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When Britain Went Wild

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We've all been taught to see the '60s as a wild decade, a time of sexual and cultural revolution.

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But it was also a time when another revolution was happening,

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when our attitudes to animals and nature were completely transformed.

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As television took off, a new world of exotic creatures started to enter

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our lives, and a new respect and reverence began to grow.

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That relationship between man and animal completely changed.

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People were just ready to start thinking a little bit more widely about animals.

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Writers like Gavin Maxwell and Gerald Durrell helped us to appreciate and value animals.

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Pioneers such as Joy Adamson, and her life with lions, and Jane Goodall, with her

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research on primates, showed us that animals had something to teach us.

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We're not separate from the animal kingdom.

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We don't rule over it, but we're part of it. That was something new.

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Before the '60s, the British public knew very little about wildlife protection.

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Groups such as the World Wildlife Fund or campaigns to save the whale didn't exist.

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In fact, the very idea that animals might be endangered came as a big shock to us.

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That was a big wake-up call.

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Yes, it was a big change of attitude.

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As our interest in animals grew, so did our awareness

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of their surroundings and the natural world around us.

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And a new word began to be used - the environment, a word hardly recognised before the '60s.

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The idea of "the environment" as a way of talking about what surrounds you was novel.

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It is stunning, the transformation in attitudes.

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In fact it's one of the great untold stories of British social and cultural history.

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This is the untold story of how we fell in love with animals,

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of how we grew to understand our relationship with the natural world. This is the other story of the '60s,

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of When Britain Went Wild.

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The change in our attitudes to the natural world

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was long in the making, but the post-war years were key.

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At that time, few people were engaged with nature or wildlife.

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In fact, very little had changed since the colonial days,

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when protecting animals was all about preserving hunting stocks.

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But there was one man who would change all that.

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Peter Scott was the public face of a new movement and the driving force

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behind the first-ever mass membership wildlife group.

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He encouraged a love for, and a fascination with, the wild,

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which would inspire a generation into caring for animals.

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I think David Attenborough has said,

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if there was to be a patron saint of conservation in Britain,

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it would be Peter Scott. He was a remarkable man.

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Very difficult to find someone,

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certainly in this country,

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who was anywhere near as influential as Peter.

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Of course there were a lot of people behind the scenes,

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but in terms of public presentation, Peter was incomparable.

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Peter Scott was born into a family of an elite class of Englishmen from an earlier age.

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His father, Robert Scott, was a very British hero. Better known as Scott of the Antarctic,

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he had died in his attempt to be the first man to the South Pole when Peter was just two years old.

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Such a background of wealth and privilege was common among many of the early naturalists.

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Peter Scott enjoyed the great outdoors.

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Although we may now find this surprising, he was a passionate hunter.

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I think there's an instinct within us,

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which goes back to our forefathers who had to kill to eat,

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and I think it's still there.

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And I'm bound to say that I passed through a period,

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and I hate remembering it,

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but I don't want to cover it up because it's true.

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It was a time when I really took great delight

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in successfully killing.

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I... I... I...

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I hate to think it was so, but it was so.

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In our generation, that wasn't an odd thing to do.

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A lot of the people most interested in conservation and wildlife

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were in fact people who'd been brought up in the country

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and shooting was absolutely part of ordinary life.

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That route, although it does seem strange,

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is a route that many others have followed. It works for people.

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It's something which someone coming from a very different background,

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not as a hunter but perhaps as a city-dwelling nature lover, might find inexplicable.

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But the truth of the matter is that there are lots of hunters who have become conservationists.

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It was through hunting that Scott developed his keen interest in wildlife,

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but his conversion was a turning point in his life.

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He gave a very poignant account

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of his conversion.

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He describes in his book, The Eye Of The Wind, how he shot a goose

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and it was wounded - it broke its legs.

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It was out on the mudflats and nobody could get to it.

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It was there that morning and then it was there the same afternoon when they went back

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and it was there the next day.

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He decided that, you know,

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he didn't enjoy this and he didn't want to do this any more.

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So he switched from being primarily a hunter

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to studying their behaviour and eventually of course to conservation.

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Scott, the hunter-turned-conservationist,

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fell in love with the wetlands of the Severn Estuary and, in 1946,

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he set about creating a sanctuary for wild and endangered birds.

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It became the Wildfowl & Wetlands Trust at Slimbridge in Gloucestershire.

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First of all, they lived in a little cottage.

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There was a little cottage on the estate there,

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the part that they bought.

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Then they built this spectacular low red-brick house,

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which had this enormous window looking out over the pond,

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with wild ducks coming in and landing practically in front of you, you know - "splash"!

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Scott was convinced that people would share his passion for wildlife, and Slimbridge was unique

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in letting them get close to the birds.

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It was another great thing about Peter Scott, that he realised that the environmental movement

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was about bringing people to see wildlife, to get excited by it, showing them the wonders

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and complexity of the natural world, and getting them enthused and passionate and engaged with it.

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I was very small when it was set up.

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It was all a lot barer.

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There was much less growth.

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The people were allowed everywhere.

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People were allowed into this pen as well.

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That was an interesting concept, that we had our meals overlooked by the public!

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If they would look in with binoculars, sometimes we'd look back at them with binoculars.

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It was a wonderful place to grow up.

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I mean, we had the freedom of the pens.

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We had the ability to roam anywhere

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and enjoy the birds. It was fantastic, and I remember going out

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with my little box camera, being so excited that I could get pictures of birds really, really close.

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The success of Slimbridge was helped by Scott's connections.

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He even asked the then Princess Elizabeth

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to bring some rare trumpeter swans back from Canada, which she did.

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But then he had always mixed in very influential circles.

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Right from a child, he was well-connected,

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because his mother was really quite a social person,

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and she knew all sorts of people in government and elsewhere.

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She introduced my father to all sorts of interesting people.

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Of course, he was already and Olympic skater and a yachtsman, and all the other things that he did.

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So his skills helped him to meet these people with his own confidence that he could do things.

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Peter Scott was able to draw on the family history, if you like,

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and reinvent that in terms of his passion for wildlife conservation

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at Slimbridge and all the rest of it.

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There was something so archetypally English, British,

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about what he was doing.

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And did it with such eloquence and such a commanding understanding of the natural world.

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And his love of it just communicated itself to people almost effortlessly.

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"Even if you don't belong to such an organisation..."

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This ability to communicate his passion had already been exploited on the radio,

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where Scott presented several popular wildlife programmes.

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But it was television which would make him a household name.

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It was producers at the newly-formed Natural History Unit in Bristol

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who would discover Scott's talent for the screen.

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We'll show his mask,

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a little turned-up bill...

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We went along to see him do this lecture.

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He stood up on the stage, he talked to the people - he had them in the palm of his hand.

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He had a big blackboard on the stage, and he sort of drew his ducks.

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And then he showed little bits of film, short squirts of film on a big screen there.

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And we went back home and said,

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"It's just television!"

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The programme Look was first broadcast in 1955,

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and would run for a further 26 years.

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And there you see my studio window on the left there,

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and just inside is where I am, sitting and talking to you now.

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This rare early recording shows how some of the first Look programmes

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were broadcast live from Peter Scott's house at Slimbridge.

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On the easel here is a picture I haven't really quite finished, actually.

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It's a picture I've been painting. And it shows some pintails,

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which are British ducks, flying across in front of this very window. I mean, that is roughly speaking,

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the view you have just been looking at, through the window, across the pond.

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Now let's see if we can find something a bit more

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typically British in the way of ducks out there on the pond.

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We would have Peter sitting down in his studio, what was effectively his studio.

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And he could be talking about the ducks the other side of the window,

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and he could turn and draw the duck for you.

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..part of the collection birds, and put them into this enclosure here.

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This was his secret weapon, really,

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the fact that he could talk intelligently

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about these beautiful birds,

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but also do drawings to make a particular point.

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-# You're gonna find me

-Ba-ba-ba-ba

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-# Out in the country

-Ba-ba-ba-ba... #

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It's difficult for a daughter to say, but I think that he was very charismatic.

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He was very articulate, so he explained things very clearly.

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Certainly, it was new, it was a different thing.

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Wildlife hadn't been shown in that way at all before.

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# Ba-ba-ba-ba, ba-ba-ba-ba... #

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I remember all the lights. There's much less lighting now,

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cos it was very hot, I remember, when the lights were on.

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And us children used to sit in the background.

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It was always a big event, lot and lots of wires.

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Yeah, I do remember.

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George, the golden eagle is fairly secure.

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It's still a rare bird, but it's fairly secure in Scotland.

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Peter Scott took to television like one of his ducks to water.

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And Look enjoyed unrivalled success with an ever-increasing audience.

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And perhaps I should explain that these are only the highlights that you've seen of a very much longer...

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Peter was a lovely man. He was very easy to work with, certainly.

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But everything had to go his way.

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If there was any kind of problem, and things weren't going nicely,

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he would be inclined to stamp his feet

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and have a little bit of a tantrum.

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But always in the interest of the job that you were involved in.

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And his job, as he saw it, was to persuade people

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that wildlife needed to be protected.

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Well, if we decide that we have got a responsibility

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to prevent animals from becoming extinct, what can we do about it?

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Well, in extreme cases we can, and I think we should,

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take into captivity a proportion of the population

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into some zoo, park or reserve,

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and try and breed them there and build up the stock.

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Now, here at the Wildfowl Trust, we have done that with several species.

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We have particularly had some success with the nene,

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or Hawaiian goose.

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Long before it became widely acknowledged,

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Peter Scott recognised the importance of conserving wildlife.

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He was also aware that engaging the public in this battle was crucial.

