 0:06:17 | 0:06:19 | |
where there was an enormous amount of love and warmth. | 0:06:19 | 0:06:21 | |
And I think that that was so different | 0:06:21 | 0:06:23 | |
to the way he'd been brought up, | 0:06:23 | 0:06:24 | |
and I think it was quite a sort of cold, hard, academic environment. | 0:06:24 | 0:06:28 | |
We were living in St John's Wood and I went to a prep school just, | 0:06:30 | 0:06:35 | |
ah, ah, near us, and then I went to St Paul's. | 0:06:35 | 0:06:39 | |
I was in the biology form with two or three friends, | 0:06:43 | 0:06:47 | |
Oliver Sacks and Eric Korn | 0:06:47 | 0:06:51 | |
and a number of other north London Jewish boys | 0:06:51 | 0:06:54 | |
who just were passionate about biology. | 0:06:54 | 0:06:57 | |
This very tall gangly figure with red hair | 0:06:57 | 0:07:01 | |
came up to me and introduced himself, | 0:07:01 | 0:07:05 | |
and we became fast friends pretty quickly. | 0:07:05 | 0:07:09 | |
He impressed me then much as he does now, | 0:07:09 | 0:07:14 | |
he charms, | 0:07:14 | 0:07:16 | |
he informs, | 0:07:16 | 0:07:18 | |
he very rarely mocks. | 0:07:19 | 0:07:22 | |
We fell under the influence of this extraordinary biology teacher | 0:07:22 | 0:07:27 | |
called Mister Pask, who simply disregarded the standard curriculum | 0:07:27 | 0:07:33 | |
and just went on teaching us and teaching us everything he could, | 0:07:33 | 0:07:36 | |
and made us dissect and do experiments | 0:07:36 | 0:07:40 | |
and do a lot of microscopy and what was called histology, | 0:07:40 | 0:07:43 | |
making sections of plants and animals and staining them | 0:07:43 | 0:07:47 | |
and he allowed us to take extremely short lunch hours | 0:07:47 | 0:07:51 | |
and he didn't acknowledge weekends. | 0:07:51 | 0:07:54 | |
On a Saturday at, during the winter, and the early spring, | 0:07:54 | 0:07:57 | |
we had to go to the Natural History Museum. | 0:07:57 | 0:08:00 | |
This is a museum I heard about | 0:08:14 | 0:08:17 | |
almost as soon as I came to Florence. | 0:08:17 | 0:08:21 | |
It revived my original interest at school in zoology. | 0:08:21 | 0:08:25 | |
Gradually I made my way through and I became absolutely astounded | 0:08:26 | 0:08:30 | |
by the astonishing collection of specimens, | 0:08:30 | 0:08:36 | |
it just seemed extraordinary. | 0:08:36 | 0:08:38 | |
We each had phyla, our groups of animals of our own. | 0:08:42 | 0:08:48 | |
Um, for Eric it was sea cucumbers, or Holothuroideans, | 0:08:48 | 0:08:55 | |
for me it was cephalopods, you see them all around here, | 0:08:55 | 0:09:00 | |
sort of cuttlefish and things, | 0:09:00 | 0:09:02 | |
for Jonathan it was polychaetes, | 0:09:02 | 0:09:05 | |
and these are rather elaborate worms, | 0:09:05 | 0:09:09 | |
some of them brilliantly coloured. | 0:09:09 | 0:09:11 | |
Jonathan was fascinated by their symmetry. | 0:09:11 | 0:09:15 | |
So on we go, | 0:09:20 | 0:09:22 | |
rising up the evolutionary tree, | 0:09:22 | 0:09:26 | |
and we're now coming to, ah, the insects. | 0:09:26 | 0:09:29 | |
And now, of course, | 0:09:32 | 0:09:34 | |
we arrive at this astonishing collection of vertebrates. | 0:09:34 | 0:09:38 | |
And this was where my breath was taken away, | 0:09:39 | 0:09:42 | |
by this extraordinary display. | 0:09:42 | 0:09:45 | |
It's almost as if it's an illuminated static version | 0:09:46 | 0:09:50 | |
of Noah's Ark. | 0:09:50 | 0:09:53 | |
We know now that none of these are the product of creation, | 0:09:57 | 0:10:02 | |
that each one, each individual is a self-made individual, | 0:10:02 | 0:10:08 | |
it is not designed by anyone, | 0:10:08 | 0:10:11 | |
it is the product of a genetic process. | 0:10:11 | 0:10:16 | |
And I suppose it must have been very hard | 0:10:16 | 0:10:19 | |
in the early history of humanity, to conceive how these could come about | 0:10:19 | 0:10:25 | |
by anything other than a craftsman, anything other than a creator. | 0:10:25 | 0:10:30 | |
And really, this astonishing revolution | 0:10:30 | 0:10:32 | |
that took place in thought at the end of the 19th century, | 0:10:32 | 0:10:37 | |
with the publication of The Origin Of Species in 1859, | 0:10:37 | 0:10:43 | |
at least opened the gate | 0:10:43 | 0:10:46 | |
to an alternative way of visualising the variety that we see. | 0:10:46 | 0:10:50 | |
We were all in love with evolutionary biology and Darwin, | 0:10:55 | 0:11:00 | |
we were all atheists then and Pask was an atheist, | 0:11:00 | 0:11:04 | |
although we also felt there was nothing much to discuss, | 0:11:04 | 0:11:07 | |
I mean, Darwin was much more interesting. | 0:11:07 | 0:11:10 | |
We would go up to the Scottish Marine Biological Station | 0:11:11 | 0:11:15 | |
in the Clyde Estuary, a place called Millport, | 0:11:15 | 0:11:18 | |
and study marine biology and collect animals | 0:11:18 | 0:11:21 | |
and classify them and dissect them, | 0:11:21 | 0:11:23 | |
and in the evening we would go out and collect sea urchins. | 0:11:23 | 0:11:27 | |
The sea urchins came in from the deep water | 0:11:27 | 0:11:30 | |
to spawn on the rocky shore by the biological station, | 0:11:30 | 0:11:33 | |
and we used to collect them as they made perfect models | 0:11:33 | 0:11:35 | |
for watching the process of fertilisation and development | 0:11:35 | 0:11:38 | |
back in the lab. | 0:11:38 | 0:11:39 | |
We would collect their eggs and their sperms and fertilise them, | 0:11:45 | 0:11:48 | |
and watch them dividing, and I became acquainted with something | 0:11:48 | 0:11:53 | |
which has remained a sort of passionate interest of mine, | 0:11:53 | 0:11:56 | |
which is the history of embryology, | 0:11:56 | 0:11:58 | |
how do things make themselves from such unpromising beginnings. | 0:11:58 | 0:12:02 | |
He we were seeing something which neither Aristotle nor Harvey | 0:12:10 | 0:12:14 | |
had been able to visualise, | 0:12:14 | 0:12:15 | |
a single cell surrounded by a fluttering halo of sperm, | 0:12:15 | 0:12:19 | |
only one of which would eventually succeed | 0:12:19 | 0:12:22 | |
in piercing the membrane of the egg and fertilising it. | 0:12:22 | 0:12:25 | |
For Jonathan it has a rather extra significance, | 0:12:29 | 0:12:32 | |
because he took Rachel for a week to Millport in the holidays. | 0:12:32 | 0:12:36 | |
And I think that a certain amount of cementing was done there. | 0:12:36 | 0:12:41 | |
I think our gang all fell in love with Rachel, | 0:12:44 | 0:12:49 | |
as Jonathan did. | 0:12:49 | 0:12:51 | |
There's my wife looking at things. | 0:12:51 | 0:12:53 | |
Have you found, have you found anything you liked? | 0:12:54 | 0:12:58 | |
-But have you seen... come on. -I like that table, have you seen? | 0:12:58 | 0:13:01 | |
-It's a wonderful table. -No let's go, let's go and have a look. | 0:13:01 | 0:13:04 | |
And in a somewhat, | 0:13:04 | 0:13:06 | |
a sometimes turbulent and unpredictable and brilliant | 0:13:06 | 0:13:10 | |
and hyper-manic sort of life, Rachel has been, I think, | 0:13:10 | 0:13:14 | |
this wonderful anchor in serenity and hearth and home. | 0:13:14 | 0:13:19 | |
I don't think centrifugal Jonathan could have done so much, | 0:13:19 | 0:13:24 | |
had it not been for Rachel there at the centre. | 0:13:24 | 0:13:28 | |
For clamping things. | 0:13:28 | 0:13:30 | |
And there's another here, that, that one was here. | 0:13:30 | 0:13:32 | |
Oh, it's wonderful, yes. | 0:13:32 | 0:13:34 | |
CHOIR SINGS HYMN: "Immortal, Invisible" | 0:13:38 | 0:13:40 | |
He came up and read medicine, | 0:14:00 | 0:14:04 | |
so at St John's College, | 0:14:04 | 0:14:06 | |
a foxy looking fellow you see, still very young, rather keyed up, | 0:14:06 | 0:14:12 | |
talked a great deal about the mind, it was always the mind in those days. | 0:14:12 | 0:14:17 | |
And he liked to talk about scientific things, | 0:14:17 | 0:14:20 | |
and philosophical things. | 0:14:20 | 0:14:22 | |
This is Second Court, St John's. | 0:14:27 | 0:14:30 | |
I used to study, from time to time, | 0:14:30 | 0:14:34 | |
in what used to be a sort of annexe to the library over there. | 0:14:34 | 0:14:38 | |
And I remember reading, not medicine, | 0:14:38 | 0:14:41 | |
but reading Gilbert Ryle's Concept Of Mind, | 0:14:41 | 0:14:44 | |
and there I was, a medical student reading philosophy. | 0:14:44 | 0:14:49 | |
And I think that happened to my father when he came here, | 0:14:49 | 0:14:53 | |
I don't think my father, when he arrived here in about 1907, | 0:14:53 | 0:14:58 | |
was determined to do medicine. | 0:14:58 | 0:15:01 | |
I'm not absolutely certain. | 0:15:01 | 0:15:04 | |
But what he did in his first two years, | 0:15:04 | 0:15:06 | |
was to do a thing called the moral science tripos, | 0:15:06 | 0:15:09 | |
which meant that he was studying philosophy. | 0:15:09 | 0:15:12 | |
And my father's supervisor when he was doing the moral science tripos, | 0:15:12 | 0:15:17 | |
was a man called W H R Rivers. | 0:15:17 | 0:15:20 | |
Now Rivers had been a researcher in vision and then, quite unexpectedly, | 0:15:20 | 0:15:26 | |
in 1898, a colleague of his, who was a zoologist, | 0:15:26 | 0:15:31 | |
who'd been studying molluscs | 0:15:31 | 0:15:33 | |
and invertebrate animals in the Torres Strait, | 0:15:33 | 0:15:39 | |
up in the northern tip of Queensland, | 0:15:39 | 0:15:42 | |
came running back and met with Rivers and explained to him | 0:15:42 | 0:15:47 | |
that the culture of the Torres Straits was rapidly disintegrating, | 0:15:47 | 0:15:51 | |
"So I want you to come back with me | 0:15:51 | 0:15:53 | |
"and record this culture, before it vanishes." | 0:15:53 | 0:15:59 | |
So Rivers went back with this zoologist | 0:15:59 | 0:16:03 | |
and also with my wife's great-uncle, | 0:16:03 | 0:16:06 | |
a man called Seligman, who was a doctor, | 0:16:06 | 0:16:09 | |
and a couple of other people, | 0:16:09 | 0:16:10 | |
and they went out to the Torres Strait | 0:16:10 | 0:16:12 | |
and started, virtually, British social anthropology. | 0:16:12 | 0:16:17 | |
And they came back and wrote this book. | 0:16:17 | 0:16:20 | |
And many years later, in 1998, | 0:16:20 | 0:16:25 | |
100 years after that expedition, | 0:16:25 | 0:16:27 | |
I went back to the Torres Strait myself | 0:16:27 | 0:16:29 | |
and did a documentary about the people. | 0:16:29 | 0:16:31 | |
What do you think was the value of recording the social practices | 0:16:32 | 0:16:37 | |
and the rituals, because you all knew how to do them anyway? | 0:16:37 | 0:16:40 | |
What did you feel was important | 0:16:40 | 0:16:42 | |
about it being written down and recorded? | 0:16:42 | 0:16:44 | |
Well, to be honest, | 0:16:44 | 0:16:46 | |
today we go back to those six volumes to tell us what we dance. | 0:16:46 | 0:16:49 | |
-Really? -Yeah, it was a gap. | 0:16:49 | 0:16:52 | |
Do you feel the anthropologists got it wrong at any time? | 0:16:52 | 0:16:55 | |
-They asked the wrong questions. -Ah. | 0:16:55 | 0:16:57 | |
Tell me some of the wrong questions. | 0:16:57 | 0:16:59 | |
-There are things that we don't want to tell them. -Uh-huh. | 0:16:59 | 0:17:02 | |
Yeah, there were practices that is, | 0:17:03 | 0:17:05 | |
