Browse content similar to Mad and Bad: 60 Years of Science on TV. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
We are going to test this with live ammunition. We're doing the experiment live, | 0:00:02 | 0:00:06 | |
obviously we can't do this in the studio. | 0:00:06 | 0:00:08 | |
In your own time. | 0:00:08 | 0:00:10 | |
From Raymond Baxter live on Tomorrow's World testing a new-fangled bullet-proof vest | 0:00:10 | 0:00:15 | |
on a nervous inventor... | 0:00:15 | 0:00:17 | |
to Brian Cox racking up more Air Miles than an overworked flight attendant. | 0:00:17 | 0:00:22 | |
From Professor Quatermass' Cold War scariness... | 0:00:22 | 0:00:25 | |
I've been afraid something would happen we couldn't deal with. | 0:00:25 | 0:00:28 | |
-..to Dr Who's new spin on gender politics. -Was someone kissing me? | 0:00:28 | 0:00:32 | |
British television, and, it's hoped, | 0:00:32 | 0:00:35 | |
the great British public have been fascinated with the brave new world | 0:00:35 | 0:00:39 | |
offered up by science and scientists since John Logie Baird first thought | 0:00:39 | 0:00:44 | |
of sending a bicircular electron field through a vacuumated glass cylinder. | 0:00:44 | 0:00:48 | |
This is transmission studio number three. | 0:00:48 | 0:00:50 | |
I think the UK probably leads the world in science communication. | 0:00:50 | 0:00:55 | |
British television does science better than anybody else | 0:00:55 | 0:00:59 | |
in making it accessible and appealing but still in a complicated way. | 0:00:59 | 0:01:02 | |
Lift off. We have lift off on Apollo 11. | 0:01:02 | 0:01:06 | |
We take a fantastic voyage through six decades of British TV science, | 0:01:06 | 0:01:10 | |
from real science programmes to science fiction. | 0:01:10 | 0:01:13 | |
I'm a scientist. It doesn't matter what you've been told about this thing. It is NOT harmless. | 0:01:15 | 0:01:20 | |
What does it tell us about Britain over the last 60 years? | 0:01:26 | 0:01:29 | |
How much has science on TV shaped our view of the world? | 0:01:29 | 0:01:33 | |
You may get some idea | 0:01:35 | 0:01:38 | |
of the frustration and the excitement of scientific research. | 0:01:38 | 0:01:42 | |
Or has it, in fact, turned us off science, | 0:01:42 | 0:01:46 | |
made us more fearful of what scientists get up to in their labs? | 0:01:46 | 0:01:51 | |
When the cat is taken aside and exposed to the hallucinogenic gas, | 0:02:05 | 0:02:08 | |
the tables are turned. | 0:02:08 | 0:02:11 | |
This is a cat on, well, acid, LSD. | 0:02:11 | 0:02:13 | |
It featured in the '60s science programme Horizon, | 0:02:13 | 0:02:18 | |
and is a reasonable scientific experiment to show how psychotic drugs could be used in warfare. | 0:02:18 | 0:02:23 | |
Perhaps it now sees the mice as terrifying monsters. | 0:02:25 | 0:02:28 | |
Or you could say it's the kind of tactic TV producers will resort to | 0:02:28 | 0:02:32 | |
to make science entertaining to grab the audience. | 0:02:32 | 0:02:35 | |
The role of a producer | 0:02:35 | 0:02:37 | |
is to think of an imaginative way of grabbing the audience by the throat, | 0:02:37 | 0:02:41 | |
and then imparting information almost subliminally. | 0:02:41 | 0:02:44 | |
The most important thing | 0:02:44 | 0:02:46 | |
about television - it should always be entertaining. | 0:02:46 | 0:02:49 | |
You want people to turn on, and stay tuned to the end of the programme. | 0:02:49 | 0:02:53 | |
And if it's not entertaining they'll turn it off. | 0:02:53 | 0:02:55 | |
But using science for entertainment has often annoyed the scientific community. | 0:02:57 | 0:03:02 | |
It's a battle that goes right back to the beginning of motion pictures itself. | 0:03:02 | 0:03:06 | |