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Scott was one of a handful of people who realised that television

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would become one of the most important tools

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in persuading people to care about animals.

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TV CAMERA BEEPS AND FILM SPOOLS

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'Keep it quiet, please. Stand by.'

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In the mid-'50s, television was a completely new medium, but it was one

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which lent itself to engaging the British in a love of wildlife.

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There were two kinds of television programmes.

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The first and original kind of animal programme

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was one in which animals are brought from the London Zoo

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in the middle of the night, stuck on a table,

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and a man from London Zoo said, "This is..." whatever it was.

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And this poor creature sitting there, blinking in the sunlight,

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before it was stuffed back into a sack and taken away.

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We're going to show you some of our special favourites from the zoo. The first being Peter, a chimpanzee.

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The next one we're showing you is a cockatoo named Old Bill.

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-COCKATOO:

-Come and shake hands!

-Come and shake hands.

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I watched avidly. It was exciting. You saw animals

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you'd never seen before,

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it might bite the person who was handling it,

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or escape or pee down his front or those sort of things.

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So it was live television.

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Well, I've got a handful here! And hello, how are you?

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And then there was a couple called Armand and Michaela Denis.

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The title of our first chapter today is Search For Gertie.

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-You had better explain who Gertie is.

-Oh, yes.

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Travellers' Tales, with Michaela and Armand Denis, was a big departure

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from studio-based programmes and hugely popular in the '50s.

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..no idea where this photograph had been taken,

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or if this animal was still alive.

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Then one day, an old Tanganyika settler started talking to me

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about a rhinocerous he knew,

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in the old Amboseli Game Reserve.

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Armand and Michaela had been filming in East Africa for a long time.

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They actually put together a feature film.

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And in order to get publicity for the feature film, they also took

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the outtakes and made a 30-minute trailer which gave it publicity.

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And the BBC put it on and it was sensational.

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TRUMPETING

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Everybody went, "Gosh, look! Elephants, ooh!"

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Fabulous. And so those were the two things.

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But it didn't have the immediacy that the zoo programmes had.

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And hello, how are you?

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The problem with the zoo programmes

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was that they showed animals out of their ecological context.

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And I thought, "Wouldn't it be great

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"if we combined the two qualities of those things?"

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The live show of the animal that's on the table, but also a film.

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So I cooked up an idea that someone from the zoo and I should go together

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to catch animals for London Zoo, which is what zoos did in the 1950s.

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This is the story of a search for a dragon.

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The island on which it lives lies in Indonesia.

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We were going to try and film and collect some of the other interesting creatures,

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which we hoped to find on our way.

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Lizards of all sorts were very common around the village.

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And one of the commonest, and in many ways the loveliest, I saw in this small tree.

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It is a Tokay gecko.

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And here he is in the studio.

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He's about, er...

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..nine inches long.

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Quite a big gecko, as geckos go.

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And quite a fierce one.

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He lives on frogs,

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mice, lizards, and even young birds.

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Yes, I mean it's a mercy that nobody ever sees those programmes any more.

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I wouldn't mind if the BBC lost them!

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They're pretty crude programmes.

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I mean, there are sequences in it

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which are attempts at decent natural history filming.

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'After less than two hours, which we thought wasn't bad going,

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'we came at last to the village,

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'one enormous house, over a hundred yards long,

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'in which all the villagers live.'

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It's very hard for us now actually to imagine

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just how incredible it would have been to be one of the first viewers of something like Zoo Quest.

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A programme like that, where people who have never travelled

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outside the United Kingdom,

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who maybe have never travelled outside their own town, you know.

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They might have lived in Bradford all their lives.

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'As I walked past them,

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'I discovered that this temple was sacred to the cave's inhabitants.

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'Millions of millions of bats.'

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And a programme like Zoo Quest, which brings you face-to-face with things like a Komodo dragon...

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There was the dragon. This was tremendously exciting for us.

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Something that you could never envisage seeing otherwise.

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It's impossible to overestimate the impact of something like that, because it really brings

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the great variety of the planet into your living room.

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Before the '50s, it would have been inconceivable.

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So it had an enormous impact in awakening people

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to the huge variety of wildlife around the world.

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But also, of bringing to people's attention

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the extent to which it was endangered and under threat,

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and so on. So I think those first wildlife shows,

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in the '50s and '60s, were absolutely crucial

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in stimulating people's environmental interests.

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As the public's appetite to see wild animals on the screen grew,

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so did the ambition of the film-makers,

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as they explored more and more of the natural world.

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Hans and Lotte Hass gave the audience a taste

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of their exotic underwater adventures.

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'One of our tasks was to get photographs in true colour

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'of the many varieties of coral fish in the Red Sea.

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'Quite a task.'

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There was this Austrian couple with a dream life.

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I mean, this wonderful schooner,

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sailing the south sea.

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The Xarifa, it was called.

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And there was a most beautiful blonde girl in a tight white swimming suit,

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who was continually diving over the side and swimming down, grappling with a monster from the deep.

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And Hans with his beard, "Lotte is going to do this," and so on.

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Riveting. I mean, I couldn't wait until the next week.

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They were before Cousteau appeared on television.

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And they, as far as the British television viewer was concerned,

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that was the first time you'd seen under the waves.

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That was the first time you'd seen a coral, that was the first time you'd seen a shark underwater.

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Wow! I mean, amazing.

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Here's one waterproof case

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which I developed for an ordinary twin-lens reflex camera.

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And that's my camera. It's smaller and handier for the shots I like to take.

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Hans and Lotte Hass

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were like the Fanny and Johnnie Cradock

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of the underwater world, really.

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It was almost as much watching the pair of them interact,

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watching the human species was as interesting as watching the underwater films.

0:22:170:22:22

But, of course, they brought underwater films

0:22:220:22:25

to everybody's front room for the first time ever.

0:22:250:22:29

'This is my special friend, the puffer fish.

0:22:300:22:34

'Wherever I dive, it's not long before it joins me.'

0:22:340:22:37

I worked with Hans for 18 months on Diving to Adventure.

0:22:390:22:43

He wasn't great on his writing.

0:22:430:22:47

And Johnny Morris, who I was working with at that time,

0:22:470:22:51

we got Johnny in to do some rewriting on his material.

0:22:510:22:54

You have to get him into focus, and think about all the other...

0:22:550:22:59

Hans absolutely loved to bring God into it. He would be in with a very beautiful underwater scene,

0:22:590:23:06

and he would like to say,

0:23:060:23:08

"Here, in this underwater scene with this beautiful coral,

0:23:080:23:11

"we feel very close to God." You see?

0:23:110:23:14

And we were not so keen on this.

0:23:140:23:17

And Johnny would rewrite some of his stuff.

0:23:170:23:21

But he was great, Hans, a really good guy.

0:23:210:23:24

Although television at this time was in its infancy, the appetite for wildlife programmes was strong.

0:23:310:23:36

The British public was discovering it had a fascination for animals.

0:23:360:23:41

But it had yet to find a way of taking this beyond the screen.

0:23:410:23:45

# ..never break, never break never break, never break

0:23:450:23:51

# This heart of stone

0:23:510:23:53

# Oh, no, no, you'll never break... #

0:23:530:23:55

Relatively few people were committed to an interest in wildlife.

0:23:550:23:59

Societies didn't have big memberships. The RSPB was a relatively small society.

0:23:590:24:05

The British Trust for Ornithology was practically a handful of people, with very few members.

0:24:050:24:11

And it grew exponentially really, and I think largely because of television.

0:24:110:24:16

I believe those early television programmes opened people's eyes

0:24:160:24:20

to something they were already programmed for and hadn't realised.

0:24:200:24:24

As well as television, there were films being screened in cinemas

0:24:260:24:29

which started to challenge people's perceptions.

0:24:290:24:33

In 1966, the film of Joy Adamson's book, Born Free, became a blockbuster.

0:24:330:24:38

It told the story of how a British couple living in Africa

0:24:380:24:41

brought up a lion, eventually releasing it back into the wild.

0:24:410:24:47

The film starred Virginia McKenna and her husband, Bill Travers.

0:24:470:24:50

Based on a true story, it was unique in the near-documentary way the actors had to work with the animals.

0:24:500:24:57

It challenged the idea that a wild animal was something to be feared.

0:24:570:25:02

I think people's attitude towards wild animals, particularly lions,

0:25:020:25:07

of course, in this case, was changed by the story of 'Born Free'.

0:25:070:25:12

The relationship of two people with a wild lioness,

0:25:120:25:16

it was like a fantasy, and yet it wasn't a fantasy.

0:25:160:25:19

It was absolutely, probably one of the most truthfully-written stories,

0:25:190:25:25

I think, ever told,

0:25:250:25:27

about relationships between man and wild animal.

0:25:270:25:30

And I think it was so uplifting for people.

0:25:300:25:34

It opened so many doors for them.

0:25:340:25:36

We had these stereotypes.

0:25:360:25:38

We had the fierce wild animal and the human that's terribly afraid of it.

0:25:380:25:43

And this knocked away all those misconceptions.

0:25:430:25:47

'Soon her characteristic curiosity prevailed, and she enjoyed herself tremendously.'

0:25:470:25:51

In a scene such as this,

0:25:510:25:53

where Virginia and Bill even swim with the lion,

0:25:530:25:56

audiences were presented with a completely new concept.

0:25:560:26:00

For Virginia, the close relationship she had to build with the lions to make the film was a revelation.

0:26:000:26:05

There was just something about us being able to swim in the ocean with a lioness between us, you know...

0:26:070:26:13

was incredible. Absolutely incredible.