even I cannot speak in front of the camera. | 0:17:05 | 0:17:07 | |
Well now, what sort of practices, ah? | 0:17:09 | 0:17:11 | |
-It's a taboo thing, you know, yeah. -Yes. | 0:17:11 | 0:17:14 | |
When I was at Cambridge, | 0:17:29 | 0:17:30 | |
I became associated with what was then a secret society | 0:17:30 | 0:17:33 | |
called The Apostles, of which I became a member. | 0:17:33 | 0:17:36 | |
I mean, it's something that you can't really talk about very much, | 0:17:36 | 0:17:40 | |
cos it still has a certain sort of discreet, | 0:17:40 | 0:17:43 | |
if not secrecy, a sort of modesty. | 0:17:43 | 0:17:45 | |
There were are, there's King's. | 0:17:45 | 0:17:48 | |
It met in King's College, | 0:17:50 | 0:17:53 | |
in the rooms of EM Forster, | 0:17:53 | 0:17:55 | |
as it happened, on Sunday nights, and we went there and read a paper, | 0:17:55 | 0:18:00 | |
each person a paper, to each his own opinions, you see, | 0:18:00 | 0:18:05 | |
about usually some topical, sometimes outrightly philosophical subject. | 0:18:05 | 0:18:10 | |
Really, I really must ask, | 0:18:10 | 0:18:11 | |
I really must ask not so much why questions, | 0:18:11 | 0:18:14 | |
not so much why questions, as how questions. | 0:18:14 | 0:18:17 | |
And it seems to be the philosophers, | 0:18:19 | 0:18:20 | |
or at least they like to call themselves philosophers, | 0:18:20 | 0:18:23 | |
philosophers who start by asking why questions, | 0:18:23 | 0:18:25 | |
end up by only speaking to the sort, ah, ah, Friday got into bed with me, | 0:18:25 | 0:18:29 | |
or to take one from real life, um... | 0:18:29 | 0:18:32 | |
There's too much Tuesday in my beetroot salad, | 0:18:36 | 0:18:38 | |
something that I cannot eat. | 0:18:38 | 0:18:40 | |
He was a joker par excellence, | 0:18:40 | 0:18:43 | |
who made a lot of jokes, | 0:18:43 | 0:18:45 | |
very funny jokes, and that's one of the reasons, | 0:18:45 | 0:18:48 | |
right from the start, why we cherished his company. | 0:18:48 | 0:18:52 | |
He was an extremely funny man and still is very, very funny. | 0:18:52 | 0:18:57 | |
When I was a very small boy, when I was about 12, | 0:19:01 | 0:19:04 | |
I discovered that I have a certain capacity to imitate clucking hens, | 0:19:04 | 0:19:11 | |
and also was rather a good imitator | 0:19:11 | 0:19:15 | |
of the sound of trains going along. | 0:19:15 | 0:19:19 | |
IMITATES TRAIN | 0:19:20 | 0:19:23 | |
I don't know where that came from. | 0:19:26 | 0:19:28 | |
At about 5.00 or 6.00 in the morning, | 0:19:30 | 0:19:32 | |
you can often hear extremely depressed sounds | 0:19:32 | 0:19:35 | |
coming from the lion house. | 0:19:35 | 0:19:36 | |
You can often hear these sounds of acute leonine depression | 0:19:36 | 0:19:39 | |
echoing over the empty park, it's sort of, | 0:19:39 | 0:19:42 | |
Oooh, God! | 0:19:42 | 0:19:45 | |
Oooooooooohhhhhh ohhh! | 0:19:45 | 0:19:49 | |
He's an amazing mimic. | 0:19:53 | 0:19:55 | |
And one of the things that you see when you watch The Zoo At Winter, | 0:19:55 | 0:19:59 | |
and I remember as a child being taken to the zoo with him, | 0:19:59 | 0:20:01 | |
is that he liked to pretend to be the animals. | 0:20:01 | 0:20:03 | |
MIMICS MONKEY | 0:20:03 | 0:20:05 | |
Quiet then, the public's coming in. | 0:20:12 | 0:20:14 | |
If I'd bring my friends over, you always wanted him to be funny, | 0:20:14 | 0:20:17 | |
but in fact they actually loved him being serious, | 0:20:17 | 0:20:20 | |
because he would come and he'd go, "What are you interested in?" | 0:20:20 | 0:20:22 | |
And they'd say, "Well I'm thinking of doing, ah, biology at Oxford." | 0:20:22 | 0:20:25 | |
And so then he's say, "Well, do you know about?" | 0:20:25 | 0:20:28 | |
And you'd go, oh, God no, please, | 0:20:28 | 0:20:29 | |
and then two hours later, they had learnt everything | 0:20:29 | 0:20:32 | |
there was to know about biology from my father. | 0:20:32 | 0:20:34 | |
And they would come out going, "Oh, I'm just so inspired," | 0:20:34 | 0:20:37 | |
and you just think, I wish he'd been funny with them. | 0:20:37 | 0:20:40 | |
A lot of my life has been yielding | 0:20:40 | 0:20:42 | |
to unsolicited invitations to do things | 0:20:42 | 0:20:46 | |
and yielding rather weak-mindedly to these invitations. | 0:20:46 | 0:20:52 | |
Um, and when I was working as a house surgeon, | 0:20:52 | 0:20:56 | |
as my first job at University College, | 0:20:56 | 0:21:00 | |
I was working in casualty when, | 0:21:00 | 0:21:03 | |
a man who worked for the Edinburgh Festival, John Bassett, | 0:21:03 | 0:21:08 | |
who had been at Oxford with Dudley Moore and Alan Bennett, | 0:21:08 | 0:21:13 | |
asked if I would like to participate in a late night revue | 0:21:13 | 0:21:18 | |
at the Edinburgh Festival, because the officials of the festival | 0:21:18 | 0:21:23 | |
were getting exasperated by the way in which the fringe productions | 0:21:23 | 0:21:27 | |
were outshining the official productions, | 0:21:27 | 0:21:30 | |
so would I come and do something which was beyond the fringe. | 0:21:30 | 0:21:35 | |
-Perkins. -Sir? | 0:21:35 | 0:21:37 | |
-I want you to lay down your life. -Yes, Sir. | 0:21:37 | 0:21:39 | |
We need a futile gesture at this stage. | 0:21:39 | 0:21:42 | |
-It'll raise the whole tone of the war. -Yes, Sir. | 0:21:44 | 0:21:46 | |
-Get up on a crate, Perkins. -Sir. | 0:21:46 | 0:21:48 | |
-Pop over to Bremen. -Yes, Sir. | 0:21:48 | 0:21:49 | |
-Take a shufty. -Yes. | 0:21:49 | 0:21:51 | |
-Don't come back. -Right you are. | 0:21:51 | 0:21:53 | |
Goodbye, Perkins. God, I wish I was going too. | 0:21:55 | 0:21:59 | |
Goodbye, Sir, or is it au revoir? | 0:21:59 | 0:22:02 | |
No, Perkins. | 0:22:02 | 0:22:04 | |
The show was so astonishingly successful | 0:22:13 | 0:22:16 | |
and it got written up as if it was a great breakthrough in comedy. | 0:22:16 | 0:22:20 | |
And we were almost immediately invited to come and do it in London. | 0:22:20 | 0:22:26 | |
It's absolutely spiffing, it really had my feet tapping. | 0:22:38 | 0:22:40 | |
Now let's get down to God. | 0:22:40 | 0:22:42 | |
God, God, who is he? Where is he? | 0:22:44 | 0:22:46 | |
And above all, why is he? | 0:22:46 | 0:22:48 | |
-And of course, why is he above all? -Now... | 0:22:48 | 0:22:52 | |
I didn't realise you could laugh at the army, the Queen, | 0:22:52 | 0:22:55 | |
the Prime Minister, ah, the police, | 0:22:55 | 0:22:59 | |
every single authority figure was held up for mockery. | 0:22:59 | 0:23:03 | |
And that just, it was so liberating | 0:23:03 | 0:23:05 | |
that I know what people say when they say, | 0:23:05 | 0:23:07 | |
"Oh, Python changed my life," because that changed my life, | 0:23:07 | 0:23:10 | |
and I guess I wanted to be a comedian from that moment. | 0:23:10 | 0:23:13 | |
Have you got any questions you'd like to fire off about God, Dudley? | 0:23:13 | 0:23:16 | |
Ah, yes, well, vicar... | 0:23:16 | 0:23:17 | |
Oh, now don't call me vicar, call me Dick. That's the sort of vicar I am. | 0:23:17 | 0:23:21 | |
And he did a sort of, it was very physically funny, | 0:23:27 | 0:23:31 | |
and he's, this sort of way he talks, and his high intelligence | 0:23:31 | 0:23:35 | |
and his wit were, was just electrifying. | 0:23:35 | 0:23:38 | |
In the old days, in the old days, | 0:23:38 | 0:23:40 | |
people used to think of the saints as pious old milksops. | 0:23:40 | 0:23:43 | |
But they weren't, they weren't, the old saints were rough, | 0:23:43 | 0:23:46 | |
toothless, ah, as you were. They were, they were tough, | 0:23:46 | 0:23:49 | |
ruthless tearaways who knew where they were going. | 0:23:49 | 0:23:52 | |
Matthew, Mark, Luke and John... | 0:23:52 | 0:23:54 | |
ALL: Went through life with their head screwed on. | 0:23:54 | 0:23:56 | |
BOTH: They went outside with nothing on, had a bathe in the... | 0:23:56 | 0:23:59 | |
Thank you very much. | 0:23:59 | 0:24:00 | |
At that time, New York was very exciting. | 0:24:13 | 0:24:16 | |
I became acquainted with New York intellectuals, | 0:24:16 | 0:24:19 | |
with the people who were founding the New York Review Of Books, | 0:24:19 | 0:24:21 | |
for whom I wrote, and working for The New Yorker, | 0:24:21 | 0:24:25 | |
and at the same time going up from time to time to go on grand rounds | 0:24:25 | 0:24:28 | |
at Mount Sinai Hospital in neurology. | 0:24:28 | 0:24:33 | |
Um, and the freedom of being able to cross disciplines | 0:24:33 | 0:24:37 | |
in ways which I think would have been much more difficult in England, | 0:24:37 | 0:24:41 | |
and meeting all sorts of very interesting people, | 0:24:41 | 0:24:45 | |
both in the theatre, | 0:24:45 | 0:24:47 | |
but also writers and authors and musicians and comedians. | 0:24:47 | 0:24:52 | |
And when I came back to England, I thought well, | 0:24:54 | 0:24:59 | |
well it might have been rather nice to learn how to make film. | 0:24:59 | 0:25:02 | |
So I went and managed to get an interview with Huw Wheldon, | 0:25:02 | 0:25:06 | |
who was the editor and presenter of Monitor, | 0:25:06 | 0:25:11 | |
this was this famous arts programme. | 0:25:11 | 0:25:14 | |
Good evening. | 0:25:14 | 0:25:15 | |
For a long time we've wanted to make a film about a drama school. | 0:25:15 | 0:25:19 | |
And I was asking him questions about where I could get | 0:25:19 | 0:25:22 | |
a sort of training in film making. | 0:25:22 | 0:25:25 | |
Already, you see, I was yielding to showbiz | 0:25:25 | 0:25:28 | |
and beginning to think that perhaps I was going to do more of that | 0:25:28 | 0:25:31 | |
and less of medicine. | 0:25:31 | 0:25:32 | |
And he said, "Yes, yes, well you could do that," | 0:25:32 | 0:25:36 | |
and he looked very meditative, and then suddenly said, | 0:25:36 | 0:25:40 | |
"How would you like to, ah, present and edit, ah, Monitor?" | 0:25:40 | 0:25:44 | |
We were fascinated by it and I think you will be too. | 0:25:44 | 0:25:48 | |
The chutzpah of Huw Weldon suggesting it actually, | 0:25:48 | 0:25:51 | |
and the chutzpah of Jonathan accepting it, is equally surprising. | 0:25:51 | 0:25:55 | |
Because, ah, to actually introduce a programme weekly and edit it, | 0:25:55 | 0:25:58 | |
to choose what's to go in as well as to actually front it, | 0:25:58 | 0:26:01 | |
find intelligent things to say, but of course that's not a problem for Jonathan, | 0:26:01 | 0:26:05 | |
he didn't have any problem finding intelligent things to say, it was having to stop him. | 0:26:05 | 0:26:08 | |
As a novice, as an outsider, | 0:26:08 | 0:26:12 | |
I was not bound by the formal conventions of people who had, | 0:26:12 | 0:26:17 | |
as it were, climbed slowly through the television ladder. | 0:26:17 | 0:26:20 | |
Um, and it seemed to me that there were alternative ways | 0:26:20 | 0:26:23 | |
of shooting interviews, including for example, | 0:26:23 | 0:26:26 | |
in a programme I did about Peter Brook's rehearsals | 0:26:26 | 0:26:29 | |
for the Marat/Sade, | 0:26:29 | 0:26:31 | |
ah, I didn't want to have a fixed camera set up like we have here, | 0:26:31 | 0:26:35 | |
I said, "Why don't we just walk around | 0:26:35 | 0:26:37 | |