At the beginning of science film-making | 0:03:06 | 0:03:08 | |
there's this idea that science can provide a type of spectacle. | 0:03:08 | 0:03:12 | |
They weren't adverse to showing anything | 0:03:12 | 0:03:14 | |
that was fringe scientific and entertaining. For example, | 0:03:14 | 0:03:18 | |
in 1908, a guy called Percy Smith | 0:03:18 | 0:03:19 | |
makes a film called The Acrobatic Fly. | 0:03:19 | 0:03:22 | |
He puts a macro lens onto his cine-camera. | 0:03:22 | 0:03:26 | |
He ties down a fly with a piece of silk and passes it various things to juggle. | 0:03:26 | 0:03:31 | |
It's an absolute sensation. | 0:03:31 | 0:03:33 | |
The scientific establishment is really rather disdainful of this. | 0:03:33 | 0:03:37 | |
They say, "It's quite an interesting piece of science, | 0:03:37 | 0:03:40 | |
"but, really, you shouldn't lower yourself by going to see it, fellow scientists." | 0:03:40 | 0:03:44 | |
But as film then TV became more pervasive, | 0:03:44 | 0:03:48 | |
the scientists knew they couldn't keep away. | 0:03:48 | 0:03:51 | |
Scientists recognised television | 0:03:51 | 0:03:53 | |
was going to be a powerful influence and a way in which | 0:03:53 | 0:03:56 | |
their views could be heard | 0:03:56 | 0:03:58 | |
and their attitudes towards life could be heard. | 0:03:58 | 0:04:01 | |
Scientists wanted to control the way science was communicated. | 0:04:01 | 0:04:04 | |
It has a North pole. It has a South pole. It has an equator. | 0:04:04 | 0:04:08 | |
And it spins about its axis. | 0:04:08 | 0:04:11 | |
But scientists aren't always the best communicators. | 0:04:11 | 0:04:15 | |
The atmosphere is extraordinarily interesting at heights very much above | 0:04:15 | 0:04:18 | |
that which we've accustomed to think there is no atmosphere. | 0:04:18 | 0:04:22 | |
A lot of scientists are arguably on the autistic spectrum, | 0:04:22 | 0:04:25 | |
and not necessarily great in front of a camera, and that's just true. | 0:04:25 | 0:04:30 | |
So over the past 60 years, science on TV has been a battleground | 0:04:31 | 0:04:35 | |
between scientists and TV makers over how science should look on the box. | 0:04:35 | 0:04:40 | |
Should information come before entertainment? | 0:04:40 | 0:04:44 | |
Should presenters be real scientists? | 0:04:44 | 0:04:46 | |
Popular science or niche science? Science lectures or spectacle? | 0:04:46 | 0:04:50 | |
It was in the start-up years of TV, the 1950s, | 0:04:54 | 0:04:57 | |
that the battle over TV science was at its most heated. | 0:04:57 | 0:05:01 | |
Science has been expanding so violently into our civilisation | 0:05:08 | 0:05:13 | |
that 90% of all the scientists that have ever been are alive right now. | 0:05:13 | 0:05:18 | |
In the 1950s, the scientific establishment battled with the BBC | 0:05:18 | 0:05:22 | |
to make science look like a force for good. | 0:05:22 | 0:05:25 | |
Serious, proper, and certainly not controversial. | 0:05:25 | 0:05:29 | |
I think there were a number of well-established institutions and learned bodies, | 0:05:29 | 0:05:34 | |
like the Royal Society and other bodies, | 0:05:34 | 0:05:36 | |
and yes, to some extent, there was some resistance from them, | 0:05:36 | 0:05:40 | |
in the same way there was resistance from the academic community itself, | 0:05:40 | 0:05:44 | |
about whether science on TV was dumbing down. | 0:05:44 | 0:05:48 | |
Time and time again we find scientists beating a path to the BBC | 0:05:48 | 0:05:52 | |
and saying, "You're not doing science properly, | 0:05:52 | 0:05:54 | |
"you're not doing science well enough. You've got to improve science broadcasting." | 0:05:54 | 0:05:59 | |