0:26:130:26:16

The making of Born Free had a lasting impact on Bill and Virginia.

0:26:160:26:21

Our life was completely changed from that moment onwards.

0:26:210:26:26

From that moment when we stepped onboard the boat in London

0:26:260:26:29

to sail to Mombasa with our children to make the film,

0:26:290:26:32

and we were pacing the deck reading books about lions,

0:26:320:26:35

because we didn't really know anything at all,

0:26:350:26:37

from that very moment, our life had changed forever.

0:26:370:26:42

Joy Adamson's work revealed how close we could get to wild animals.

0:26:440:26:48

There'd be another pioneering woman in the '60s,

0:26:480:26:51

who would take this even further.

0:26:510:26:53

Jane Goodall,

0:26:530:26:54

a British researcher, spent years studying primates in the African jungle.

0:26:540:26:58

She opened a window onto their lives, which showed how much we have in common with them.

0:26:590:27:05

It gripped the public.

0:27:050:27:07

# For your love

0:27:070:27:09

# I'd give you everything and more and that's for sure

0:27:090:27:13

# For your love

0:27:130:27:14

# I'd bring you diamond rings and things right to your door... #

0:27:140:27:18

Jane Goodall is totally unique.

0:27:180:27:22

Here was this slight, pretty English girl,

0:27:220:27:25

going off into the jungle, as it were,

0:27:250:27:29

you know, absolutely on her own.

0:27:290:27:32

And I seem to recall that

0:27:340:27:36

she was the first scientist going to do this kind of research work

0:27:360:27:42

that gave her study animals names.

0:27:420:27:44

Before, they were just called by numbers or letters, or something.

0:27:450:27:49

But she gave them names.

0:27:490:27:51

So they were individuals with characters and personalities,

0:27:520:27:56

and of course that's what brought all of us into the story.

0:27:560:28:00

I think the Goodall and the Adamson effect was to make people realise

0:28:000:28:05

that the boundaries between human and animal were much more blurred.

0:28:050:28:11

I don't think people had really appreciated the extent to which

0:28:110:28:14

we were effectively part of the same kingdom, if you like.

0:28:140:28:17

And that you could have this relationship with an animal

0:28:170:28:20

which wasn't master-and-servant,

0:28:200:28:22

but it was that you're both participants in the natural world.

0:28:220:28:27

So, Joy Adamson raising the lion cub,

0:28:270:28:30

or Jane Goodall actually striking up almost relationships

0:28:300:28:35

with individual primates, it kind of...

0:28:350:28:39

It brings home to people the extent to which

0:28:390:28:41

we are not separate from the animal kingdom.

0:28:410:28:43

We don't rule over it, but we're part of it.

0:28:430:28:46

That was something new, that sense.

0:28:460:28:48

Their huge tails

0:28:480:28:51

hung down like bell ropes.

0:28:510:28:54

The idea that animals and humans might be equal partners in the natural world,

0:28:540:28:58

was also being explored in a new wave of literature, in stories which would influence a whole generation.

0:28:580:29:06

Gerald Durrell's books about animals were bestsellers across the world,

0:29:180:29:23

and even became part of the school curriculum in Britain.

0:29:230:29:26

He wrote his most famous book in 1956.

0:29:260:29:30

My Family And Other Animals describes his childhood on the island of Corfu,

0:29:300:29:35

and his adventures with a whole host of wildlife.

0:29:350:29:38

"Some 20 feet away from me,

0:29:420:29:45

"the sea seemed to part with a gentle swish and gurgle.

0:29:450:29:50

"A gleaming back appeared,

0:29:500:29:51

"gave a deep, satisfied sigh and sank below the surface again.

0:29:510:29:57

"I had hardly time to recognise it as a porpoise,

0:29:590:30:01

"before I found I was right in the midst of them.

0:30:010:30:05

"They rose all around me, sighing luxuriously,

0:30:080:30:13

"their black backs shining as they humped in the moonlight."

0:30:130:30:17

He made animals so accessible to people.

0:30:310:30:35

He was able somehow to get people,

0:30:350:30:37

and their personalities and feelings and emotions,

0:30:370:30:41

to connect with those of the animal,

0:30:410:30:43

if you can say animals have such things.

0:30:430:30:45

Some people said, "Oh, Gerry's writing's just anthropomorphic.

0:30:450:30:48

"He just gave human qualities to the animals he wrote about."

0:30:480:30:51

But he really didn't.

0:30:510:30:53

If you read it very closely, it's not sentimental.

0:30:530:30:55

It's just making the animals understood, and bringing out

0:30:550:31:01

sort of a connectivity between people and animals.

0:31:010:31:04

I think that's why Gerry's writings have been so influential.

0:31:040:31:08

There are so many people I meet today in the conservation world,

0:31:080:31:11

and what they're doing today, they tell me,

0:31:110:31:14

they owe to their first reading of Gerald Durrell's books,

0:31:140:31:17

particularly My Family And Other Animals.

0:31:170:31:19

It's not them and us, humans and animals.

0:31:190:31:23

The animals are given human characteristics, they're given personalities.

0:31:230:31:27

There, they are humanised in a way that makes them enormously appealing, and makes

0:31:270:31:32

them cute and cuddly and amusing, and all those kinds of things, that lead us to sympathise with them.

0:31:320:31:38

HE BRAYS LOUDLY

0:31:380:31:41

DISTANT, SIMILAR BRAYING

0:31:520:31:55

Gerry was huge fun to be with.

0:31:580:32:00

I mean, he was...

0:32:000:32:02

..full of humour, full of jokes.

0:32:040:32:07

And he loved animals.

0:32:070:32:10

Many people's views of wild animals come from the pages of books they discovered early in life.

0:32:110:32:17

Besides Durrell, there was another author writing at this time whose books influenced millions.

0:32:240:32:30

Gavin Maxwell became world famous for his semi-autobiographical book, Ring Of Bright Water.

0:32:320:32:38

Published in 1960, it told the story of his adventures living with a wild otter.

0:32:380:32:45

It would later be made into a film, once again starring Virginia McKenna.

0:32:450:32:49

Ring Of Bright Water

0:32:510:32:54

was complex, erm...

0:32:540:32:56

..written by a complex man...

0:32:580:33:01

..who had many dark periods in his life.

0:33:030:33:07

And not all the stories of the otters are that joyful.

0:33:070:33:11

And yet,

0:33:110:33:13

it is this...

0:33:130:33:16

this joyfulness, it's the rapport that he had with his animals,

0:33:160:33:22

the affection he felt for them...

0:33:220:33:26

his extraordinary gift of description of nature.

0:33:260:33:32

The magic of his creative writing.

0:33:330:33:38

It's all about involving us, isn't it?

0:33:380:33:41

Allowing us to reach out and experience the things with the writer.

0:33:410:33:44

It's gathering us in so that we share these experiences.

0:33:440:33:49

And he was a master of that.

0:33:490:33:51

"He became for me the central figure

0:33:590:34:02

"among the host of wild creatures with which I was surrounded.

0:34:020:34:06

"The waterfall, the burn,

0:34:060:34:08

"the white beaches and the islands.

0:34:080:34:11

"His form became the familiar foreground to them all.

0:34:110:34:14

"Or perhaps foreground is not the right word.

0:34:140:34:18

"For at Camusfearna, he seemed so absolute a part of his surroundings,

0:34:180:34:22

"that I wondered how they could ever have seemed to me complete

0:34:220:34:26

"before his arrival."

0:34:260:34:27

I think it was his ability to capture

0:34:300:34:32

not just a sense of place

0:34:320:34:34

and of this sort of seemingly idyllic lifestyle,

0:34:340:34:38

but it was the personal connection with basically wild animals.

0:34:380:34:43

That idea that he could capture so lyrically that relationship

0:34:460:34:51

between man and beast was something I found hugely attractive.

0:34:510:34:56

I think Ring Of Bright Water was a component

0:35:020:35:08

of the way that we started to think about wild animals differently,

0:35:080:35:13

because it was the personal relationship,

0:35:130:35:17

like it was with the Adamsons and Elsa, it was Gavin with Mij.

0:35:170:35:20

And the possibility that these extraordinary relationships can happen.

0:35:210:35:27

I think what's crucial about these books,

0:35:330:35:35

the Gerald Durrell or the Gavin Maxwell,

0:35:350:35:37

is that they appeal to people

0:35:370:35:39

who, of course, don't live in the countryside.

0:35:390:35:41

They represent a kind of escapism, back to the land, back to the vanished England of hedgerows

0:35:440:35:51

and otters and all of this kind of thing.

0:35:510:35:54

They conjure up a world that most people, of course, wouldn't encounter in their daily lives.

0:35:540:35:59

So environmentalism has always had this kind of escapist aspect to it,

0:36:010:36:06

and I think books like these are able to bring in a mass audience,

0:36:060:36:09

they're not written for a tiny group of true believers,

0:36:090:36:12

they're written and they convert a mass audience

0:36:120:36:15

by not being preachy, and I think that's what made them so effective.

0:36:150:36:19

But for Gerald Durrell, his books were only part of the story.

0:36:210:36:24

They became a means to an end.

0:36:240:36:27

As his fame increased, he used his influence and money to try and change the very concept of the zoo.

0:36:270:36:34

We would shudder today at the sight of distressed animals behind bars,

0:36:440:36:49

but before the '60s, people didn't appreciate that wild animals might be suffering.

0:36:490:36:54

Zoos hadn't changed much since Victorian days.

0:36:540:36:58

At the time, most zoos really were just menageries, and their attitude

0:37:030:37:09

was just something we can't really fathom today.

0:37:090:37:13

No real respect for animals.