"and have the camera on someone's shoulder | 0:26:37 | 0:26:39 | |
"and, ah, just deal with it in a very vernacular way." | 0:26:39 | 0:26:43 | |
And it seems that, that you've got a special problem here | 0:26:43 | 0:26:46 | |
in which every actor in the play is mad. | 0:26:46 | 0:26:49 | |
I began to move into areas which Wheldon had, | 0:26:51 | 0:26:55 | |
had really not exactly abstained from, | 0:26:55 | 0:26:59 | |
but which he didn't involve himself with. | 0:26:59 | 0:27:01 | |
Because I'd been and spent so much time in New York, | 0:27:04 | 0:27:07 | |
I was interested in the New York Intelligentsia. | 0:27:07 | 0:27:09 | |
And I got attacked for doing my first long interview, | 0:27:11 | 0:27:14 | |
a full length programme of interviewing Susan Sontag, | 0:27:14 | 0:27:17 | |
and no-one had ever heard of her, | 0:27:17 | 0:27:19 | |
they didn't know who she was, and they were absolutely outraged | 0:27:19 | 0:27:22 | |
by what they thought was this, | 0:27:22 | 0:27:24 | |
this New York sort of feminist pretension. | 0:27:24 | 0:27:27 | |
I moseyed over to Philip Johnson's modest stash on Park. | 0:27:27 | 0:27:31 | |
The Seagram Building gleamed like a switchblade in the autumn sun. | 0:27:31 | 0:27:36 | |
I done something out of just being out, | 0:27:54 | 0:27:58 | |
outside that old movie theatre, | 0:27:58 | 0:28:01 | |
which I, I, I don't think I, I would have got, if I'd been inside. | 0:28:01 | 0:28:04 | |
Inside, no, no, no. | 0:28:04 | 0:28:06 | |
Ah, ah, after, after all, ah, art, art itself is, | 0:28:08 | 0:28:11 | |
is essentially phoney, I know that, ah, I mean I know that, | 0:28:11 | 0:28:17 | |
that true phoniness has a kind of reality of its own. | 0:28:17 | 0:28:20 | |
Um, but, but I think that really if, if you're a critic, it, | 0:28:20 | 0:28:24 | |
it's much more relevant to talk about what it's like being a critic. | 0:28:24 | 0:28:28 | |
Yes, yes, be, be, to, to talk about oneself in fact. | 0:28:28 | 0:28:32 | |
I think so, yes. | 0:28:32 | 0:28:33 | |
I would salute Jonathan for, and take the piss out of it as well, | 0:28:33 | 0:28:37 | |
but I would also congratulate him for, for doing that sort of thing. | 0:28:37 | 0:28:41 | |
I think, yeah, I think it was just going out on a limb | 0:28:41 | 0:28:45 | |
and good, good for them. | 0:28:45 | 0:28:47 | |
Within a year of Jonathan relinquishing the editorial reins | 0:28:53 | 0:28:58 | |
and the editorial sludge, as you might call it, | 0:28:58 | 0:29:00 | |
of having to be worrying about things week in and week out, | 0:29:00 | 0:29:04 | |
there he was making films for us, | 0:29:04 | 0:29:06 | |
including a marvellous film called The Drinking Party. | 0:29:06 | 0:29:09 | |
I was speaking to a colleague of mine called Leo Aylen, | 0:29:12 | 0:29:15 | |
who was a, a classicist, who said, "Wouldn't it be interesting to do | 0:29:15 | 0:29:20 | |
"a dramatisation of the symposium, or, and call it The Drinking Party." | 0:29:20 | 0:29:24 | |
And I thought of a way of doing this, | 0:29:24 | 0:29:27 | |
without having people dressed in awful classical costumes. | 0:29:27 | 0:29:31 | |
Intellectuals in the subsequent couple of thousand years | 0:29:31 | 0:29:34 | |
had often re-performed Plato's dialogues | 0:29:34 | 0:29:38 | |
as a celebration of his importance. | 0:29:38 | 0:29:40 | |
And I thought, | 0:29:40 | 0:29:42 | |
well wouldn't it be interesting to stage it at a school | 0:29:42 | 0:29:45 | |
and have boys having a reunion, | 0:29:45 | 0:29:47 | |
and I'll just have this group of old boys coming back | 0:29:47 | 0:29:50 | |
with their master, played by Leo McKern, | 0:29:50 | 0:29:53 | |
who also was going to play Socrates, | 0:29:53 | 0:29:56 | |
so that we would perform and discuss the symposium. | 0:29:56 | 0:29:59 | |
So, I propose that as love is the oldest, | 0:29:59 | 0:30:05 | |
so is love the most honourable of the gods, | 0:30:05 | 0:30:09 | |
and most powerful in assisting men to achieve honour and happiness, | 0:30:09 | 0:30:14 | |
both here and hereafter. | 0:30:14 | 0:30:17 | |
THUNDER RUMBLES | 0:30:22 | 0:30:23 | |
And then I had to accommodate myself to the fact | 0:30:23 | 0:30:26 | |
that we had a rainstorm in the middle of the show, | 0:30:26 | 0:30:28 | |
and that stopped us. | 0:30:28 | 0:30:29 | |
And then I suddenly realised | 0:30:29 | 0:30:30 | |
there was something absolutely wonderful | 0:30:30 | 0:30:32 | |
about the way in which we had placed umbrellas | 0:30:32 | 0:30:35 | |
over the dining table, outdoors on the terrace. | 0:30:35 | 0:30:37 | |
And, ah, so I shot five or six different shots | 0:30:37 | 0:30:41 | |
of these wonderful umbrellas overlapping with one another, | 0:30:41 | 0:30:45 | |
and I began at that moment, | 0:30:45 | 0:30:47 | |
although it might be seem by hindsight, | 0:30:47 | 0:30:50 | |
to establish my interest in abstract formats. | 0:30:50 | 0:30:52 | |
He'd somehow become a top-line director overnight - | 0:30:54 | 0:30:58 | |
I don't know how he did it, | 0:30:58 | 0:30:59 | |
because he didn't do lots of 15-minute short films, | 0:30:59 | 0:31:01 | |
in the way that Ken Russell and John Schlesinger had both done, | 0:31:01 | 0:31:04 | |
and he could handle actors. | 0:31:04 | 0:31:06 | |
So I don't think that I would have been in the least bit surprised | 0:31:06 | 0:31:09 | |
when he came back and said, "I want to do Alice in Wonderland." | 0:31:09 | 0:31:11 | |
It seemed to me, the more I read it again, | 0:31:15 | 0:31:18 | |
to be the expression of all sorts of Victorian attitudes | 0:31:18 | 0:31:22 | |
to the mystery and the mysterious sanctity of childhood, | 0:31:22 | 0:31:26 | |
seeing things which he or she would, as they grew up, would see no more. | 0:31:26 | 0:31:32 | |
And I thought, well let's do it with a lot of interesting actors, | 0:31:32 | 0:31:37 | |
as if they were, in fact, all people with whom this child | 0:31:37 | 0:31:40 | |
would have been acquainted as the daughter of an Oxford Don. | 0:31:40 | 0:31:45 | |
So I decided to get rid, at one stroke, of all the animal heads, | 0:31:50 | 0:31:55 | |
I simply wanted to make it a sort of melancholy journey to growing up. | 0:31:55 | 0:31:59 | |
I was very fortunate in the speed with which I was able to choose, | 0:32:06 | 0:32:12 | |
ah, the person who played Alice. | 0:32:12 | 0:32:15 | |
We advertised in newspapers and hundreds of photographs arrived, | 0:32:15 | 0:32:20 | |
and then this rather extraordinary, solemn child, | 0:32:20 | 0:32:24 | |
who I think was no older than about 13, turned up. | 0:32:24 | 0:32:28 | |
And within about 20 minutes I said, "That's the girl." | 0:32:28 | 0:32:32 | |
Anne-Marie Mallik. | 0:32:32 | 0:32:34 | |
Jonathan? Hello. | 0:32:34 | 0:32:36 | |
Well, hello, long time no see. | 0:32:36 | 0:32:38 | |
Very long time, 40 something years. | 0:32:38 | 0:32:40 | |
How very nice to see, yes it, it is. | 0:32:40 | 0:32:42 | |
The first time we met was when you came to the BBC. | 0:32:42 | 0:32:46 | |
Yes. | 0:32:46 | 0:32:47 | |
And, ah, can you remember what I, what I asked you to do? | 0:32:47 | 0:32:53 | |
You asked me to recite something. | 0:32:53 | 0:32:56 | |
Really? | 0:32:56 | 0:32:57 | |
You did, I think it was You Are Old, Father William. | 0:32:57 | 0:32:59 | |
Oh, how extraordinary. | 0:32:59 | 0:33:01 | |
You are old, Father William, the young man said, | 0:33:01 | 0:33:04 | |
and you're hair's become very white. | 0:33:04 | 0:33:06 | |
And yet you incessantly stand on your head, | 0:33:07 | 0:33:10 | |
do you think at your age it is right? | 0:33:10 | 0:33:13 | |
You explained very clearly about being in a dream | 0:33:13 | 0:33:15 | |
and no facial expression and what, all of that. | 0:33:15 | 0:33:19 | |
Yes. | 0:33:19 | 0:33:20 | |
-Which was therefore relatively easy. -Yes. | 0:33:20 | 0:33:23 | |
Em, or seemed, in... | 0:33:23 | 0:33:24 | |
But nevertheless, I mean, | 0:33:24 | 0:33:26 | |
although I perhaps didn't ask you to do anything | 0:33:26 | 0:33:28 | |
in a way conspicuously expressive, | 0:33:28 | 0:33:31 | |
whatever you did was in fact absolutely naturally expressive, | 0:33:31 | 0:33:36 | |
and you managed to carry off this wonderful sort of solemn, | 0:33:36 | 0:33:40 | |
mirthless appearance, | 0:33:40 | 0:33:42 | |
not amused by anything that you were surrounded by. | 0:33:42 | 0:33:45 | |
Yes. | 0:33:45 | 0:33:46 | |
And talking to people. | 0:33:46 | 0:33:48 | |
And of course you had the opportunity | 0:33:48 | 0:33:50 | |
to meet all these extraordinarily famous actors as well. | 0:33:50 | 0:33:52 | |
No room, no room, no room. | 0:33:52 | 0:33:56 | |
There's no room, no. | 0:33:56 | 0:33:58 | |
There's plenty of room. | 0:33:58 | 0:34:01 | |
Oh, oh. | 0:34:01 | 0:34:02 | |
Have some wine. | 0:34:02 | 0:34:04 | |
-I don't see any wine. -There isn't any. | 0:34:04 | 0:34:07 | |
It wasn't very civil of you to offer it. | 0:34:07 | 0:34:09 | |
It wasn't very civil of you to sit down before you're invited. | 0:34:09 | 0:34:12 | |
I thought you did invite me, | 0:34:12 | 0:34:14 | |
and anyway, the table's laid for a great deal more than three. | 0:34:14 | 0:34:18 | |
Ah, your, erm, your, your hair wants cutting. | 0:34:18 | 0:34:23 | |
You shouldn't make personal remarks. It's very rude. | 0:34:23 | 0:34:25 | |
You didn't seem in the least bit impressed, | 0:34:25 | 0:34:28 | |
or made anxious by the fact that you were dealing with someone | 0:34:28 | 0:34:32 | |
who was so well known - you just simply were the person you were playing. | 0:34:32 | 0:34:37 | |
Yes, I suppose that was a benefit of having much older parents. | 0:34:37 | 0:34:42 | |
Ah, yes. | 0:34:42 | 0:34:43 | |
Because they had friends who were older as well, | 0:34:43 | 0:34:49 | |
and reasonably important people in their own lifestyles, | 0:34:49 | 0:34:52 | |
so I'd always been there as a small child with, | 0:34:52 | 0:34:56 | |
with people who were aware of their own consequence. | 0:34:56 | 0:34:59 | |
INDISTINCT NOISE | 0:34:59 | 0:35:02 | |
SHE HAMMERS ON DOOR | 0:35:02 | 0:35:03 | |
You'll never make them people hear in there, you see, | 0:35:07 | 0:35:10 | |
cos they're, like they're making too much noise themselves. | 0:35:10 | 0:35:12 | |
I mean you, you follow what I mean, you can hear them. | 0:35:12 | 0:35:15 | |
Well how am I to get in, then? | 0:35:15 | 0:35:18 | |
There were moments in which the performers, | 0:35:19 | 0:35:21 | |
quite spontaneously, came up with a paradoxical speech, | 0:35:21 | 0:35:27 | |
which seemed to be consistent with Carroll's own logic. | 0:35:27 | 0:35:31 | |
Oh, excuse me a moment, ah, | 0:35:33 | 0:35:34 | |
something seems to be cropping up in this, ah, area over here. | 0:35:34 | 0:35:38 | |
He was a logician and he loved logical jokes. | 0:35:38 | 0:35:42 | |
And there was this moment in which John Bird, playing the frog footman, | 0:35:42 | 0:35:46 | |
he said, and this came completely spontaneously, | 0:35:46 | 0:35:48 | |
I didn't have to tell him, he just came up with it, he said... | 0:35:48 | 0:35:51 | |