It often looked like the scientists had got their way, | 0:05:59 | 0:06:02 | |
as reflected in programmes like The Smoking Habit. | 0:06:02 | 0:06:05 | |
Tonight's programme is about the smoking habit. | 0:06:05 | 0:06:10 | |
I'd like to say straightaway that it isn't designed to urge you to give up smoking | 0:06:10 | 0:06:15 | |
or to cut down smoking or change your smoking habits in any way at all. | 0:06:15 | 0:06:19 | |
That's none of our business. | 0:06:19 | 0:06:21 | |
Science programmes were usually | 0:06:21 | 0:06:23 | |
started with a stirring classical music-led title-sequence | 0:06:23 | 0:06:28 | |
and populated by scientists who were bringing us one step closer to a better future, | 0:06:28 | 0:06:33 | |
whether we liked it or not. | 0:06:33 | 0:06:35 | |
To do these projects, you've got to have an emotional drive to do them. | 0:06:35 | 0:06:39 | |
In a sense, they're things of the spirit | 0:06:39 | 0:06:41 | |
that you've got to feel that you want to do them. It's rather like the Egyptians building the pyramids. | 0:06:41 | 0:06:46 | |
The pyramids were obviously no good but they built them, and this may be our pyramid. | 0:06:46 | 0:06:51 | |
'It's good for scientists' | 0:06:51 | 0:06:52 | |
there are scientists on the screen. | 0:06:52 | 0:06:54 | |
It's good for the public to see real scientists standing up | 0:06:54 | 0:06:57 | |
and talking with enthusiasm and engagement about their work. | 0:06:57 | 0:07:01 | |
The problem, of course, is squaring the circle, | 0:07:01 | 0:07:03 | |
the balance between the essential demand of the broadcasters for entertainment. | 0:07:03 | 0:07:07 | |
It is the audience that matters. What's the point in making a programme no-one watches? | 0:07:07 | 0:07:12 | |
Science was often presented by scientists in suits, | 0:07:12 | 0:07:15 | |
very high-brow types that looked like bank managers | 0:07:15 | 0:07:18 | |
talking to other scientists that looked like bank managers, such as in Science Is News. | 0:07:18 | 0:07:23 | |
How do you go about detecting a bomb? | 0:07:23 | 0:07:26 | |
Well, there are several methods and the success of them naturally | 0:07:26 | 0:07:30 | |
depends on the conditions under which the bomb is let off. | 0:07:30 | 0:07:33 | |
When a bomb goes off it makes a large bang. | 0:07:33 | 0:07:36 | |
Here goes a bomb and here's the wave coming across. | 0:07:36 | 0:07:39 | |
-The line coming towards us? -Yes, that's it. | 0:07:39 | 0:07:42 | |
Despite the slight stiffness, the programmes were still considered exciting. | 0:07:42 | 0:07:46 | |
Television at the beginning of the 1950s was really just seen as radio's | 0:07:46 | 0:07:51 | |
younger sibling, a bit troublesome. It didn't have much money going into it, | 0:07:51 | 0:07:55 | |
and they'd scarcely started thinking what a programme should be like. | 0:07:55 | 0:07:59 | |
What they did think was that there was something really fantastic | 0:07:59 | 0:08:03 | |
about the immediacy of television. | 0:08:03 | 0:08:05 | |
The fact that you were seeing things that were happening at that moment | 0:08:05 | 0:08:09 | |
and they really, really liked that sense of danger. | 0:08:09 | 0:08:11 | |
Now, the first experiment that we're going to conduct | 0:08:11 | 0:08:15 | |
is to take these men, effectively, up six miles | 0:08:15 | 0:08:17 | |
and we do this with a compression chamber. | 0:08:17 | 0:08:20 | |
This compression chamber was much too big to bring into the studio | 0:08:20 | 0:08:23 | |
and we have it parked downstairs in the garage. | 0:08:23 | 0:08:26 | |
It was so big, we more or less blocked the whole of Lime Grove this morning when we were getting it in. | 0:08:26 | 0:08:32 | |