0:37:130:37:16

Another hangover from Victorian times, still evident in the '50s, was an obsession with collecting

0:37:160:37:22

and cataloguing specimens, as David Attenborough encountered during his Zoo Quest days.

0:37:220:37:28

The London Zoo was founded in the early 19th century,

0:37:280:37:31

and it wasn't founded as a zoo, it was founded as a Zoological Society.

0:37:310:37:35

And its primary aim was not necessarily to keep animals

0:37:350:37:38

to show people, it was to assemble specimens

0:37:380:37:43

of all the animals that you could find,

0:37:430:37:46

so it was still a hangover from the 19th-century cataloguing days.

0:37:470:37:51

So that it led to things that you would think absurd now.

0:37:510:37:55

There was a thing called the Small Mammal House, which was the size of,

0:37:550:37:59

I don't know, a large greenhouse.

0:37:590:38:02

And the cages were all exactly the same size, this size,

0:38:030:38:08

about that big,

0:38:080:38:09

and they had a little box at the back which was the nest box.

0:38:090:38:13

And you would go in and they all had all these names on it, you know,

0:38:130:38:16

the Gambian pouched rat, etc.

0:38:160:38:21

And you could probably see not a single animal, they were all asleep.

0:38:210:38:26

But that was of no consequence to the Zoological Society of London.

0:38:260:38:30

They wanted to catalogue it and describe its habits

0:38:300:38:33

while it's alive,

0:38:330:38:35

but they were particularly interested in having the dead body.

0:38:350:38:38

They had on staff a man called the prosector,

0:38:400:38:43

whose job it was to take these animals when they died

0:38:430:38:48

and dissect them and publish the results.

0:38:480:38:51

# Rescue me... #

0:38:510:38:52

As a young man, Gerald Durrell had been an animal collector for zoos.

0:38:520:38:56

He'd spend months travelling the world and catching animals to bring home.

0:38:560:39:01

-But as time went on, he became increasingly disillusioned.

0:39:010:39:05

# Come on and rescue me... #

0:39:050:39:06

There was the attitude,

0:39:060:39:07

"Well, there are plenty more where they came from."

0:39:070:39:10

And Gerry had just slaved and worked and tried to keep these creatures alive, and learned how to do it

0:39:100:39:16

for so many months and then just to hand them over, well, that drove him absolutely mad.

0:39:160:39:23

And I don't know when was the exact moment, but he decided,

0:39:230:39:27

"I'm not going to do this any more for anybody else,

0:39:270:39:30

"I'm going to develop and establish a place of my own as a sanctuary

0:39:300:39:35

"where I can actually help save these creatures as species,

0:39:350:39:40

"save species from extinction."

0:39:400:39:42

Long ago I decided that when I finally got a zoo of my own,

0:39:490:39:52

it would have to be able to do certain things.

0:39:520:39:55

It would act as a sanctuary for animals which were in danger in the wild.

0:39:550:39:59

And it would give people a chance of learning more about animals, both to increase their own knowledge

0:39:590:40:05

and to enable the animals to be looked after with much more skill.

0:40:050:40:09

Durrell was one of the first to promote the idea

0:40:090:40:12

of captive breeding, breeding endangered species in zoos and later releasing them back into the wild.

0:40:120:40:18

When he started to plan his own zoo in Jersey,

0:40:180:40:21

he looked to pioneer Peter Scott for inspiration and advice.

0:40:210:40:25

# Rescue me... #

0:40:250:40:27

Gerry had great regard and great respect for Peter.

0:40:270:40:30

And indeed when Peter set up the Wildfowl & Wetland Trust

0:40:300:40:34

in Gloucestershire, Gerry knew all about it and wrote to Peter

0:40:340:40:39

and wanted to model his own setup,

0:40:390:40:42

that eventually happened in Jersey, on Peter's.

0:40:420:40:46

Gerry, he loved animals but he also loved twisting the tail of authority.

0:40:460:40:51

He was not a man who was necessarily a respecter of persons or position.

0:40:510:40:58

He served his apprenticeship in London Zoo,

0:40:580:41:01

and was, and let it be known, perfectly clear

0:41:010:41:04

that he thought they were rubbish,

0:41:040:41:06

by and large, that they didn't know how to look after animals properly.

0:41:060:41:11

And that he was going to teach them.

0:41:110:41:13

# When you walk in the Garden... #

0:41:130:41:16

I thought he was mad.

0:41:160:41:17

# In the Garden of Eden... #

0:41:170:41:19

The London Zoo COST money, it didn't make money,

0:41:190:41:22

London Zoo COST, and here was Gerry, going to set it up.

0:41:220:41:25

I mean, like digging a hole in which to pour money.

0:41:250:41:28

# Does your heart understand?

0:41:280:41:31

# When you walk in the Garden... #

0:41:310:41:35

Gerry was the first to take seriously the possibility of breeding in zoos to replace in the wild.

0:41:350:41:42

It's a very big job to do that.

0:41:420:41:45

There's more to it than meets the eye with this business.

0:41:450:41:48

But he did it, you see. And he was extraordinarily persuasive,

0:41:480:41:52

and he persuaded people that this would be a wonderful thing,

0:41:520:41:55

which indeed it is, was and is.

0:41:550:41:57

# When you're yearning for loving and she touches your hand... #

0:42:000:42:05

Jersey Zoo became a role model for the way zoos are run,

0:42:050:42:09

and famous around the world as a centre for conservation.

0:42:090:42:13

But in the early days, it was a continual battle to finance the project.

0:42:130:42:18

Durrell raised funds with his writing

0:42:180:42:21

and from television appearances, where his natural talent was soon recognised.

0:42:210:42:26

I don't think we ought to go into that, Peter!

0:42:260:42:28

We ought, perhaps, to look at Patagonia on the big map.

0:42:280:42:32

Yes, I'd like to show you where we went, Peter.

0:42:320:42:35

'We were doing the Look programme at the time.'

0:42:350:42:38

I saw a thing in the newspaper that he'd just got back and he'd brought

0:42:380:42:41

a whole bunch of animals and was keeping them in Bournemouth.

0:42:410:42:46

So I found his telephone number, rang him up, and said, as I said

0:42:460:42:49

to all these other people in those days, "Have you got any film?

0:42:490:42:53

"Did you film while you were there?"

0:42:530:42:55

"Yes," he says. He had his Mickey Mouse camera, and he filmed the animals while he was away.

0:42:550:42:59

So I said, "Are you interested in the thought of being on telly?"

0:42:590:43:03

He said, "Yes, of course, I would love it,

0:43:030:43:05

"but they won't have me because they've got David Attenborough."

0:43:050:43:09

He was paranoid about David, you see, so I said, "Not necessarily."

0:43:090:43:12

We were knocked out by the thought of having Gerry,

0:43:120:43:16

'because Gerry Durrell was famous because of the book.'

0:43:160:43:19

This is the Tembeling river

0:43:190:43:21

in the centre of Malaya.

0:43:210:43:24

Jackie, my wife, and I are going up to see the National Park, the biggest

0:43:240:43:28

of Malaya's national parks, and it's a journey that takes about six hours by boat.

0:43:280:43:33

By this sort of boat, anyway.

0:43:330:43:35

I can see some rough water ahead.

0:43:350:43:36

Durrell went on to make

0:43:380:43:40

many hugely popular and successful television programmes,

0:43:400:43:43

drawing the audience in

0:43:430:43:45

with the same powers of description

0:43:450:43:48

that he'd used in his books.

0:43:480:43:49

You see that strange white throat that he keeps inflating?

0:43:490:43:53

Looks rather like the sail of a sailing ship?

0:43:530:43:56

It's a territory display, he's obviously warning off another male

0:43:560:44:00

who's wandered into his territory.

0:44:000:44:02

Though it doesn't look like it, it's actually a flying lizard.

0:44:060:44:10

The wings aren't really wings at all in the sense that a bird or a bat has wings.

0:44:110:44:16

They're rather like two sections of umbrella on each side of his body.

0:44:160:44:20

Thin skin supported by elongated rib bones.

0:44:200:44:24

Though he's called a flying lizard,

0:44:240:44:26

it would probably be more accurate to call him a gliding lizard.

0:44:260:44:30

If you wait long enough, you can sometimes see them performing.

0:44:300:44:34

Now, I think he's going to take off.

0:44:390:44:41

There, isn't that incredible?

0:44:440:44:46

'Gerry absolutely loved television and filming.'

0:44:480:44:51

He said if he hadn't been an animal collector for zoos,

0:44:510:44:54

he would've been a film-maker.

0:44:540:44:56

And he certainly saw that as a way to get the message across.

0:44:560:44:59

There were his books, of course,

0:44:590:45:01

but he loved being both behind the camera and in front of the camera,

0:45:010:45:05

and tried to do that as often as he could.

0:45:050:45:09

Television presenters such as Durrell and Peter Scott saw it as part of their duty

0:45:090:45:13

to raise people's awareness about the plight of endangered species around the world.

0:45:130:45:19

Television would be an essential tool in getting people to become

0:45:190:45:23

actively involved in wildlife issues and Scott used his Look series as a platform to voice concern about

0:45:230:45:30

animals in danger of becoming extinct.

0:45:300:45:32

This is a programme about the wild animals of the world,

0:45:320:45:38

their place in our lives today and their place in our lives tomorrow.

0:45:380:45:45

You see, comfortably at the back of our minds is the idea that out in Africa or India or somewhere,

0:45:450:45:51

there are still millions of these great wild animals roaming the jungles and deserts,

0:45:510:45:56

millions of lions, millions of elephants, millions of giraffes.

0:45:560:46:02

Well, it just isn't true.