Now then, I'll tell you what I'll do, | 0:35:51 | 0:35:54 | |
I'll tell you what I'll do for you, nothing. | 0:35:54 | 0:35:58 | |
How's that, any good to you at all, nothing? | 0:35:58 | 0:36:00 | |
I mean I wouldn't be able to do it straight away, em, | 0:36:00 | 0:36:03 | |
I'll say that, you see, | 0:36:03 | 0:36:04 | |
I couldn't, couldn't possibly do it straight away, | 0:36:04 | 0:36:06 | |
because I've got all these things cropping up, you see, | 0:36:06 | 0:36:09 | |
I have to deal with. | 0:36:09 | 0:36:10 | |
I, well I mean you saw just now that something cropped up there, | 0:36:10 | 0:36:13 | |
you see, and I get, | 0:36:13 | 0:36:14 | |
that's the same type of thing I get cropping up all the time, you see. | 0:36:14 | 0:36:18 | |
So naturally I've got my hands full but, ah, | 0:36:18 | 0:36:21 | |
if I was to do nothing for you, | 0:36:21 | 0:36:23 | |
I can't promise I could, but if I was to do nothing for you, | 0:36:23 | 0:36:26 | |
I'd have to sort of find the time, you see, when I could squeeze it in. | 0:36:26 | 0:36:29 | |
Do you see what I mean? | 0:36:29 | 0:36:30 | |
I think you're absolutely idiotic. | 0:36:30 | 0:36:33 | |
Well, maybe I am, maybe I'm not. | 0:36:33 | 0:36:38 | |
Jonathan is a great encourager of that sort of thing, and indeed, | 0:36:40 | 0:36:43 | |
the more canonical the thing he's dealing in, | 0:36:43 | 0:36:48 | |
or he's, that, ah, the more he, he likes to kind of, em, | 0:36:48 | 0:36:53 | |
manipulate the edges of it. | 0:36:55 | 0:36:57 | |
I think most people who liked the film | 0:36:57 | 0:37:00 | |
felt that it actually had reproduced | 0:37:00 | 0:37:03 | |
this curious inconsequential disconnectedness of dreaming. | 0:37:03 | 0:37:06 | |
-Yes. -That somehow you were in one place and then, | 0:37:06 | 0:37:09 | |
without having to be transported, or without having to go anywhere, | 0:37:09 | 0:37:14 | |
you found yourself somewhere else. | 0:37:14 | 0:37:16 | |
Else, yes. | 0:37:16 | 0:37:18 | |
WHISPERS: | 0:37:19 | 0:37:20 | |
The trial's beginning, the trial's beginning. | 0:37:20 | 0:37:24 | |
CHOIR SING: "Immortal, Invisible" | 0:37:27 | 0:37:30 | |
You see I based all these rooms in a court... | 0:38:03 | 0:38:06 | |
no courtroom would have had these, it was half based on | 0:38:06 | 0:38:09 | |
what a girl of your age at that time would have imagined. | 0:38:09 | 0:38:15 | |
-Hold your tongue. -I won't. | 0:38:15 | 0:38:17 | |
Off with her head! Off with her head! | 0:38:17 | 0:38:20 | |
Off with her head! | 0:38:20 | 0:38:22 | |
Off with her head! | 0:38:22 | 0:38:23 | |
Off with her head! | 0:38:23 | 0:38:26 | |
Off with her head! | 0:38:26 | 0:38:29 | |
DUCKS QUACK | 0:38:29 | 0:38:31 | |
DUCKS QUACK | 0:38:35 | 0:38:36 | |
CHURCH BELLS CHIME | 0:38:38 | 0:38:40 | |
-Are you glad you did it, in the end? -Oh, hugely glad I did it. | 0:38:43 | 0:38:46 | |
Jonathan Miller, who produced Alice in Wonderland for television, | 0:38:58 | 0:39:01 | |
is tackling Sheridan's School For Scandal | 0:39:01 | 0:39:04 | |
for his theatre debut in the provinces. | 0:39:04 | 0:39:06 | |
It's very pleasant to come to a new town, | 0:39:06 | 0:39:08 | |
and it's very pleasant to come to a town which has got | 0:39:08 | 0:39:11 | |
a great reputation for theatre, | 0:39:11 | 0:39:12 | |
and where you know that you'll find fresh talent, | 0:39:12 | 0:39:15 | |
which isn't quite so shop-soiled as the London talent is. | 0:39:15 | 0:39:18 | |
When I first worked with him, which was at the Nottingham Playhouse, | 0:39:19 | 0:39:22 | |
he was really beginning to direct | 0:39:22 | 0:39:25 | |
and for a very, very, very bright man, | 0:39:25 | 0:39:27 | |
he never talked down to you when you were a young actress, | 0:39:27 | 0:39:31 | |
so he sort of made you feel confident about yourself, | 0:39:31 | 0:39:34 | |
and felt that you could sort of do anything really. | 0:39:34 | 0:39:37 | |
I found that the actors with whom I worked | 0:39:37 | 0:39:40 | |
were amazingly tolerant of my amateur status, | 0:39:40 | 0:39:46 | |
and found that I actually brought to the rehearsal | 0:39:46 | 0:39:50 | |
a sort of playful, ah, inventiveness, | 0:39:50 | 0:39:54 | |
which perhaps was entirely due to the fact | 0:39:54 | 0:39:57 | |
that I had not been trained. | 0:39:57 | 0:39:59 | |
Oh, that's new. | 0:40:20 | 0:40:22 | |
Jonathan Miller of that ilk! | 0:40:22 | 0:40:23 | |
That's, ah, yes, now how long ago is it since we...? | 0:40:23 | 0:40:27 | |
Ho-ho, 1988. | 0:40:27 | 0:40:29 | |
But you weren't here when Larry was here, were you? | 0:40:29 | 0:40:32 | |
No, sadly not. | 0:40:32 | 0:40:33 | |
And that's 40 years ago, I think, | 0:40:33 | 0:40:35 | |
when I was first here working for him. | 0:40:35 | 0:40:37 | |
I was rehearsing something, and someone said, | 0:40:40 | 0:40:42 | |
"Laurence Olivier's on the phone." | 0:40:42 | 0:40:44 | |
And I said, "Oh, pull the other one." | 0:40:44 | 0:40:45 | |
And he said, "Oh, no, no, seriously, he's on the phone." | 0:40:45 | 0:40:48 | |
And indeed it was Laurence Olivier, | 0:40:48 | 0:40:50 | |
and he was inviting me to come to the National | 0:40:50 | 0:40:53 | |
to direct a production of the Merchant of Venice. | 0:40:53 | 0:40:55 | |
I remember him saying to me, "Dear Jonathan," | 0:40:57 | 0:40:59 | |
and he had decided by that time he was going to play Shylock, | 0:40:59 | 0:41:03 | |
he said, "We must at all costs avoid offending the Hebrews, | 0:41:03 | 0:41:06 | |
"God I love them so." | 0:41:06 | 0:41:09 | |
And, ah, I said, well the best way of avoiding offending them | 0:41:09 | 0:41:12 | |
is not to come on looking like something out of Oliver. | 0:41:12 | 0:41:17 | |
Ah, and so we got him to dress like an ordinary businessman. | 0:41:17 | 0:41:22 | |
Hath not a Jew eyes? | 0:41:24 | 0:41:26 | |
Hath not a Jew hands, | 0:41:30 | 0:41:33 | |
organs, | 0:41:33 | 0:41:34 | |
dimensions, | 0:41:34 | 0:41:36 | |
senses, | 0:41:36 | 0:41:39 | |
affection, | 0:41:40 | 0:41:43 | |
passions? | 0:41:43 | 0:41:44 | |
If you prick us, do we not bleed? | 0:41:46 | 0:41:48 | |
Tickle us, do we not laugh? | 0:41:50 | 0:41:52 | |
If you poison us, do we not die? | 0:41:52 | 0:41:55 | |
And if you wrong us, shall we not revenge? | 0:41:55 | 0:41:59 | |
If we are like you in the rest, we will resemble you in that. | 0:41:59 | 0:42:03 | |
There's a wonderful moment in the, in the play | 0:42:03 | 0:42:06 | |
when he hears that Antonio's ships have been sunk, | 0:42:06 | 0:42:09 | |
and he has to say, "Is it true, is it true?" | 0:42:09 | 0:42:12 | |
And, ah, he had a moment of triumph, | 0:42:12 | 0:42:14 | |
and I reminded him of a wonderful little piece of newsreel | 0:42:14 | 0:42:18 | |
I'd seen of Hitler in Compiegne, | 0:42:18 | 0:42:20 | |
the surrender of France, when Hitler suddenly did this funny little jig. | 0:42:20 | 0:42:24 | |
I said, "It would be rather nice to, | 0:42:24 | 0:42:27 | |
"for you to do a funny little jig like that, | 0:42:27 | 0:42:29 | |
"and it would be rather ironic, though probably undetectable | 0:42:29 | 0:42:32 | |
"to the audience, for you, a Jew, to be representing Hitler." | 0:42:32 | 0:42:37 | |
In luck, in luck? | 0:42:39 | 0:42:41 | |
Hath an argosy cast away, coming from Tripolis. | 0:42:41 | 0:42:45 | |
HE LAUGHS HYSTERICALLY | 0:42:46 | 0:42:47 | |
He sank, he died. | 0:42:47 | 0:42:51 | |
HE CONTINUES LAUGHING | 0:42:51 | 0:42:52 | |
Is it true, is it true? | 0:42:52 | 0:42:55 | |
I think one of the things which I brought to performance | 0:42:56 | 0:43:00 | |
and to the directing of performance, | 0:43:00 | 0:43:03 | |
was prompted and inspired by the, ah, training I'd received | 0:43:03 | 0:43:07 | |
not as a theatre person, but as a doctor. | 0:43:07 | 0:43:11 | |
I'd been taught to look for the small details, | 0:43:11 | 0:43:14 | |
which people, the, the, ah, the, | 0:43:14 | 0:43:18 | |
which, by means of which the doctor infers what might be wrong, | 0:43:18 | 0:43:21 | |
little tiny details of how people carry themselves, | 0:43:21 | 0:43:24 | |
how they talk, what they can't do, what they can do. | 0:43:24 | 0:43:27 | |
And that, it seemed to me that these negligible details | 0:43:27 | 0:43:32 | |
which you're trained to keep your eye open for | 0:43:32 | 0:43:35 | |
were absolutely all that the theatre was about. | 0:43:35 | 0:43:39 | |
I explored one play, King Lear, three times with him, | 0:43:39 | 0:43:43 | |
and Jonathan told a story of working on geriatric wards | 0:43:43 | 0:43:48 | |
with very old, very ill people | 0:43:48 | 0:43:51 | |
who had sometimes senile dementia, but they have a memory of something. | 0:43:51 | 0:43:56 | |
And even though, and he remembered one old man | 0:43:56 | 0:43:59 | |
whose daughter came to see him, | 0:43:59 | 0:44:02 | |
and at the end of the time when they could, | 0:44:02 | 0:44:05 | |
when they had to leave, the visitors left, he got out of bed, | 0:44:05 | 0:44:09 | |
because he was a gent, and saw her to the door, | 0:44:09 | 0:44:13 | |
quite unaware that he didn't have any pyjama bottoms on. | 0:44:13 | 0:44:17 | |
And it was that sort of human detail | 0:44:17 | 0:44:21 | |
and endearing detail that Jonathan tried to weave in to what he did. | 0:44:21 | 0:44:27 | |
Pray, do not mock me, I'm a very foolish, fond old man, | 0:44:28 | 0:44:34 | |
four score and upward, ah, not an hour more nor less. | 0:44:34 | 0:44:37 | |
And to deal plainly, ah, I fear I am not in my perfect mind. | 0:44:39 | 0:44:45 | |
Methinks I should know you, | 0:44:47 | 0:44:50 | |
and know this man, | 0:44:50 | 0:44:53 | |
yet I am doubtful for I am mainly ignorant what place this is. | 0:44:56 | 0:45:00 | |
All the strength I have, I remembers not these garments, | 0:45:03 | 0:45:09 | |
nor I know not where I did lodge last night. | 0:45:09 | 0:45:12 | |
Well, of course as a medical student, | 0:45:37 | 0:45:38 | |
I became accustomed to this sort of thing which, ah, | 0:45:38 | 0:45:42 | |
I think the, the ordinary person would find quite repulsive. | 0:45:42 | 0:45:46 | |
But when you realise that these are not actually dead human beings, | 0:45:46 | 0:45:52 | |
but are models made with meticulous detail | 0:45:52 | 0:45:56 | |
by a craftsman working in wax, | 0:45:56 | 0:45:59 | |
they perhaps are slightly less repulsive, | 0:45:59 | 0:46:02 | |
if indeed they're repulsive at all. | 0:46:02 | 0:46:04 | |
There's something very touching about these muscular creatures here, | 0:46:18 | 0:46:23 | |
in spite of having lost their skin, they stand with a dignity | 0:46:25 | 0:46:30 | |
which is inconsistent with their predicament. | 0:46:30 | 0:46:35 | |
Hello. | 0:46:37 | 0:46:39 | |
The details are quite astonishing. | 0:46:43 | 0:46:45 | |
It's very hard to understand how they were made. | 0:46:45 | 0:46:48 | |
But it's amazing that so few people come to see them. | 0:46:50 | 0:46:53 | |
But this, of course, | 0:46:57 | 0:46:58 | |
raises deeply interesting questions about the nature of disgust, | 0:46:58 | 0:47:04 | |
what it is for something to be disgusting, rather than interesting, | 0:47:04 | 0:47:08 | |