And live broadcasting meant that experiments had to be demonstrated in the studio | 0:08:32 | 0:08:37 | |
along with live graphics. | 0:08:37 | 0:08:38 | |
These are special animated diagrams which are operated in front of the camera. | 0:08:40 | 0:08:46 | |
So there's levers that are pulled and discs that are rotated. | 0:08:46 | 0:08:50 | |
A throat surgeon makes a small cut in the windpipe, | 0:08:50 | 0:08:54 | |
so that a special type of tube can be inserted, and is put in like this. | 0:08:54 | 0:09:00 | |
And here you can see in detail how the tube lies in the windpipe. | 0:09:00 | 0:09:05 | |
They were big on props. They loved to have dramatic props | 0:09:05 | 0:09:09 | |
that people could point to. So in Frontiers Of Science | 0:09:09 | 0:09:14 | |
when they're talking about the Sputnik satellite, | 0:09:14 | 0:09:16 | |
they've got a huge great globe of the earth, and they were pointing out how the whole thing would work. | 0:09:16 | 0:09:22 | |
On the scale of the size of the earth, | 0:09:22 | 0:09:25 | |
I have here five little pins. | 0:09:25 | 0:09:28 | |
The smallest of them, | 0:09:28 | 0:09:30 | |
about a 20th of an inch long, | 0:09:30 | 0:09:33 | |
represents Mount Everest. | 0:09:33 | 0:09:35 | |
5.5 miles high, the highest point on the earth, | 0:09:35 | 0:09:39 | |
which man succeeded in climbing after many failures. | 0:09:39 | 0:09:42 | |
Programmes were the science lecture, effectively, | 0:09:42 | 0:09:45 | |
given by scientists who were used to talking to nervous students keen to pass their degree. | 0:09:45 | 0:09:49 | |
Their tone reflected this. | 0:09:49 | 0:09:51 | |
They didn't realise people watching were looking for enjoyment and interest, not to pass their finals. | 0:09:51 | 0:09:57 | |
And the scientists were also happy to bring their lab work to the studio, | 0:09:57 | 0:10:01 | |
oblivious to how the TV audience might feel. | 0:10:01 | 0:10:05 | |
And so here you have six very newborn little mice. | 0:10:05 | 0:10:11 | |
-They look normal enough. Are they perfectly normal? -Yes, quite normal. | 0:10:11 | 0:10:15 | |
In other words, your experiment has succeeded in achieving normal mice. | 0:10:15 | 0:10:19 | |
Well, then, why did you do it? | 0:10:19 | 0:10:21 | |
We wanted to do this experiment just to show that the technique was all right - | 0:10:21 | 0:10:25 | |
that you could keep mice in a test tube for two days and that they would develop normally. | 0:10:25 | 0:10:31 | |
You could see things you just don't see today, unfortunately. | 0:10:31 | 0:10:35 | |
Science was rarely questioned, whether it was vivisection | 0:10:35 | 0:10:38 | |
or former Nazi Wernher von Braun's work for the US space programme. | 0:10:38 | 0:10:41 | |
You can orbit approximately 2,500 pounds of payload, | 0:10:41 | 0:10:45 | |
which means that we can fire | 0:10:45 | 0:10:48 | |
good busloads full of astronauts into low orbit... | 0:10:48 | 0:10:52 | |
The tone was always optimistic and upbeat. | 0:10:52 | 0:10:55 | |
Science, whatever it did, was good. | 0:10:55 | 0:10:58 | |
One of the most popular exponents | 0:10:58 | 0:11:01 | |
of optimistic science on TV in the '50s was Eye On Research, | 0:11:01 | 0:11:04 | |
presented by someone who could look a camera square in the eye without flinching, | 0:11:04 | 0:11:08 | |
former Spitfire pilot Raymond Baxter. | 0:11:08 | 0:11:11 | |
And to give you an idea of just how cold it is, | 0:11:11 | 0:11:14 | |
if I shake away the surplus oxygen, | 0:11:14 | 0:11:17 | |
you can see that the water is turned into solid ice. | 0:11:17 | 0:11:21 | |
Tonight you join us in the Clarendon Laboratory in Oxford | 0:11:21 | 0:11:24 | |
for a programme on low temperature physics. | 0:11:24 | 0:11:27 | |