0:46:020:46:05

There are probably today more lions in the world's zoos

0:46:050:46:09

than there are wild in Africa.

0:46:090:46:11

When someone like Peter Scott said,

0:46:130:46:15

"You know, don't you, all these are in danger?"

0:46:150:46:18

it did make you wake up.

0:46:180:46:22

But raising awareness at home wouldn't be enough.

0:46:240:46:27

Peter Scott needed to take his message to an international audience.

0:46:270:46:30

In 1961, Peter Scott joined a group of leading naturalists

0:46:440:46:48

at a conference held by the International Union for Conservation Of Nature.

0:46:480:46:54

They drew up a charter, stating that everyone had a responsibility

0:46:540:46:58

to protect endangered species for future generations.

0:46:580:47:02

Scott used his influence and public image to raise money

0:47:050:47:09

for the charter, helping to form the World Wildlife Fund.

0:47:090:47:12

A World Wildlife Charter

0:47:180:47:21

to meet what amounts to a state of emergency for wildlife,

0:47:210:47:26

and now we've got a World Wildlife Fund,

0:47:260:47:30

which is being launched to give it teeth.

0:47:300:47:32

Practically all the animals you've seen can be saved

0:47:320:47:36

for our children's grandchildren, if only we care enough.

0:47:360:47:41

It would be tragic, wouldn't it, if, through our own thoughtlessness, we destroyed them forever.

0:47:410:47:49

Peter Scott's ambition to set up the World Wildlife Fund,

0:47:550:47:59

was, I think, driven first of all by the idea that environment

0:47:590:48:03

and conservation and animals doesn't respect political frontiers,

0:48:030:48:08

that this was a global problem.

0:48:080:48:11

Birds migrate across political frontiers.

0:48:130:48:15

Animals migrate across political frontiers.

0:48:150:48:18

Scott was trying to see a wider picture of this on a global scale.

0:48:180:48:24

In pre-war times, in the days of the Empire, getting things done on a global scale was much easier.

0:48:300:48:36

Then, it was the elite of the day,

0:48:360:48:38

wanting to protect their hunting stock,

0:48:380:48:40

who could get laws forced through.

0:48:400:48:42

In 1903, a group of colonial hunters had established what was essentially the first

0:48:460:48:51

international conservation group for the preservation of wildlife.

0:48:510:48:55

I suppose back in 1903, when we were established,

0:48:580:49:01

we were the Society for the Preservation of the Wildlife

0:49:010:49:04

of the British Empire,

0:49:040:49:05

so that is a different precept to where we are today,

0:49:050:49:09

and we very much started off

0:49:090:49:10

as a group of people worrying that game animals were declining in Africa and that there was a need

0:49:100:49:17

to try to respond to this problem and to provide some limits to allow game species to recover.

0:49:170:49:24

They were very much from the elite classes, the people with the time and the money to take responsibility

0:49:260:49:32

for such things, and they were seeing that their recreational hunting was at risk.

0:49:320:49:37

# Wordlessly watching He waits by the window

0:49:370:49:42

# And wonders at the empty place inside... #

0:49:420:49:46

In a way, these sportsmen, these hunters,

0:49:460:49:51

were in such close contact with animals, as part of the hunt, the Imperial hunt, which was embedded

0:49:510:49:59

in a great deal of ritual, class and gender, they were intimately involved with the animals

0:49:590:50:06

they were shooting, and keenly aware of the decline of species, keenly aware of the loss of habitat.

0:50:060:50:13

They were known as The Repentant Butcher's Club because they had

0:50:150:50:19

put down guns and started to turn to conservation,

0:50:190:50:22

and they were the first people who agitated for game reserves,

0:50:220:50:27

and it was those game reserves that evolved later in the 20th century

0:50:270:50:31

in Africa and India as national parks.

0:50:310:50:34

With the gradual demise of the Empire came a loss of influence,

0:50:380:50:42

and by the late '50s, concern was growing among the wildlife gentry

0:50:420:50:46

that the newly-independent ex-colonies would not protect their national parks from poachers.

0:50:460:50:51

This was where the World Wildlife Fund came in, realising that, to raise enough money

0:50:510:50:57

to protect endangered species, they had to engage the widest-possible audience.

0:50:570:51:03

One of the leading figures in the British appeal

0:51:050:51:09

was a PR man who knew about advertising,

0:51:090:51:14

and he used all the techniques

0:51:140:51:16

which had made him so successful as a businessman

0:51:160:51:20

in the service of the charity.

0:51:200:51:22

He knew it had to have an emblem, he knew it had to have an icon,

0:51:220:51:27

he knew it would be at that stage,

0:51:270:51:30

in the public's mind, at any rate,

0:51:300:51:33

it ought to be furry and cuddly.

0:51:330:51:36

It ought to be something that you could give an image

0:51:360:51:39

which was immediately identifiable and easily reproduced.

0:51:390:51:45

All of those kind of practical things,

0:51:450:51:47

so it came down to a panda and Peter designed the panda.

0:51:470:51:50

Scott used his artistic skill and designed a simple but effective logo,

0:51:510:51:56

creating an iconic image which is still in use today.

0:51:560:52:00

I think it was perhaps the most obvious rallying call to the public

0:52:020:52:06

and Peter Scott's focus on the panda as a symbol of something that was worth saving,

0:52:060:52:11

that the individual man in the street could do something about it,

0:52:110:52:15

rather than something that was just under the control of governments.

0:52:150:52:19

The fact that you could sit in your homes and put £5 in an envelope

0:52:190:52:23

and know that you were doing something.

0:52:230:52:26

One of the first campaigns WWF ran in 1961 was for the plight of the black rhino.

0:52:260:52:33

Not only did they persuade the Daily Mirror to run the story,

0:52:330:52:37

but the paper carried it on its front page and for several pages inside.

0:52:370:52:42

# Since you went away

0:52:420:52:44

# I have been losing my sleep at night... #

0:52:450:52:50

It was an extraordinary coup

0:52:500:52:51

to get a newspaper to do that and I think it spoke to a particular way

0:52:510:52:55

of understanding nature, that was dominant in Britain - the concern for individual

0:52:550:53:00

animals who are being mistreated, isn't the same thing about concern for the rarity of species or a loss

0:53:000:53:05

of ecosystem structure, but it's the one that really strikes a chord with the British public, then.

0:53:050:53:12

And still does, so that it was an effective way of

0:53:120:53:16

introducing the wider problem of the loss of species, the loss of habitat.

0:53:160:53:21

# Bringin' on back the good times... #

0:53:210:53:24

The article about the rhino hit home with the public,

0:53:240:53:28

and tens of thousands of pounds was raised

0:53:280:53:31

from individual donations and local charity events.

0:53:310:53:35

What they did was to make themselves into a big membership organisation,

0:53:370:53:43

so that it was a small donation, and lots of people could do it

0:53:430:53:48

and in that, I think, was its power and its influence.

0:53:480:53:53

Just numbers of people, and they were attracted because the big animals,

0:53:530:53:59

the big, attractive animals were used.

0:53:590:54:02

That shows the power of using an animal as a kind of flagship

0:54:020:54:09

for further conservation efforts.

0:54:090:54:12

Elephants and rhinos are the things that really got people turned on

0:54:200:54:24

because they suddenly realised that there were these iconic animals

0:54:240:54:29

that were being slaughtered.

0:54:290:54:31

And this was why the World Wildlife Fund was able to take off and why it

0:54:310:54:36

started to get a lot of general support because people realised, "Wow, it does matter to me."

0:54:360:54:42

# Don't let me down

0:54:420:54:45

# Don't let me down... #

0:54:470:54:50

WWF had instant impact and raised large amounts of money, but while it increased awareness

0:54:500:54:55

of the threat of extinction posed to big animals abroad,

0:54:550:54:59

back home there was an invisible threat to wildlife which was only just beginning to be noticed.

0:54:590:55:05

Rural Britain, romanticised by poets and artists for centuries, was changing.

0:55:160:55:23

The birds that had graced the countryside for as long as people could remember

0:55:230:55:28

were becoming notable by their absence.

0:55:280:55:31

It's difficult now to picture it, but if you went out into the arable land in the Fens,

0:55:340:55:39

the place was littered with dead pigeons and partridges,

0:55:390:55:43

and it was obvious to anyone living in the country

0:55:430:55:46

that something awful was happening.

0:55:460:55:48

Norman Moore was one of the first people to realise that

0:55:490:55:52

the UK's wildlife was under threat from man-made chemicals.

0:55:520:55:56

He was one of a small group of scientists who had been given the task

0:55:560:56:01

of researching the impact of pesticides.

0:56:010:56:05

Quite early on I realised that

0:56:050:56:08

DDT and dieldrin, particularly dieldrin,

0:56:080:56:12

were really very dangerous things to have in the environment.

0:56:120:56:17

They were both highly persistent and that meant that

0:56:200:56:23

it was sprayed one year and it would remain in the soil a lot later.

0:56:230:56:30

These pesticides had a profound effect on one of the UK's favourite birds of prey.

0:56:340:56:41

And another keen naturalist, who'd spent years watching

0:56:410:56:45

the decline of peregrine falcons, Derek Ratcliffe, hit the news with his pioneering fieldwork.

0:56:450:56:52

The decline has been worse in the south of the country, with very few pairs remaining

0:56:550:57:02

in the south of England or Wales where there used to be good numbers.

0:57:020:57:05

His findings showed that sprayed crops were eaten by pigeons.

0:57:100:57:14

They, in turn, were consumed by peregrine falcons, with devastating results.

0:57:140:57:19

He estimated that more than half of their population had disappeared.