and whether or not disgust is compatible | 0:47:08 | 0:47:13 | |
with aesthetic interest, | 0:47:13 | 0:47:17 | |
whether you can look at these things without in fact recoiling | 0:47:17 | 0:47:21 | |
from the fact that we have a suspicion about interiors | 0:47:21 | 0:47:25 | |
and we feel that they are disgusting. | 0:47:25 | 0:47:30 | |
The only way in which we can make an inventory | 0:47:31 | 0:47:33 | |
of all these furnishings and fittings, | 0:47:33 | 0:47:35 | |
is by having a look inside someone else, | 0:47:35 | 0:47:38 | |
and that's exactly what I've done here. | 0:47:38 | 0:47:40 | |
All right, let's make a start somewhere, | 0:47:41 | 0:47:44 | |
so let's have a look at the heart. | 0:47:44 | 0:47:46 | |
Well, you can see at once that it's nothing like an orange, | 0:47:47 | 0:47:50 | |
or a grapefruit, I mean it's not even heart shaped, | 0:47:50 | 0:47:53 | |
in fact it hasn't got any particular shape at all, | 0:47:53 | 0:47:56 | |
it's just a flabby mass, covered with fat. | 0:47:56 | 0:48:00 | |
That's because it's empty of blood now and it's dead, | 0:48:00 | 0:48:03 | |
but when it was filled with blood and active, | 0:48:03 | 0:48:05 | |
this organ was contracting and expanding 70 times a minute, | 0:48:05 | 0:48:10 | |
for the best part of 70 years, | 0:48:10 | 0:48:12 | |
propelling blood around the person's body in one direction. | 0:48:12 | 0:48:16 | |
Jonathan was really the consummate teacher, | 0:48:27 | 0:48:31 | |
this is really what he wanted to do, he wanted to teach. | 0:48:31 | 0:48:34 | |
I was determined with the designer, Colin Lowrie, | 0:48:36 | 0:48:39 | |
to build a set which was the inside of Jonathan's head. | 0:48:39 | 0:48:43 | |
And, ah, this was really a, a room, a place, a jumble, | 0:48:43 | 0:48:47 | |
a sort of thing when, which existed and didn't really exist at all, | 0:48:47 | 0:48:51 | |
that we could change and move around and add things to, and so on. | 0:48:51 | 0:48:54 | |
If I light a fire on this rather impressive piece of machinery here, | 0:48:54 | 0:48:59 | |
energy is released in the form of heat and some light, | 0:49:03 | 0:49:05 | |
and of course rather a lot of sound. | 0:49:05 | 0:49:07 | |
I was interested in the philosophical principles | 0:49:07 | 0:49:10 | |
which had guided, ah, medical development | 0:49:10 | 0:49:13 | |
and particularly my interest in what I would call models and metaphors, | 0:49:13 | 0:49:19 | |
the way in which models and metaphors | 0:49:19 | 0:49:22 | |
have actually been one of the most important motifs | 0:49:22 | 0:49:26 | |
which have stimulated medical advances. | 0:49:26 | 0:49:28 | |
It's much easier these days for a scientist to be right, | 0:49:31 | 0:49:34 | |
since he has such a wealth of engines and machines | 0:49:34 | 0:49:36 | |
from which to draw fruitful analogies. | 0:49:36 | 0:49:39 | |
We find it hard to say what something is, | 0:49:40 | 0:49:42 | |
unless we can say what it's like. | 0:49:42 | 0:49:44 | |
Confronted by some natural process, whose working are mysterious, | 0:49:44 | 0:49:48 | |
scientists often try to explain their action | 0:49:48 | 0:49:51 | |
by comparing them with something which they clearly understand, | 0:49:51 | 0:49:55 | |
and for obvious reasons, we find it easier to understand processes | 0:49:55 | 0:49:57 | |
for which we, ourselves, are responsible. | 0:49:57 | 0:50:01 | |
In the ancient world, | 0:50:01 | 0:50:02 | |
the furnace was one of the few metaphors available, | 0:50:02 | 0:50:06 | |
but as we'll see in a later programme, | 0:50:06 | 0:50:08 | |
when pumps began to be widely used during the sixteenth century, | 0:50:08 | 0:50:11 | |
scientists were presented with a completely new model | 0:50:11 | 0:50:14 | |
for thinking about the action of the heart. | 0:50:14 | 0:50:18 | |
We used to sit together in the set, usually after the shoot, | 0:50:18 | 0:50:22 | |
and work out what it, what it was we were going to do. | 0:50:22 | 0:50:26 | |
and some of them he could interact with, | 0:50:26 | 0:50:29 | |
and some of them had to be done with graphics or in a special set up. | 0:50:29 | 0:50:32 | |
So the idea of using 500 red Ford Fiestas as blood cells | 0:50:32 | 0:50:36 | |
seemed like a pretty good idea to me. | 0:50:36 | 0:50:38 | |
The red cells spend their active life cruising through the highways of the circulation. | 0:50:39 | 0:50:45 | |
But it's not simply an idle joyride, | 0:50:45 | 0:50:47 | |
because the red cells are small, commercial vehicles, | 0:50:47 | 0:50:51 | |
transporting their precious cargo of oxygen from lungs to tissues. | 0:50:51 | 0:50:55 | |
Like motor cars, though, they wear out, they begin to falter | 0:50:55 | 0:51:00 | |
and have to be replaced. Their useful lifespan is only about 120 days, | 0:51:00 | 0:51:03 | |
after which they become fragile and inefficient. | 0:51:03 | 0:51:08 | |
But the derelict blood cells can't be left abandoned on the kerbside in the busy bloodstream, | 0:51:08 | 0:51:13 | |
as this would lead to a pile up, or a thrombosis. | 0:51:13 | 0:51:16 | |
On holiday, if you found a dead rabbit on the road, | 0:51:17 | 0:51:20 | |
he would stop the car, put it in, throw it into the back of the car, | 0:51:20 | 0:51:24 | |
we'd all go home, and then it would be nailed to a breadboard | 0:51:24 | 0:51:27 | |
and he would open this thing up and, you know, | 0:51:27 | 0:51:31 | |
and show us everything, you know, | 0:51:31 | 0:51:32 | |
"Here's the aorta, and here's the heart." | 0:51:32 | 0:51:35 | |
And, for me, actually, that's what, at that age, made me think I wanted to be a doctor. | 0:51:35 | 0:51:40 | |
I was hugely inspired by that. | 0:51:40 | 0:51:42 | |
So of course, when it came to him doing a postmortem on a human body | 0:51:42 | 0:51:45 | |
on The Body In Question, I was like, "I've seen all that before." | 0:51:45 | 0:51:48 | |
The subject of this postmortem was a 70-year-old man, | 0:51:49 | 0:51:53 | |
who died three days after being admitted to hospital, | 0:51:53 | 0:51:56 | |
suffering from sudden breathlessness. | 0:51:56 | 0:51:59 | |
When I attended an autopsy and asked the pathologist questions, | 0:51:59 | 0:52:03 | |
that did break new ground, | 0:52:03 | 0:52:05 | |
and I don't think that anyone was particularly offended by it, | 0:52:05 | 0:52:08 | |
I think they were rather intrigued by it. | 0:52:08 | 0:52:10 | |
You notice it's a yellow, rather waxy-looking liver. | 0:52:11 | 0:52:14 | |
So this is a liver in which fatty change has begun to occur? | 0:52:14 | 0:52:17 | |
Fatty change is occurring, yes. | 0:52:17 | 0:52:18 | |
So one of the things that pathologists look for in an organ of this sort is fatty change, | 0:52:18 | 0:52:23 | |
which is a sign of congestion, also of low oxygen in the blood. | 0:52:23 | 0:52:26 | |
When this begins to happen, the cells begin to alter their metabolism | 0:52:26 | 0:52:31 | |
and fat begins to accumulate in the cells, and this produces a change | 0:52:31 | 0:52:35 | |
which actually in the classical picture is called a nutmeg liver. | 0:52:35 | 0:52:38 | |
For some reason pathologists seem to have this tendency of... | 0:52:38 | 0:52:41 | |
Of naming things after food and fruit, | 0:52:41 | 0:52:43 | |
and we have sugar icing spleen, sago spleen, | 0:52:43 | 0:52:47 | |
bread and butter pericardium, pericarditis. | 0:52:47 | 0:52:51 | |
So really a full meal can be had, yes. | 0:52:51 | 0:52:53 | |
Suddenly this man who was seen as a bit of a comedian | 0:52:53 | 0:52:57 | |
and so on and so forth, this cast him again as this doctor figure, | 0:52:57 | 0:53:04 | |
and that stirred up people out there who had various things | 0:53:04 | 0:53:07 | |
they wanted to talk to him about, | 0:53:07 | 0:53:09 | |
and one of them was Ivan Vaughan. | 0:53:09 | 0:53:11 | |
The hurdles which confront Ivan each day may include loose shoelaces, | 0:53:15 | 0:53:19 | |
a slightly sweaty T-shirt, unleashed dogs, roads, food and even closed doors. | 0:53:19 | 0:53:25 | |
Things that we think of as means to an end, | 0:53:25 | 0:53:28 | |
loom large enough for Ivan to become ends in themselves. | 0:53:28 | 0:53:31 | |
Ivan has Parkinson's disease. | 0:53:33 | 0:53:35 | |
I just felt it was a great privilege to be with someone | 0:53:35 | 0:53:39 | |
who was prepared to be as eloquently forthcoming as he was | 0:53:39 | 0:53:43 | |
about what it was like to get up in the morning, | 0:53:43 | 0:53:45 | |
knowing that he had a great, not reluctance, | 0:53:45 | 0:53:49 | |
I mean he was eager to start, | 0:53:49 | 0:53:52 | |
but nevertheless, there was something which prevented him from inaugurating movements. | 0:53:52 | 0:53:57 | |
And he took me through the, as it were, | 0:53:59 | 0:54:02 | |
domestic problems of getting up, in the knowledge that you would have | 0:54:02 | 0:54:06 | |
a difficulty in starting anything. | 0:54:06 | 0:54:09 | |
And then he showed me how, in fact, | 0:54:09 | 0:54:11 | |
this could be overcome by all sorts of little schemes. | 0:54:11 | 0:54:15 | |
If I was to hang the keys out and you were to make a snatch for them, would that get you going? | 0:54:15 | 0:54:19 | |
It'd be disastrous if you suddenly lowered them. | 0:54:19 | 0:54:21 | |
-Ah, I see, yes, because then you'd go down to the floor? -Yeah. | 0:54:21 | 0:54:25 | |
-So don't do that, will you? -All right, so... | 0:54:25 | 0:54:27 | |
-That's not high enough. -That's not high enough? Now, how's that? | 0:54:27 | 0:54:30 | |
-That's too near to me. -That's too near. -A bit further away. -Yeah. | 0:54:30 | 0:54:33 | |
It's so mysterious. | 0:54:41 | 0:54:43 | |
It was the most extraordinary and diverting and illuminating week | 0:54:43 | 0:54:47 | |
that I spent with him, | 0:54:47 | 0:54:49 | |
and it's what I would have liked to have done, had I stayed in medicine. | 0:54:49 | 0:54:52 | |
It's that sort of interactive collaboration | 0:54:52 | 0:54:57 | |
which I think a great deal of very interesting neuropsychology consists of. | 0:54:57 | 0:55:02 | |
Every time I pass a hospital, I feel as a Catholic must do, | 0:55:02 | 0:55:05 | |
who's lapsed and hasn't taken communion when he goes past. | 0:55:05 | 0:55:07 | |
I feel, erm, a tremendous sense of agony | 0:55:07 | 0:55:11 | |
every time I, I read a medical journal, | 0:55:11 | 0:55:13 | |
or open one of my books again | 0:55:13 | 0:55:15 | |
and see some of the materials of medicine, | 0:55:15 | 0:55:17 | |
or read about cases, or discuss cases with my wife. | 0:55:17 | 0:55:20 | |
This is a source of great agony to me. | 0:55:20 | 0:55:22 | |
He always says, which he's been saying for 50 years, | 0:55:22 | 0:55:26 | |
that he will sort of get back to medicine. | 0:55:26 | 0:55:31 | |
But in a way he's never left it, and I think that... | 0:55:31 | 0:55:37 | |
..that there is a double or multiple career, here. | 0:55:39 | 0:55:43 | |
What do they have for breakfast? | 0:55:43 | 0:55:46 | |
And that's a boa constrictor, you see. | 0:55:46 | 0:55:48 | |
But there is a little tiny one, so let's have a look at the small one. | 0:55:48 | 0:55:52 | |