0:57:190:57:23

The pesticides had a sinister side effect - the falcons

0:57:290:57:34

started laying eggs with abnormally-thin shells, which easily broke.

0:57:340:57:38

Ratcliffe's study was welcomed in some circles,

0:57:540:57:57

but attacked by the authorities and had to be defended by scientists.

0:57:570:58:02

Well, a bird of prey has never done me much good -

0:58:020:58:05

why should I worry about it?

0:58:050:58:06

I don't think it's the bird of prey as a bird of prey that matters -

0:58:060:58:11

what matters is that the work on birds of prey

0:58:110:58:14

has shown that pesticides all over the Earth's surface

0:58:140:58:18

can accumulate and do harm to a species over very large areas.

0:58:180:58:25

And this I think is important.

0:58:250:58:26

The Ministry of Agriculture and things,

0:58:260:58:30

they didn't like it at all, what we were doing.

0:58:300:58:33

They had, they knew it was partially true anyhow,

0:58:330:58:37

but they wanted to tone it down altogether

0:58:370:58:41

and of course we were not at all going to tone it down altogether -

0:58:410:58:45

we wanted people to get involved and solve the problems.

0:58:450:58:49

Unlike today, people didn't fear pesticides.

0:58:490:58:53

In fact they saw them as modern saviours.

0:58:530:58:57

DDT was a life-saver!

0:58:570:58:59

During the Second World War, it saved God knows how many lives,

0:58:590:59:05

because it killed mosquitoes.

0:59:050:59:08

And mosquitoes were spreading malaria which was killing our troops.

0:59:110:59:15

And I shall never forget, as a child, DDT,

0:59:150:59:20

we thought it was fantastic, we thought it was a miracle, absolute miracle,

0:59:200:59:26

because it was doing all the things that nothing else had done -

0:59:260:59:30

that is, killing nasty bugs.

0:59:300:59:34

After the war they were still in popular use to improve food production.

0:59:350:59:40

Having endured years of austerity and food rationing,

0:59:400:59:44

the public were unwilling to hear that there might be a hidden cost to their new quality of life.

0:59:440:59:50

Most people, the vast majority of the general public, who are enjoying the benefits of cheaper food,

0:59:510:59:59

see only the good pesticides do.

0:59:591:00:02

So although there were signs,

1:00:021:00:04

I think by and large people were so enamoured of the bounties of science

1:00:041:00:11

and technology and industrialised agriculture,

1:00:111:00:14

I think people would have said, taken the attitude,

1:00:141:00:18

that a few dead birds was a tiny price to pay

1:00:181:00:21

for feeding the hungry, which is how it was perceived at the time.

1:00:211:00:26

'This is the American Dream...'

1:00:311:00:33

Technology was moving at an even faster pace in America,

1:00:331:00:37

feeding into the idea

1:00:371:00:39

that such advances all contributed to a better quality of life

1:00:391:00:42

and should be widely celebrated.

1:00:421:00:44

Pesticides such as DDT were seen as part of this new and prosperous era,

1:00:481:00:53

helping farmers to grow food much more successfully.

1:00:531:00:56

'Grasshopper control, leader, Wyoming.

1:01:001:01:02

'Be on guard for a possible outbreak.'

1:01:021:01:04

'Warning, state grasshopper control leader, Nevada, tremendous egg population, your state.'

1:01:041:01:08

'Montana, be on guard, possible grasshopper outbreak.'

1:01:081:01:11

'Texas, Arizona, Utah...'

1:01:111:01:13

'Airplanes chartered by ranchers, states and the federal government

1:01:151:01:19

'baited millions of acres of range land

1:01:191:01:21

'in the most heavily infested areas.

1:01:211:01:23

'Spraying insecticides that spell death to the invaders.'

1:01:231:01:29

But in 1962, a revolutionary book was published which would profoundly change this view.

1:01:351:01:40

'There was once a town in the heart of America

1:01:471:01:51

'where all life seemed to live in harmony with its surroundings.

1:01:511:01:55

'Then a strange blight crept over the area and everything began to change.

1:01:551:02:01

'Some evil spell had settled on the community.

1:02:011:02:05

'Mysterious maladies swept the flocks of chickens.

1:02:051:02:08

'The cattle and sheep sickened and died.

1:02:081:02:11

'Everywhere was a shadow of death.

1:02:111:02:14

'There was a strange stillness.

1:02:141:02:17

'The birds, for example, where had they gone?

1:02:171:02:20

'It was a spring without voices.'

1:02:201:02:24

Rachel Carson was an American biologist and writer.

1:02:301:02:34

Her book, Silent Spring,

1:02:341:02:36

questioned the use of toxic chemicals in the countryside.

1:02:361:02:40

It had a huge effect on the public.

1:02:411:02:45

It was a public book about it.

1:02:451:02:47

It was very readable.

1:02:471:02:49

I knew Rachel Carson.

1:02:491:02:51

She was a very charismatic person,

1:02:531:02:57

and a very readable book.

1:02:571:02:59

It exaggerates in places but it's basically true.

1:02:591:03:04

I think added together, it will mean that unless we do

1:03:041:03:07

bring these chemicals under better control,

1:03:071:03:10

we're certainly heading for disaster.

1:03:101:03:13

Chemicals are the sinister and little recognised partners of radiation in changing

1:03:131:03:19

the very nature of the world, the very nature of its life.

1:03:191:03:22

These sprays, dust and aerosols are now applied almost universally to farms, gardens, forest and homes.

1:03:221:03:30

Non-selective chemicals that have the power to kill every insect,

1:03:301:03:35

the good and the bad, to coat the leaves with a deadly film,

1:03:351:03:40

and to linger on in soil.

1:03:401:03:43

Can anyone believe it's possible to lay down such a barrage of poisons

1:03:431:03:47

on the surface of the Earth, without making it unfit for all life?

1:03:471:03:53

That was a seminal work at that time -

1:03:531:03:56

it was the first thing that brought that level of real concern

1:03:561:03:59

about what was happening, to attention,

1:03:591:04:04

and Rachel Carson managed to put together such

1:04:041:04:08

a convincing argument of things

1:04:081:04:10

that perhaps hadn't filtered through to the general consciousness before.

1:04:101:04:15

It was just in those sorts of days when we were beginning to wonder

1:04:151:04:19

about where our food came from and suddenly, you're thinking about what's happening to our rivers?

1:04:191:04:25

Where are all these things that are used to grow our crops,

1:04:251:04:28

what's happening to them, and what are the consequences?

1:04:281:04:30

# Where have all the flowers gone?

1:04:301:04:33

# A long time passing... #

1:04:331:04:35

Silent Spring catalogued

1:04:381:04:40

the widespread destruction of wildlife in America by pesticides.

1:04:401:04:44

But it was also about ecology - the relation of plants and animals

1:04:441:04:48

to their environment, and to one another.

1:04:481:04:51

Although today this is a well accepted principle,

1:04:511:04:54

in the early '60s it was leading-edge stuff.

1:04:541:04:57

Rachel Carson had to do a lot of the fieldwork herself.

1:05:011:05:05

There wasn't a huge body of literature that she could call on.

1:05:051:05:09

And that's why the agrochemicals companies went after her -

1:05:091:05:14

they said, who is this woman?

1:05:141:05:16

She's not a real scientist as we know a real scientist.

1:05:161:05:19

She's doing a lot of her own observational and measurement work,

1:05:191:05:22

and what does this tell us about anything?

1:05:221:05:24

And really went for the jugular in terms of her scientific credentials

1:05:241:05:28

and the fact she was a woman, of course.

1:05:281:05:30

Things were pretty crude in those days

1:05:301:05:33

and the agrochemicals companies had no compunction at all

1:05:331:05:36

in seeking to destroy her reputation, partly because she was a woman.

1:05:361:05:40

The major claims in Miss Rachel Carson's book,

1:05:431:05:46

Silent Spring, are gross distortions of the actual facts.

1:05:461:05:50

Completely unsupported by scientific experimental evidence and general,

1:05:501:05:55

practical experience in the field.

1:05:551:05:57

The real threat, then, to the survival of man,

1:05:571:06:00

is not chemical but biological

1:06:001:06:02

in the shape of hordes of insects that can denude our forests,

1:06:021:06:07

ravage our food supply

1:06:071:06:09

and leave in their wake a train of destitution and hunger.

1:06:091:06:13

If man were to faithfully follow the teachings of Miss Carson,

1:06:131:06:18

we would return to the Dark Ages, and the insects and diseases

1:06:181:06:23

and vermin would once again inherit the earth.

1:06:231:06:26

Silent Spring is one of a number of blows.

1:06:281:06:31

They kind of rain down on the reputation of scientific modernism.

1:06:311:06:37

Before '62,

1:06:371:06:40

there had been this absolutely uncritical,

1:06:401:06:44

almost kind of gushing worship of science and technology.

1:06:441:06:50

And what Silent Spring does,

1:06:501:06:52

it's the first kind of dent in modernisation's reputation.

1:06:521:06:57

It expresses, I think, the anxieties of people that things had got out of control, had gone too far,

1:06:571:07:02

and all this progress,

1:07:021:07:03

which has changed the lives of millions of people,

1:07:031:07:06

has not come without cost.

1:07:061:07:08

And what happens in the '60s

1:07:081:07:09

is that people, for the first time, realise what the costs really are.

1:07:091:07:14

Rachel Carson's Silent Spring set in motion a new spirit of activism,

1:07:151:07:20

when an interest in animals would change

1:07:201:07:23

from passively watching them on television

1:07:231:07:26

to actively campaigning for their welfare.