I mean, the clinical life could not contain him, | 0:55:52 | 0:55:57 | |
and I think the theatre life and the directing life | 0:55:57 | 0:56:01 | |
doesn't entirely contain him. | 0:56:01 | 0:56:04 | |
he's had to go in many directions at once. | 0:56:04 | 0:56:07 | |
That's a boa constrictor as well? | 0:56:08 | 0:56:10 | |
That's a boa constrictor as well, yes. | 0:56:10 | 0:56:11 | |
Can I hold him? | 0:56:17 | 0:56:18 | |
Yes, just open your hand, just put him in your hand. | 0:56:18 | 0:56:21 | |
I think it's quite right she should be scared, anyway. | 0:56:23 | 0:56:26 | |
Absolutely, I think that's rather good. | 0:56:26 | 0:56:28 | |
-I mean, it should appear repulsive to her. -Yes. | 0:56:28 | 0:56:31 | |
Won't people know it's a boa constrictor? | 0:56:31 | 0:56:33 | |
Oh, good heavens, no. You may get an occasional cry from some ophidiologist, who may say, | 0:56:33 | 0:56:38 | |
"Dear Sir, in a recent so-called production of Antony And Cleopatra, | 0:56:38 | 0:56:41 | |
"I saw a boa constrictor passed off as an asp. | 0:56:41 | 0:56:44 | |
"If this is the sort of thing for which they can expect us to pay | 0:56:44 | 0:56:47 | |
"an extra £15 of licence fee, they've got another thing coming. | 0:56:47 | 0:56:50 | |
"They mention asps, I expect to see them. Yours sincerely, | 0:56:50 | 0:56:54 | |
"Disappointed, Esher." | 0:56:54 | 0:56:55 | |
I got a call from him to observe him in his production | 0:56:55 | 0:56:58 | |
of Antony And Cleopatra, and direct All's Well That Ends Well. | 0:56:58 | 0:57:02 | |
And when I arrived, I realised that he'd given the BBC | 0:57:02 | 0:57:05 | |
a tremendous shock. | 0:57:05 | 0:57:07 | |
That whole institutional structure was more or less | 0:57:09 | 0:57:12 | |
circumvented by the way he organised it, | 0:57:12 | 0:57:15 | |
which was that he opened the offices, | 0:57:15 | 0:57:17 | |
and he created an office where there were designers in one corner, | 0:57:17 | 0:57:20 | |
script editors in another, people casting in the other. | 0:57:20 | 0:57:23 | |
And he created this tremendous buzz. | 0:57:23 | 0:57:25 | |
-It'll be a gorse. -Well, where you would have vegetation | 0:57:25 | 0:57:29 | |
or fragments like that, you see, perhaps not quite so defined as that. | 0:57:29 | 0:57:32 | |
Right, so you want really Greek renaissance folk music? | 0:57:32 | 0:57:35 | |
Yes, that's right, yeah, Greek renaissance folk music. | 0:57:35 | 0:57:38 | |
Yeah, a sort of Tudor bouzouki, you know? | 0:57:38 | 0:57:41 | |
HE LAUGHS | 0:57:41 | 0:57:42 | |
Now, please do regard this as a fumble through. | 0:57:42 | 0:57:47 | |
Absolutely no... | 0:57:47 | 0:57:48 | |
I mean, anyway, I don't want any acting in the production anyway, | 0:57:48 | 0:57:53 | |
so please don't start it now. | 0:57:53 | 0:57:56 | |
Are we allowed to act if we feel like it? | 0:57:56 | 0:57:58 | |
If you, if you suddenly get this divine afflatus, then go with it. | 0:57:58 | 0:58:02 | |
LAUGHTER | 0:58:02 | 0:58:03 | |
Get thee to Gloucester, Essex. Do thee to Wessex, Exeter. | 0:58:03 | 0:58:07 | |
Fair Albany to Somerset must eke his route. | 0:58:07 | 0:58:09 | |
And Scroop, do you to Westmorland, | 0:58:09 | 0:58:11 | |
where shall bold York, enrouted now for Lancaster, | 0:58:11 | 0:58:14 | |
with forces of our Uncle Rutland enjoin his standard with sweet Norfolk's host. | 0:58:14 | 0:58:19 | |
Fair Sussex, | 0:58:19 | 0:58:20 | |
Ugh! | 0:58:20 | 0:58:22 | |
LAUGHTER | 0:58:22 | 0:58:24 | |
Get thee to Warwicksbourne, and there with frowning purpose, | 0:58:24 | 0:58:26 | |
tell our plan to Bedford's tilted ear. | 0:58:26 | 0:58:29 | |
LAUGHTER | 0:58:29 | 0:58:31 | |
That he shall press with most insensate speed | 0:58:31 | 0:58:34 | |
and join his warlike effort to bold Dorset's side. | 0:58:34 | 0:58:37 | |
I, most royally, shall now to bed, | 0:58:37 | 0:58:40 | |
to sleep off all the nonsense I've just said. | 0:58:40 | 0:58:43 | |
Bad-a-bum-bum-ba. | 0:58:47 | 0:58:50 | |
Roger Norrington rang me up and said, | 0:58:50 | 0:58:51 | |
"Would you like to come and direct an opera?" | 0:58:51 | 0:58:54 | |
And I said, "Well I, I have never directed an opera, | 0:58:54 | 0:58:57 | |
"I've never had any ambition to do it, and I don't know how to do it." | 0:58:57 | 0:59:01 | |
OPERA SINGING | 0:59:01 | 0:59:03 | |
I was totally familiar with Beethoven, Mozart, Brahms | 0:59:03 | 0:59:06 | |
and so forth, but I knew nothing about opera and I can't read music. | 0:59:06 | 0:59:10 | |
And he assured me that he could, so that would be all right. | 0:59:10 | 0:59:14 | |
Yes, it's on that that you unfreeze. | 0:59:14 | 0:59:18 | |
'I like to work in forms of theatre | 0:59:18 | 0:59:21 | |
'where there is not an obligation to be spuriously glamorous. | 0:59:21 | 0:59:27 | |
'And I think that, in a company which is small, | 0:59:27 | 0:59:31 | |
'and which doesn't have a big house,' | 0:59:31 | 0:59:34 | |
and where there's a very close association between the orchestra | 0:59:34 | 0:59:37 | |
and the players on the stage, | 0:59:37 | 0:59:39 | |
it's much easier to have a direct form of drama, | 0:59:39 | 0:59:42 | |
where all that you attend to is the drama and the music, and nothing else. | 0:59:42 | 0:59:46 | |
CHORAL SINGING | 0:59:46 | 0:59:50 | |
He had this tremendous vision about how pieces should look | 0:59:51 | 0:59:57 | |
and what they should be like, and, of course, the history. | 0:59:57 | 1:00:02 | |
Orfeo doesn't take place anywhere, | 1:00:02 | 1:00:03 | |
it doesn't take place in classical Greece, | 1:00:03 | 1:00:05 | |
it doesn't take place in modern times, | 1:00:05 | 1:00:07 | |
it didn't actually take place in the seventeenth century. | 1:00:07 | 1:00:10 | |
Where it does take place is in the seventeenth century imagination, | 1:00:10 | 1:00:13 | |
and you have to use the idioms of the seventeenth century | 1:00:13 | 1:00:15 | |
imagination in order to reproduce a visual counterpart of the music. | 1:00:15 | 1:00:19 | |
HE SINGS IN ITALIAN | 1:00:23 | 1:00:26 | |
# As you cause my bitter torment | 1:00:30 | 1:00:33 | |
# And the cause of my contentment | 1:00:33 | 1:00:37 | |
# And the source of every sweetness... # | 1:00:37 | 1:00:41 | |
Jonathan had a marvellous idea visually. | 1:00:41 | 1:00:45 | |
Very often he found an artist of the same period, and this was | 1:00:45 | 1:00:50 | |
a very brilliant solution, he used Poussin, the French artist | 1:00:50 | 1:00:55 | |
who, who moved to Italy, he had worked there most of his life. | 1:00:55 | 1:00:59 | |
Over the years I've become preoccupied | 1:01:16 | 1:01:20 | |
with the astonishing brilliance | 1:01:20 | 1:01:22 | |
of these bas-relief statues of choristers. | 1:01:22 | 1:01:26 | |
I think this one here is so amazing, this is what is called in art | 1:01:35 | 1:01:40 | |
historical terms, contrapposto, that one figure is facing this way, | 1:01:40 | 1:01:47 | |
one that way, this one is back to us, but his head | 1:01:47 | 1:01:52 | |
slightly turned to the side, and this one turned over his shoulder. | 1:01:52 | 1:01:58 | |
And it makes the most wonderful sort of dancing circle, | 1:01:59 | 1:02:04 | |
and this serves as a wonderful inspiration | 1:02:04 | 1:02:07 | |
for staging a choral group. | 1:02:07 | 1:02:09 | |
One of the things that happens with groups is that they tend | 1:02:09 | 1:02:12 | |
to all face in the same direction. | 1:02:12 | 1:02:13 | |
What I like to do is to break the line, | 1:02:13 | 1:02:16 | |
so that it's always slightly jiggly, that's right, you see, that's, | 1:02:16 | 1:02:19 | |
and so that if you're here singing, I think you need to be a little bit | 1:02:19 | 1:02:22 | |
more facing in that direction, | 1:02:22 | 1:02:23 | |
so that you can corroborate his remarks, you see, | 1:02:23 | 1:02:25 | |
so there's a relationship backwards and forwards | 1:02:25 | 1:02:28 | |
between groups and also, eye lines within groups. OK. | 1:02:28 | 1:02:32 | |
When I was asked to do Rigoletto, I knew that I had misgivings | 1:03:39 | 1:03:44 | |
about setting it in this, these hypothetical, non-existent pasts, | 1:03:44 | 1:03:50 | |
having been backdated by their composers and by their librettists. | 1:03:50 | 1:03:53 | |
I said, "Well, how am I going to do it?" | 1:03:53 | 1:03:55 | |
My wife reminded me of that scene in Some Like It Hot, | 1:03:55 | 1:03:58 | |
where the policeman accuses George Raft | 1:03:58 | 1:04:01 | |
of having done the St Valentine's Day Massacre, or the equivalent of it. | 1:04:01 | 1:04:05 | |
So maestro, where were you at three o'clock on St Valentine's Day? | 1:04:05 | 1:04:08 | |
Me, I was at Rigoletto. | 1:04:08 | 1:04:09 | |
And he turns to his bodyguard and goes, "Ain't that so?" | 1:04:09 | 1:04:12 | |
And the bodyguard goes, "That's right." | 1:04:12 | 1:04:14 | |
We was with you at Rigoletto's. | 1:04:14 | 1:04:16 | |
Honest. | 1:04:16 | 1:04:17 | |
And I thought well actually, the world of Mafia thugs and dukes | 1:04:19 | 1:04:27 | |
is indistinguishable from the world of Medici thugs. | 1:04:27 | 1:04:32 | |
And the Italian aristocracy, who are now, of course, | 1:04:32 | 1:04:36 | |
very distant from their predecessors, | 1:04:36 | 1:04:39 | |
where just one way or another were thugs, Mafia thugs. | 1:04:40 | 1:04:43 | |
The main thing is he has a tremendous sense of humour | 1:04:47 | 1:04:50 | |
in relation to his subject, the melodrama is treated with humour. | 1:04:50 | 1:04:53 | |
And you howl with recognition and laughter, | 1:04:53 | 1:04:58 | |
and at the same time with pathos. | 1:04:58 | 1:05:01 | |
The way he identifies the Duke with the jukebox is a perfect way | 1:05:05 | 1:05:09 | |
of characterising the Duke's shallowness. | 1:05:09 | 1:05:12 | |
# Women abandon us | 1:05:13 | 1:05:15 | |
# Why should it hurt them | 1:05:15 | 1:05:18 | |
# If we desert them when it's all over | 1:05:19 | 1:05:23 | |
# Women make fools of us, laugh in our faces... # | 1:05:24 | 1:05:26 | |
It's got to be somewhere where, in fact, | 1:05:26 | 1:05:29 | |
some way of revisualising the work occurs precisely because there is | 1:05:29 | 1:05:34 | |
a high degree of correspondence from the social structures, | 1:05:34 | 1:05:38 | |
from which it's come, and the social structures into which you put it. | 1:05:38 | 1:05:43 | |
That's why I would never change Don Giovanni - | 1:05:43 | 1:05:45 | |
the social structures of Don Giovanni are inconsistent | 1:05:45 | 1:05:49 | |
with anything in modern times. | 1:05:49 | 1:05:50 | |
And the same with The Marriage of Figaro. | 1:05:50 | 1:05:52 | |
But when it comes to Cosi Fan Tutte, | 1:05:52 | 1:05:54 | |
I've done five different production of it, | 1:05:54 | 1:05:56 | |
most of which have been traditionally set in the 18th century. | 1:05:56 | 1:05:59 | |
I suddenly decided I must do it a different way. | 1:06:13 | 1:06:16 | |
I think it was the first occasion, perhaps, | 1:06:42 | 1:06:45 | |
that a mobile telephone was used on stage, | 1:06:45 | 1:06:48 | |