1:07:261:07:29

The '60s was a decade of protests

1:07:391:07:41

which fed directly into the wildlife protection movement.

1:07:411:07:44

Just as people had been shocked by newspaper pictures

1:07:441:07:48

showing the plight of the rhino,

1:07:481:07:50

they were now angry about images of seal culling.

1:07:501:07:53

# Wild Thing I think you move me. #

1:07:571:08:02

Few people will rally to protect you

1:08:021:08:04

if you are an ugly and unattractive animal.

1:08:041:08:09

The conservation movement in the 1960s and 1970s certainly

1:08:091:08:13

selected certain iconic species - giant pandas, mountain gorillas,

1:08:131:08:19

and seals, which became totemic species.

1:08:191:08:23

They became hugely powerful recruiting tools

1:08:231:08:28

for the environmental organisations

1:08:281:08:30

and conservation organisations of this period.

1:08:301:08:33

In some ways, because people identified with them.

1:08:331:08:37

People almost identify human qualities in them.

1:08:371:08:40

As seal culls were taking place on the Farne Islands,

1:08:401:08:43

and in the far north of Scotland, on Orkney and Shetland,

1:08:431:08:46

so the public began to get more angry and disenchanted

1:08:461:08:50

and dissatisfied and uncomfortable

1:08:501:08:53

with the fact that we were culling such a beautiful animal.

1:08:531:08:57

This has been one of the great sea changes in British society.

1:08:571:09:00

In fact it's one of the great untold stories

1:09:001:09:03

of British social and cultural history - the way that we have rallied,

1:09:031:09:06

over the 20th century, decade by decade,

1:09:061:09:09

to protect certain iconic species that we have decided

1:09:091:09:13

have value, and we cherish and we want to interact with

1:09:131:09:17

and we want to know are doing well

1:09:171:09:19

out there in the wider natural world.

1:09:191:09:21

Unlike WWF's rhino campaign in 1961, where people were happy to send

1:09:211:09:26

money from the comfort of their own homes, animal welfare had moved on.

1:09:261:09:31

And, for some, it was now about getting up and doing something.

1:09:311:09:36

# Call out the instigator

1:09:361:09:39

# Because there's something in the air

1:09:391:09:44

# We got to get together sooner or later

1:09:441:09:49

# Because the revolution's here... #

1:09:491:09:52

This new kind of activist had cut their teeth

1:09:521:09:55

on the anti-nuclear protests of the late '50s and early '60s.

1:09:551:09:58

They had found a new freedom - the right to stand up and be counted.

1:09:581:10:03

At the beginning of the '50s

1:10:031:10:06

there was still quite a strong obedience in the British nation.

1:10:061:10:11

They were used to being led by the upper classes,

1:10:111:10:14

used to being led with a degree of discipline during the war.

1:10:141:10:18

And it was only really in the late '50s and early '60s

1:10:181:10:24

that the absolute right to question and rebel

1:10:241:10:27

was enshrined in British life.

1:10:271:10:29

We campaigned against apartheid and nuclear weapons

1:10:321:10:36

and we campaigned against this, that and the next thing.

1:10:361:10:39

It was the age of protest.

1:10:391:10:40

And that also helped take the conservation movement forward.

1:10:401:10:44

The sense that people felt

1:10:451:10:48

they were free to express their opinions.

1:10:481:10:53

It's that collectiveness which give you such a feeling

1:10:531:10:57

of, "I can say something, my voice will make a difference.

1:10:571:11:00

"They must listen. Look at us all, how many we are here."

1:11:001:11:03

And that's probably what people felt at that time.

1:11:031:11:08

While the demonstrators were only a small section of society,

1:11:121:11:16

the animal campaigns were attracting a wider range of people.

1:11:161:11:21

Environmentalism has always suffered

1:11:271:11:29

from the image of being a very precious, middle-class activity.

1:11:291:11:32

Now, clearly in the '60s you did have a change,

1:11:321:11:36

in that it slightly stopped been the province

1:11:361:11:40

of late middle-aged men with beards, and became a young person's thing,

1:11:401:11:45

and it became what I would see

1:11:451:11:47

as a move from the upper-middle class to lower middle-class.

1:11:471:11:51

They're not from the very bottom of society

1:11:541:11:57

but they're not from the top.

1:11:571:11:59

And these people were often burning with righteous anger.

1:11:591:12:02

They want to bring something new,

1:12:021:12:05

they want to tear down the old order, they want change now.

1:12:051:12:08

And they take that activist energy

1:12:081:12:12

and channel it into the ecological movement.

1:12:121:12:17

The animal protests of the '60s had attracted

1:12:171:12:20

a different type of follower but essentially it was still a movement for a minority of people.

1:12:201:12:26

However, towards the end of the decade

1:12:261:12:29

there would be in an ecological disaster

1:12:291:12:32

that would change everybody's outlook.

1:12:321:12:34

On 18th March 1967, one of the World's first supertankers crashed

1:12:461:12:52

on to rocks just off Land's End.

1:12:521:12:54

The Torrey Canyon was carrying a cargo of 120,000 tonnes of crude oil.

1:12:591:13:05

The image of oiled birds

1:13:101:13:11

becomes very vivid immediately

1:13:111:13:13

when you mention the word, Torrey Canyon.

1:13:131:13:15

It's a doomsday scenario coming true.

1:13:191:13:22

And it's happened not in America or on the other side of the world

1:13:221:13:27

but right on our front doorstep.

1:13:271:13:30

And when you have all these birds covered black with oil,

1:13:301:13:33

it sort of presses a very British button, if you like,

1:13:331:13:38

which is the cute and cuddly natural world,

1:13:381:13:43

which we have polluted, which we have ruined and destroyed,

1:13:431:13:46

and that's a very powerful image.

1:13:461:13:48

It was a very big thing, yes.

1:13:531:13:55

And it had a very important impact on the public.

1:13:551:14:00

I think it was a big shock.

1:14:031:14:06

Looking back on it now, of course,

1:14:081:14:11

it was a pinprick compared with what is happening

1:14:111:14:14

in the Gulf of Mexico.

1:14:141:14:17

Those images were just astonishing.

1:14:191:14:25

And again, it's so intriguing

1:14:251:14:27

that over the years,

1:14:271:14:28

the things that changed people's minds about this

1:14:281:14:32

is the moment where something that was invisible becomes visible.

1:14:321:14:35

Where that which was largely under the radar, just tripping along

1:14:351:14:39

with people either conniving in, or actively comfortable about,

1:14:391:14:43

a particular pattern of environmental damage,

1:14:431:14:46

suddenly goes public, goes live, goes very visible.

1:14:461:14:50

And the Torrey Canyon undoubtedly was one of those moments

1:14:501:14:53

where people thought, "Wow, that's the dark side of the oil economy, that's one of the consequences."

1:14:531:15:00

An early recognition

1:15:001:15:01

that all the benefits that came through the widespread use

1:15:011:15:05

of relatively cheap hydrocarbons

1:15:051:15:07

- which they were in the '60s and '70s -

1:15:071:15:10

that there was a downside, a dark side, to that.

1:15:101:15:13

And certainly those images brought it,

1:15:131:15:15

for the first time, into people's lives.

1:15:151:15:17

The Government called in the forces to deal with the disaster.

1:15:201:15:24

It was treated as a full-blown military operation.

1:15:241:15:27

Though it was an enemy people knew little about.

1:15:271:15:29

'The south-west coast was a battle area.

1:15:291:15:32

'Civilians, 2,000 soldiers and Royal Marines

1:15:321:15:35

'grappled with the stupendous task of trying to fight off the oil.

1:15:351:15:40

'Enormous quantities of detergent were brought to the area.

1:15:401:15:44

'A small defence indeed against an estimated 50,000 tonnes of crude oil

1:15:441:15:48

'already floating on the sea.

1:15:481:15:50

'But with the mass of mobile pumping machinery now assembled,

1:15:501:15:53

'it was the only remedy available on the shore.'

1:15:531:15:55

They had to deal with the oil on the beaches

1:16:001:16:02

because politicians especially have to be seen to be doing something.

1:16:021:16:06

Although in retrospect it's pretty clear

1:16:061:16:08

that they should have done nothing

1:16:081:16:10

and just let the oil sit on the beach

1:16:101:16:12

because in a very few months it would be gone.

1:16:121:16:14

In real life they came down and poured detergent,

1:16:141:16:16

vast quantities of this detergent, all along the beaches.

1:16:161:16:21

'Every tide left a thick covering of oil, to which detergent was applied with all speed.

1:16:211:16:25

'The lovely beaches of Cornwall, the delight of holiday making millions

1:16:251:16:29

'would not be sacrificed without a struggle.'

1:16:291:16:32

In a desperate attempt to staunch the oil from the wrecked tanker,

1:16:341:16:38

the then Prime Minister, Harold Wilson,

1:16:381:16:40

even called in the RAF to bomb the vessel,

1:16:401:16:43

hoping the oil could be burnt off.

1:16:431:16:46

Although this action looked spectacular,

1:16:501:16:52

most of the ship's cargo

1:16:521:16:53

had already been lost and the damage had been done.

1:16:531:16:58

# Time it was and what a time it was, it was

1:16:581:17:02

# A time of innocence

1:17:041:17:08

# A time of confidence ebbed... #

1:17:081:17:12

It was the worst possible time of year for the breeding auks.

1:17:121:17:16

We were getting guillemots especially and razorbills

1:17:161:17:19

and gannets coming ashore on the beaches.

1:17:191:17:23

People were setting up bird rescue stations all over west Cornwall.

1:17:231:17:27

Hairdressers were doing this especially

1:17:271:17:29

because they had the equipment.