and I thought, there's a particular, recitative, | 1:06:48 | 1:06:51 | |
I might be able to actually just start by speaking to someone, | 1:06:51 | 1:06:54 | |
some imaginary seventh cast member on the telephone. | 1:06:54 | 1:07:00 | |
And the following day I went in and there was immediate response to it. | 1:07:00 | 1:07:04 | |
MOBILE PHONE RINGS | 1:07:04 | 1:07:07 | |
AUDIENCE LAUGHS | 1:07:07 | 1:07:09 | |
We live in the time of works which are in | 1:07:16 | 1:07:19 | |
what I've frequently described as being in their afterlife, | 1:07:19 | 1:07:25 | |
a life which could not have been anticipated by their makers. | 1:07:25 | 1:07:30 | |
Almost as soon as I came into this room, | 1:07:42 | 1:07:45 | |
I was struck by the echoing solitude of the place, | 1:07:45 | 1:07:48 | |
and my eye was drawn immediately to this sculpture here, | 1:07:48 | 1:07:53 | |
by someone I had never heard of before. | 1:07:53 | 1:07:57 | |
He's a Gothic sculptor of the early 14th century, | 1:07:57 | 1:08:01 | |
Tino Di Camaino, and it has a strange sort of chastity | 1:08:01 | 1:08:06 | |
which is absolutely remarkable. | 1:08:06 | 1:08:09 | |
As I turned round this sculpture, my eye was drawn, of course, | 1:08:09 | 1:08:14 | |
to this fragmented picture here on the wall, it's by Orcagna, | 1:08:14 | 1:08:20 | |
which is painted at almost the same period as this sculpture by Tino. | 1:08:20 | 1:08:26 | |
No doubt when the whole thing was complete, it would have had | 1:08:26 | 1:08:29 | |
the picture of the Last Supper going along here, | 1:08:29 | 1:08:31 | |
of which you see only a fragment on this side. | 1:08:31 | 1:08:35 | |
I know that if Orcagna had lived another three or four hundred years, | 1:08:35 | 1:08:41 | |
and had seen the fading and disintegration of his artwork, | 1:08:41 | 1:08:46 | |
he would have been appalled that | 1:08:46 | 1:08:48 | |
anyone would have come in and regarded it of any interest. | 1:08:48 | 1:08:52 | |
But it's precisely because it's enigmatically broken up | 1:08:52 | 1:08:56 | |
that it's attractive to the modern eye, | 1:08:56 | 1:08:59 | |
it's a picture which is in its afterlife, | 1:08:59 | 1:09:01 | |
like so many of the plays and operas which I have directed. | 1:09:01 | 1:09:06 | |
Lemmon's in London for the best of all possible reasons, | 1:09:17 | 1:09:21 | |
to star for the first time ever on the West End Stage. | 1:09:21 | 1:09:24 | |
And for his debut he's certainly going the whole hog, | 1:09:24 | 1:09:27 | |
playing the lead in America's most famous, certainly longest, | 1:09:27 | 1:09:31 | |
most harrowing, all-time theatrical marathon, | 1:09:31 | 1:09:34 | |
Eugene O'Neill's Long Day's Journey Into Night. | 1:09:34 | 1:09:37 | |
Happily, his director Jonathan Miller is not a man to be phased | 1:09:37 | 1:09:41 | |
by the hallowed reverence with which Americans regard the play. | 1:09:41 | 1:09:45 | |
I think I'd probably had a talk to Jack Lemmon about it some time, | 1:09:48 | 1:09:51 | |
and thought wouldn't it be interesting to do this play, | 1:09:51 | 1:09:53 | |
which has been represented by the, the guardians | 1:09:53 | 1:09:58 | |
of the O'Neill tradition, the custodians of the orthodox, | 1:09:58 | 1:10:03 | |
to be the American equivalent of Greek drama, | 1:10:03 | 1:10:09 | |
that it has to be played at great lengths, | 1:10:09 | 1:10:12 | |
that it should last at least three and a half hours, | 1:10:12 | 1:10:15 | |
and that it is, in fact, Greek drama cast in an American format. | 1:10:15 | 1:10:20 | |
He felt, why would a relatively drunk Irish family, | 1:10:20 | 1:10:23 | |
who had been having the same arguments | 1:10:23 | 1:10:26 | |
for years and years and years, | 1:10:26 | 1:10:29 | |
wait politely for the end of every sentence? | 1:10:29 | 1:10:32 | |
If you know what the argument is and you know where someone is going. | 1:10:32 | 1:10:35 | |
So he encouraged us to kind of overlap. | 1:10:35 | 1:10:39 | |
Now the deal was, you have to make your point, | 1:10:39 | 1:10:42 | |
and you have to be heard, so sometimes that meant | 1:10:42 | 1:10:45 | |
that you'd repeat a line three times, | 1:10:45 | 1:10:47 | |
because another actor would still be trying to make their point. | 1:10:47 | 1:10:50 | |
And what it did was, it created for us an extraordinarily... spontaneous... | 1:10:50 | 1:10:55 | |
because it never had to be at the same moment, | 1:10:55 | 1:10:59 | |
it could just continue to evolve. And, for us it was extraordinary, | 1:10:59 | 1:11:03 | |
because it made the play very alive. | 1:11:03 | 1:11:06 | |
Sneer at every damn thing in the world except yourself. | 1:11:06 | 1:11:09 | |
That's not true, Papa, you can't hear me talking to myself... | 1:11:09 | 1:11:12 | |
The ingratitude, the violence... | 1:11:12 | 1:11:14 | |
I could see that one coming, how many thousands of times? | 1:11:14 | 1:11:16 | |
God, if you once, you would get ambition in your head... | 1:11:16 | 1:11:19 | |
Oh, all right, Papa, I'm a bum, whatever you'd like, | 1:11:19 | 1:11:21 | |
so long as it stops the argument. Yeah, let's forget about me. | 1:11:21 | 1:11:23 | |
You know, you are young, you... | 1:11:23 | 1:11:25 | |
Look, I'm not interested in this subject, and neither are you. | 1:11:25 | 1:11:28 | |
You are young, you could still make your mark. | 1:11:28 | 1:11:30 | |
You had the talent once to be a fine actor, you have it still. | 1:11:30 | 1:11:35 | |
You are my son. | 1:11:35 | 1:11:36 | |
If it hadn't been for you responding to this young upstart, | 1:11:41 | 1:11:43 | |
coming up to you at a table, after your lecture... | 1:11:43 | 1:11:46 | |
-And asking for an audition. -And asking for an audition, | 1:11:46 | 1:11:49 | |
my career would be very different. | 1:11:49 | 1:11:50 | |
Well, it would have been different I think, but I mean, | 1:11:50 | 1:11:53 | |
as you well know, and as everyone knows, | 1:11:53 | 1:11:56 | |
you would have made your way into the theatre, | 1:11:56 | 1:11:58 | |
because you, as I recognised when I rather, first of all, | 1:11:58 | 1:12:01 | |
unwillingly gave you an audition, which I had to do a half an hour | 1:12:01 | 1:12:04 | |
-before the official auditions happened. -That's right. | 1:12:04 | 1:12:06 | |
You read for five or six minutes and I gave you the part. | 1:12:06 | 1:12:09 | |
Yeah, that's right. | 1:12:09 | 1:12:11 | |
A lot of people would say no, and a lot of people do say no... | 1:12:11 | 1:12:13 | |
Well they, yes, that's quite true. | 1:12:13 | 1:12:15 | |
Because there's like a way to do it and yadda-yadda, | 1:12:15 | 1:12:17 | |
but we broke the rules, and why not? | 1:12:17 | 1:12:18 | |
Well, breaking the rules is what it's all about. | 1:12:18 | 1:12:21 | |
We're glad to have you back... | 1:12:21 | 1:12:22 | |
CHURCH BELLS PEAL | 1:12:22 | 1:12:24 | |
Look, again, look, let's look at that. Isn't it beautiful? | 1:12:24 | 1:12:28 | |
I love the way it's worn, look at the way that is worn. | 1:12:28 | 1:12:31 | |
But it's also such a wonderful piece of abstract sculpture, you see. | 1:12:31 | 1:12:35 | |
Oh, it's fantastic. | 1:12:37 | 1:12:39 | |
When I began doing artwork, I began photographing things like this, | 1:12:39 | 1:12:43 | |
and then began thinking it would be nice to make things | 1:12:43 | 1:12:46 | |
out of something like that, | 1:12:46 | 1:12:47 | |
by just simply having that and perhaps adding a splotch of colour. | 1:12:47 | 1:12:51 | |
My eye was drawn to this, now here's the, | 1:12:51 | 1:12:54 | |
it's there are part of the, um, the railing of this restaurant. | 1:12:54 | 1:12:59 | |
When I was working in Santa Fe, I used to go out with the man | 1:12:59 | 1:13:03 | |
who ran the estate and isolated things like that, | 1:13:03 | 1:13:07 | |
because we found them in, we found them in rubbish dumps. | 1:13:07 | 1:13:11 | |
And so, I would, I would put them on to his pickup truck | 1:13:11 | 1:13:17 | |
and we'd go back and assemble them with something else, welding them. | 1:13:17 | 1:13:21 | |
Yeah, there it only works, | 1:13:32 | 1:13:34 | |
because we, we're back into an unsupported thing again. | 1:13:34 | 1:13:37 | |
It's not bad. | 1:13:39 | 1:13:42 | |
I know, it is interesting what, what happens | 1:13:42 | 1:13:44 | |
when it gets swivelled around, you know. | 1:13:44 | 1:13:46 | |
I think that's pretty good. | 1:13:46 | 1:13:48 | |
-I like that. -Yeah, so do I. | 1:13:48 | 1:13:49 | |
He's not saying it's about anything, you know, | 1:13:49 | 1:13:52 | |
he's not saying this is called Opus No 23 and it's, | 1:13:52 | 1:13:57 | |
it's encouraging you to, like the bricks in the Tate, | 1:13:57 | 1:14:00 | |
to think spatially about the space that is, | 1:14:00 | 1:14:02 | |
he's not saying any of that. | 1:14:02 | 1:14:03 | |
That's what it is, it's a piece of metal, | 1:14:03 | 1:14:06 | |
but if you want to take away those thoughts about it, | 1:14:06 | 1:14:09 | |
as rubbish, as texture, as looking at things more closely, | 1:14:09 | 1:14:11 | |
then you're very welcome to do so. And that's great, you know, | 1:14:11 | 1:14:14 | |
it's a feet on the ground attitude towards creativity. | 1:14:14 | 1:14:18 | |
In the old days, when I came out from anywhere where | 1:14:18 | 1:14:23 | |
we were living, I would come out with a Stanley knife in the dark | 1:14:23 | 1:14:27 | |
and take off, shave off or cut off | 1:14:27 | 1:14:31 | |
pieces of ruined posters on the walls, | 1:14:32 | 1:14:36 | |
and I would take them and pack them away, | 1:14:36 | 1:14:40 | |
and take them back to London, and reassemble them as collage. | 1:14:40 | 1:14:45 | |
And here is my mess of a studio. | 1:14:48 | 1:14:52 | |
And as you can see, the things that I have been making show that | 1:14:53 | 1:14:57 | |
I am absolutely committed to abstract configurations which bear | 1:14:57 | 1:15:02 | |
a very straightforward relationship to the abstract configurations | 1:15:02 | 1:15:07 | |
of the prints and pictures which I have collected for other reasons. | 1:15:07 | 1:15:12 | |
Because I'm absolutely fascinated by the sort of thing which | 1:15:12 | 1:15:17 | |
Kurt Schwitters did and this is the great German artist of the 1920s | 1:15:17 | 1:15:22 | |
and '30s, who introduced a great deal of typographic collage. | 1:15:22 | 1:15:29 | |
Now I found these lumps of timber, and I also found | 1:15:30 | 1:15:33 | |
bits and pieces of sanded circle, used for grinding, | 1:15:33 | 1:15:39 | |
and it was falling to bits, and I placed it on that, | 1:15:39 | 1:15:43 | |
put colours behind it, | 1:15:43 | 1:15:44 | |
and then assembled bits and pieces of now antique typography. | 1:15:44 | 1:15:49 | |
Now, as far as the proprietors of this place are concerned, | 1:15:54 | 1:15:58 | |
that is a piece of wreckage. | 1:15:58 | 1:16:00 | |
Frame it very carefully, and the perspective, | 1:16:00 | 1:16:04 | |
the false perspective, | 1:16:04 | 1:16:06 | |
that is the most wonderful piece of abstract sculpture. | 1:16:06 | 1:16:09 | |
Whoop-de-doo. | 1:16:12 | 1:16:14 | |
My attention is drawn to this, | 1:16:15 | 1:16:17 | |