1:17:291:17:31

For giving them shampoos.

1:17:311:17:34

Many of our greatest conservationists

1:17:361:17:38

who would build their careers in the 1970s and 1980s,

1:17:381:17:41

cut their teeth, if you like, became angered about what they

1:17:411:17:44

were seeing with the sea birds and Torrey Canyon

1:17:441:17:49

and rushed down to help and clean birds.

1:17:491:17:52

We quickly realised it was easy to get the oil off them with detergent.

1:17:521:17:57

The problem was to get them back so that they had the natural grease on their feathers

1:17:571:18:01

so that they could fly again.

1:18:011:18:02

And any number of birds were treated and then put back in the sea to die.

1:18:021:18:08

Torrey Canyon flagged up one important thing - who on earth

1:18:201:18:24

in Britain was responsible for an environmental disaster?

1:18:241:18:28

Which government department? Which group of civil servants?

1:18:281:18:31

Nobody knew who was responsible for something like this.

1:18:311:18:34

So it led to the standing Royal Commission on Environmental pollution in 1970.

1:18:341:18:40

It led also to the establishment of the world's first

1:18:401:18:43

Department for the Environment.

1:18:431:18:44

# You can't always get what you want... #

1:18:481:18:52

The devastation had rocked the British public

1:18:521:18:54

and the Government's reaction in creating

1:18:541:18:58

the Department of the Environment

1:18:581:19:00

marked a sea-change in the way we as a nation

1:19:001:19:03

put value on our wildlife.

1:19:031:19:05

# But if you try some time

1:19:051:19:07

# You might find you get what you need... #

1:19:071:19:11

The creation of a department of state for the environment,

1:19:181:19:25

the idea that that should be given importance alongside defence

1:19:251:19:30

and agriculture, that sort of shift was quite radical at the time.

1:19:301:19:36

Torrey Canyon brought home to people for the first time

1:19:361:19:41

in a visceral way, it's not a book, it's not Silent Spring,

1:19:411:19:45

it's something that is in the news day after day,

1:19:451:19:47

it brought home to people just the risks of our obsession with oil,

1:19:471:19:52

with economic progress and growth

1:19:521:19:54

and with technological change and all those kinds of things

1:19:541:19:58

and it made you realise,

1:19:581:20:00

you know, we did this damage -

1:20:001:20:01

it is not something that the world inflicted upon itself, we did it.

1:20:011:20:05

The awareness of how vulnerable our planet really is became even more apparent in 1968.

1:20:081:20:15

But this wasn't due to a disaster -

1:20:151:20:17

it was thanks to a technological breakthrough.

1:20:171:20:20

5, 4, 3, 2, 1, zero. All engines are on. Lift off!

1:20:201:20:27

We have a lift off. 32 minutes past the hour.

1:20:291:20:31

People back on Earth,

1:20:341:20:36

the crew of Apollo 8 have a message that we would like to send to you.

1:20:361:20:40

The shots taken from Apollo 8 were the first time anyone

1:20:401:20:44

had seen the Earth from outer space

1:20:441:20:47

and the images brought the fragility of our planet into sharp relief.

1:20:471:20:52

I think the first pictures from space, people were astounded

1:20:521:20:56

and, I hope, made a bit humble.

1:20:561:21:00

We are not the biggest, greatest beings in the universe

1:21:001:21:03

because we couldn't get out of it and look back at ourselves.

1:21:031:21:07

In the beginning God created the heaven and the earth.

1:21:091:21:13

And the Earth was without form.

1:21:131:21:15

Those pictures people see of the little blue ball

1:21:171:21:20

spinning in the darkness of space, weren't part of the mission plan

1:21:201:21:23

but I think they did generate this sense

1:21:231:21:28

that the world was not of infinite size and therefore

1:21:281:21:34

it needed to be thought of as something that could be managed.

1:21:341:21:37

And God said, "let there be light", and there was light.

1:21:371:21:40

It fostered an idea of Spaceship Earth, of a common future.

1:21:431:21:49

It fostered a powerful idea of us all being in this together.

1:21:491:21:53

It showed us that we didn't have anywhere else to go

1:21:531:21:57

if we messed up this planet.

1:21:571:21:58

And from the crew of Apollo 8, we close with good night,

1:22:061:22:13

good luck, and God bless all of you, all of you on the good Earth.

1:22:131:22:18

The Apollo 8 pictures contributed

1:22:211:22:24

to the idea of one world,

1:22:241:22:26

a world shared by people, all species of animals,

1:22:261:22:30

plants, everything.

1:22:301:22:32

It was an inspiration for the first ever Earth Day.

1:22:401:22:43

In 1970, millions of people gathered on streets across America

1:22:431:22:48

in what was one of the largest

1:22:481:22:50

environmental demonstrations in history.

1:22:501:22:52

I think that by the 1970s, people had started to realise

1:22:541:22:59

that some of the most important issues were environmental issues.

1:22:591:23:05

They started to realise, just as they do now

1:23:051:23:08

with climate change, that these are possibly THE most important issues.

1:23:081:23:14

We didn't really know what we were doing, with sort of marches

1:23:191:23:23

and banners, you know, those sorts of things that you did in the '60s.

1:23:231:23:26

But it was to try to generate an awareness and appreciation

1:23:261:23:32

of the web of life, as we said back then, of the interconnectedness

1:23:321:23:38

of all living beings and their physical environment.

1:23:381:23:43

That was the whole point of that,

1:23:431:23:45

was to bring that to more and more people.

1:23:451:23:48

It seemed there was no stopping this tide of feeling,

1:23:501:23:53

and awareness of nature and wildlife was now part of our daily lives.

1:23:531:23:58

# Words are flowing out... #

1:23:581:24:00

It was stunning, the transformation of attitudes.

1:24:031:24:08

Environmental issues were on the front pages in the early '70s

1:24:081:24:12

in a way they just weren't in the early '60s.

1:24:121:24:15

People talk about environmental issues, people are interested

1:24:151:24:18

in the environment and the natural world and wildlife and so on.

1:24:181:24:22

But there's also, I think, a much deeper change, beyond the headlines

1:24:281:24:32

and that is that you have had a complete cultural transformation

1:24:321:24:36

from the early '60s when there was this absolutely, almost unthinking

1:24:361:24:41

worship of science and technology.

1:24:411:24:45

Now, by the early '70s that had almost completely collapsed.

1:24:451:24:49

For the first time people have realised the costs

1:24:491:24:52

that progress brings with it.

1:24:521:24:55

This change was reflected on television.

1:25:011:25:04

In 1970, the BBC commissioned a hugely popular TV drama, Doom Watch.

1:25:041:25:09

It covered themes like pesticides and chemical leaks.

1:25:091:25:12

It portrayed science,

1:25:121:25:14

technology and big business as potentially sinister.

1:25:141:25:18

Is this happening anywhere else?

1:25:181:25:21

Do you know, I shouldn't be at all surprised if this is a pesticide spray?

1:25:211:25:24

Doomwatch is not a programme that would have been conceivable in the early '60s.

1:25:241:25:28

It wouldn't have been commissioned.

1:25:281:25:29

And the reason is because popular television, popular entertainment,

1:25:291:25:32

generally reflected scientific optimism rather than pessimism.

1:25:321:25:36

My department is interested in pesticides.

1:25:361:25:38

But by the early '70s there's been a complete change.

1:25:381:25:41

Because I'm going to make sure that everybody sees you for what you are!

1:25:411:25:45

We want to do a programme that 10 million people will watch.

1:25:451:25:48

It's about precisely the opposite,

1:25:481:25:50

it's about the dangers of science and industrialisation

1:25:501:25:54

and the threat posed by big business.

1:25:541:25:56

These are quite radical themes but it's a sign of how mainstream

1:25:561:26:00

they have become that something like Doom Watch could be made

1:26:001:26:02

as early as 1970.

1:26:021:26:04

Doom Watch showed how much wider wildlife issues had become.

1:26:071:26:11

Conservation groups were no longer confined to a small, elite group

1:26:111:26:15

and, by the early 70s there were

1:26:151:26:16

new organisations being set up to appeal to all ages and interests.

1:26:161:26:21

The thing that the new campaigns around Friends of the Earth

1:26:211:26:26

and Greenpeace did is to get into the thoughts and ideas of young people.

1:26:261:26:32

And I think that was one of the biggest impacts they had,

1:26:331:26:37

was that this stuff became much more interesting to young people.

1:26:371:26:42

# How many roads must a man walk down... #

1:26:421:26:45

By the end of the '60s, people from all spectrums of society

1:26:451:26:49

had changed their attitudes towards animals and the natural world.

1:26:491:26:53

Early television programmes and books had captured their imagination

1:26:551:26:59

and helped inspire a new reverence and respect for the wild.

1:26:591:27:03

Pioneers such as Peter Scott had tapped into this,

1:27:031:27:06

persuading the public that

1:27:061:27:07

protecting species did matter and that we could all contribute.

1:27:071:27:13

Saving animals was no longer just about individual species -

1:27:161:27:20

it was about their habitat,

1:27:201:27:22

the interconnectedness of all living things

1:27:221:27:25

and, ultimately, caring for the whole planet.

1:27:251:27:29

# How many years must a mountain exist

1:27:311:27:36

# Before it is washed to the sea?

1:27:361:27:43

# How many times can a man turn his head

1:27:431:27:49

# And pretend that he just doesn't see?

1:27:491:27:54

# The answer my friend is blowing in the wind

1:27:551:28:01

# The answer is blowing in the wind. #

1:28:011:28:03

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1:28:031:28:05

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1:28:051:28:07

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