first of all, that is the most wonderful object there. | 1:16:17 | 1:16:20 | |
Now, pull back, reframe, | 1:16:22 | 1:16:25 | |
so just have that and that and that, | 1:16:27 | 1:16:31 | |
and you've got a piece of wonderful sculpture. | 1:16:33 | 1:16:36 | |
It's a most beautiful object that, now. | 1:16:36 | 1:16:39 | |
What is so interesting, you pass by these things, | 1:16:39 | 1:16:44 | |
and you don't notice them, | 1:16:44 | 1:16:46 | |
and then your attention is drawn to one of them, | 1:16:46 | 1:16:50 | |
and then you see that one as an example of a type, | 1:16:50 | 1:16:55 | |
and the type then draws your attention, | 1:16:55 | 1:16:59 | |
and you think, "I could do a whole exhibition devoted | 1:16:59 | 1:17:02 | |
"to twenty or thirty of these ways in which a lock is framed by the door." | 1:17:02 | 1:17:09 | |
Zoop, here we are, here's another one. | 1:17:09 | 1:17:12 | |
You see there it's got this added thing there and then that, | 1:17:12 | 1:17:17 | |
and then this piece of shiny metal, | 1:17:17 | 1:17:21 | |
and that thing there. | 1:17:21 | 1:17:23 | |
Pull back and, ah, there's your artwork. | 1:17:23 | 1:17:27 | |
On this sideboard are some of the things I've collected. | 1:17:27 | 1:17:33 | |
And none of them are valuable objects, they're, they're what, | 1:17:33 | 1:17:38 | |
I suppose you would have called junk at the time when I spotted them. | 1:17:38 | 1:17:44 | |
I think I picked this up in Florence, | 1:17:44 | 1:17:48 | |
nearly 20 years ago, in the same area where we walked around. | 1:17:48 | 1:17:52 | |
Oh, it's a key. | 1:17:52 | 1:17:54 | |
Oh it's a, it's a key. | 1:17:54 | 1:17:56 | |
And that's the backside of the lock. | 1:17:56 | 1:17:59 | |
Rachel, I think I'm going to have to get that. | 1:17:59 | 1:18:01 | |
FAINTLY: Yeah, I can see it in your eyes. | 1:18:01 | 1:18:03 | |
It's a most wonderful object that, you see, isn't it? | 1:18:03 | 1:18:07 | |
It's lovely, absolutely. | 1:18:07 | 1:18:09 | |
-E quanto? -Centocinquanta. -How much is that? | 1:18:09 | 1:18:13 | |
-Too much, a hundred and fifty. -Oh no, no, oh, it's so beautiful. | 1:18:13 | 1:18:18 | |
Ah, no I can't afford it. | 1:18:21 | 1:18:24 | |
There's something about its abstract format which appealed to me, | 1:18:24 | 1:18:30 | |
I love the, this spiral spring here | 1:18:30 | 1:18:33 | |
and the arrangement of the rectangles, | 1:18:33 | 1:18:36 | |
which are superimposed on something | 1:18:36 | 1:18:38 | |
which was never intended to be seen, | 1:18:38 | 1:18:40 | |
it actually was meant to be seen from in front, | 1:18:40 | 1:18:42 | |
where it actually exercised its function, | 1:18:42 | 1:18:44 | |
it was a thing for locking a door. | 1:18:44 | 1:18:47 | |
Well, I'm not interested in locking a door, | 1:18:47 | 1:18:50 | |
the door for which it was a lock has vanished, | 1:18:50 | 1:18:54 | |
and it now becomes an abstract object, | 1:18:54 | 1:18:57 | |
which has altered its visibility in its afterlife, | 1:18:57 | 1:19:02 | |
in its subsequent existence. | 1:19:02 | 1:19:04 | |
Now, this is all an example of what Nelson Goodman calls | 1:19:08 | 1:19:12 | |
"autographic works," these are works which are made and the extent | 1:19:12 | 1:19:15 | |
to which they survive depends on the survival | 1:19:15 | 1:19:19 | |
of the material out of which they are made, | 1:19:19 | 1:19:22 | |
as opposed to what he calls "allographic works," | 1:19:22 | 1:19:26 | |
which are things like plays and operas, | 1:19:26 | 1:19:31 | |
in which nothing exists until the work is reperformed | 1:19:31 | 1:19:37 | |
in subsequent performances. | 1:19:37 | 1:19:40 | |
He called me up, he was on the phone, and he said, he said, | 1:19:40 | 1:19:44 | |
"I'm doing the Mikado, and I'd like you to come and be Ko-Ko." | 1:19:44 | 1:19:48 | |
And I said, "Wow, what are you going to do with the Mikado?" | 1:19:48 | 1:19:51 | |
And he said, | 1:19:51 | 1:19:52 | |
"I'm going to get rid of all that Japanese nonsense for a start." | 1:19:52 | 1:19:55 | |
And I thought, well, this I have to see. | 1:19:55 | 1:19:57 | |
I'd never seen a Gilbert and Sullivan, | 1:20:10 | 1:20:12 | |
but then I hadn't seen many operas anyway, | 1:20:12 | 1:20:15 | |
and the last operas I think I would be likely to see | 1:20:15 | 1:20:18 | |
is these coy English, sort of sillinesses. | 1:20:18 | 1:20:21 | |
I cannot believe the Japanese world, | 1:20:21 | 1:20:24 | |
people with these potty training names like | 1:20:24 | 1:20:27 | |
Nanki-Poo and Pooh-Bah - "have we done our Nanki-Poos?" | 1:20:27 | 1:20:32 | |
I mean, it was ridiculous to set it in Japan. | 1:20:32 | 1:20:34 | |
And I suddenly remembered that Groucho Marx had taken | 1:20:34 | 1:20:37 | |
part in a version of The Mikado, he'd played Ko-Ko in it. | 1:20:37 | 1:20:41 | |
So I began to think, as I said, | 1:20:41 | 1:20:43 | |
"Well, actually, how about Duck Soup, Freedonia, rather than Japan?" | 1:20:43 | 1:20:49 | |
# We'll give them a rousing cheer | 1:20:51 | 1:20:53 | |
# To show him we're glad he's here | 1:20:53 | 1:20:55 | |
# Hail, hail Freedonia... # | 1:20:55 | 1:20:58 | |
There's a moment when Groucho gets summoned | 1:20:58 | 1:21:02 | |
and comes down to the meeting in Duck Soup. | 1:21:02 | 1:21:05 | |
And I make the entrance of The Mikado exactly like that, | 1:21:11 | 1:21:15 | |
I based it entirely on what happened in Duck Soup. | 1:21:15 | 1:21:18 | |
And he mixed that, the Duck Soup, the Marx Brothers, | 1:21:26 | 1:21:29 | |
and the black and white look, | 1:21:29 | 1:21:30 | |
and the sort of crazy, you know, behaviour. | 1:21:30 | 1:21:32 | |
And he wanted everybody to talk like the queen, | 1:21:32 | 1:21:34 | |
so they talked a bit like that in English received accents, | 1:21:34 | 1:21:38 | |
which in those days everybody spoke like, particularly at the BBC. | 1:21:38 | 1:21:42 | |
# Taken from the county jail | 1:21:42 | 1:21:44 | |
# By a set of curious chances Liberated then on bail, | 1:21:44 | 1:21:51 | |
# On my own recognizances... # | 1:21:51 | 1:21:55 | |
Eric had reluctance about being in the opera, | 1:21:55 | 1:22:01 | |
because he didn't think he could sing well enough. | 1:22:01 | 1:22:03 | |
But it turned out he could sing perfectly well enough | 1:22:03 | 1:22:05 | |
to do a Gilbert and Sullivan, | 1:22:05 | 1:22:08 | |
there are no great challenges to the voice. | 1:22:08 | 1:22:12 | |
And he was very funny and we had a very good time together. | 1:22:12 | 1:22:15 | |
In your anxiety to carry out my wishes, | 1:22:15 | 1:22:19 | |
you have beheaded the heir to the throne of Japan. | 1:22:19 | 1:22:23 | |
Yes, there should be, as if this is, "Yes, I have, in way," | 1:22:24 | 1:22:28 | |
you know, there's a bit of that sort of feeling of the hand movements | 1:22:28 | 1:22:35 | |
used to say, "Yeah, well, ooh, now, I..." Stop it, stop that! | 1:22:35 | 1:22:40 | |
They were filming a documentary and I remember making him laugh, | 1:22:40 | 1:22:44 | |
and he rolled around the floor. | 1:22:44 | 1:22:46 | |
I think I grovelled, I think I was just doing a grovel, | 1:22:46 | 1:22:49 | |
and he went, he just completely went. | 1:22:49 | 1:22:52 | |
Come, come my fellow, don't distress yourself. | 1:22:52 | 1:22:56 | |
LAUGHTER | 1:22:56 | 1:22:58 | |
He just was completely out of control, | 1:23:05 | 1:23:07 | |
rolling around the floor, laughing and laughing and laughing, | 1:23:07 | 1:23:10 | |
and I thought, "Oh, I made Jonathan Miller laugh, I'm very happy now." | 1:23:10 | 1:23:14 | |
OK. I think we should have a break for coffee soon. | 1:23:20 | 1:23:26 | |
AUDIENCE LAUGHS | 1:23:26 | 1:23:29 | |
It's fun, that's all. | 1:23:40 | 1:23:43 | |
I, beg to offer an unqualified apology. | 1:23:43 | 1:23:46 | |
It's a funny musical, or at least I made it funny, | 1:23:46 | 1:23:51 | |
as opposed to facetious. | 1:23:51 | 1:23:53 | |
I suppose there is a paradox about a Jewish atheist undertaking to | 1:24:08 | 1:24:13 | |
produce and direct something which is the epitome of a Christian story. | 1:24:13 | 1:24:20 | |
It's a riveting story, whether you believe | 1:24:20 | 1:24:23 | |
in its metaphysics or not is beside the point. | 1:24:23 | 1:24:26 | |
And it happens also to be, | 1:24:26 | 1:24:28 | |
perhaps some of the most beautiful music, | 1:24:28 | 1:24:31 | |
some of the most dramatically convincing | 1:24:31 | 1:24:34 | |
and eloquent music ever written. | 1:24:34 | 1:24:36 | |
Peter hears the cock crow for the third time | 1:25:04 | 1:25:06 | |
and realises that the prediction of him betraying, | 1:25:06 | 1:25:09 | |
or denying Christ, actually was true, and he has this extraordinary moment | 1:25:09 | 1:25:14 | |
when the, the alto and the violin come and play the Erbarme Dich | 1:25:14 | 1:25:19 | |
I said, "Wouldn't it be a good idea | 1:25:19 | 1:25:21 | |
"if you actually brought the violin across the stage | 1:25:21 | 1:25:24 | |
"and played it into the ear of the grieving figure of Peter?" | 1:25:24 | 1:25:27 | |
I don't think there'd ever been an acted Matthew Passion before, | 1:25:37 | 1:25:41 | |
it was immensely impressive and, and sort of devout people were, | 1:25:41 | 1:25:46 | |
were reduced to, you know, tears and, and rapture and | 1:25:46 | 1:25:53 | |
I remember Jonathan saying after, his success there, | 1:25:53 | 1:25:57 | |
he said, "Not, not bad for an old Jewish atheist," | 1:25:57 | 1:26:02 | |
a phrase which I have appropriated for myself. | 1:26:02 | 1:26:06 | |
In some ways, looking back at what happened to me | 1:27:14 | 1:27:17 | |
as a result of yielding to the invitation | 1:27:17 | 1:27:20 | |
to be in Beyond The Fringe, and then one thing led to another, | 1:27:20 | 1:27:25 | |
I lapsed out of my biology and medicine and, er, neurology. | 1:27:25 | 1:27:31 | |
And I think I will always have some sort of misgiving about | 1:27:31 | 1:27:36 | |
having left what my father was cut out to do, | 1:27:36 | 1:27:40 | |
and what I feel still I was really cut out to do. | 1:27:40 | 1:27:45 | |
He's full of regrets, I think, as a person. | 1:27:45 | 1:27:48 | |
He, whenever I meet him now, | 1:27:48 | 1:27:50 | |
he seems unhappy with the way the world is, | 1:27:50 | 1:27:54 | |
and I think he feels slightly unhappy about the way | 1:27:54 | 1:27:57 | |
the world has treated him. | 1:27:57 | 1:27:59 | |
I think this is completely unjustified, the world loves him, | 1:27:59 | 1:28:03 | |
and this borne out by the television audiences that his programmes | 1:28:03 | 1:28:07 | |
have got over the years, it's borne out by his operas, | 1:28:07 | 1:28:10 | |
which people flock to go and see, | 1:28:10 | 1:28:12 | |
and are repeated over and over again. | 1:28:12 | 1:28:14 | |
AUDIENCE APPLAUD | 1:28:14 | 1:28:15 | |
As he ages, there is just more and more of him I think in, | 1:28:25 | 1:28:29 | |
in terms of experience and with the perspective and depth, | 1:28:29 | 1:28:33 | |
and I think people like Jonathan should, | 1:28:33 | 1:28:35 | |
should live till they're two hundred. | 1:28:35 | 1:28:38 | |
Subtitles by Red Bee Media Ltd | 1:29:07 | 1:29:14 |