The whole series of Eye On Research | 0:11:27 | 0:11:29 | |
was done in conjunction with the Royal Society | 0:11:29 | 0:11:31 | |
as part of the celebrations of their 300th anniversary. | 0:11:31 | 0:11:34 | |
This was very much the image of science that the high-ups in the Royal Society wanted to put across. | 0:11:34 | 0:11:40 | |
If this is successful, then I think, for a short time at least, | 0:11:40 | 0:11:45 | |
the inside of this apparatus will be the coldest place | 0:11:45 | 0:11:49 | |
in perhaps the whole of the universe. | 0:11:49 | 0:11:52 | |
This is a most dramatic introduction to our programme. | 0:11:52 | 0:11:55 | |
Can we go and discuss this major point somewhere more quiet? | 0:11:55 | 0:11:59 | |
Well, good luck, John. | 0:11:59 | 0:12:00 | |
But while scientists and TV producers argued over the look of real science on TV, | 0:12:01 | 0:12:06 | |
the people down the hall in the drama department | 0:12:06 | 0:12:09 | |
realised they could use science too... To frighten people. | 0:12:09 | 0:12:13 | |
DRAMATIC MUSIC | 0:12:13 | 0:12:15 | |
A writer called Nigel Kneale | 0:12:21 | 0:12:23 | |
was turning science into a nightmare vision in The Quatermass Experiment! | 0:12:23 | 0:12:28 | |
One morning, two hours after dawn, | 0:12:30 | 0:12:33 | |
the first manned rocket in the history of the world takes off | 0:12:33 | 0:12:38 | |
from the Woomera Range, Australia. | 0:12:38 | 0:12:40 | |
I suppose the earliest scientific thing I remember on the telly has got to be Quatermass. | 0:12:40 | 0:12:44 | |
I used to sit under the kitchen table and watch it | 0:12:44 | 0:12:49 | |
with one finger in my mouth | 0:12:49 | 0:12:51 | |
and the other hand clutching nervously at my trousers, | 0:12:51 | 0:12:56 | |
watching this tiny little telly | 0:12:56 | 0:12:58 | |
with all these weird spaceships and old scrunched up aliens in. | 0:12:58 | 0:13:03 | |
The Quatermass Experiment follows a British space rocket - well, it is science fiction - | 0:13:03 | 0:13:07 | |
that returns to Earth minus all but one of the crew, | 0:13:07 | 0:13:11 | |
who's infected by an alien life-form that wants to destroy the world. Don't they always? | 0:13:11 | 0:13:16 | |
The Quatermass Experiment | 0:13:16 | 0:13:17 | |
really changed the image of science fiction on television. | 0:13:17 | 0:13:21 | |
Everything depends on that curve being confirmed. | 0:13:21 | 0:13:24 | |
-If it is, they may have a chance. -106259. | 0:13:24 | 0:13:26 | |
That may bring them right round the Earth instead of smack into it. | 0:13:26 | 0:13:30 | |
It's all right, I'm not letting myself go. | 0:13:30 | 0:13:33 | |
'Quatermass was a success' | 0:13:33 | 0:13:34 | |
because it wasn't like anything else. | 0:13:34 | 0:13:36 | |
This was a grown-up science-fiction drama. | 0:13:36 | 0:13:39 | |
-MIAOWING -What is it? | 0:13:39 | 0:13:41 | |
'Ere, get her somewhere safe. I got to report this. | 0:13:41 | 0:13:44 | |
'It's about science. It's also cleverly structured. | 0:13:44 | 0:13:47 | |
'It's a mystery.' | 0:13:47 | 0:13:49 | |
It wasn't until you got into it you realised, "Oh, wait a minute, this is rocket ships and monster stuff," | 0:13:49 | 0:13:54 | |
and by then people were following the story, it was too late | 0:13:54 | 0:13:58 | |
'to turn off and say, "We don't watch nonsense like that." | 0:13:58 | 0:14:01 | |
Quatermass got everyone tuning in. | 0:14:01 | 0:14:03 | |
I think people watched it because they didn't have a choice. There was only one channel in those days. | 0:14:03 | 0:14:09 | |
If you watched television last night, that's what you saw, | 0:14:09 | 0:14:12 | |
and if you were on the bus or the tube of wherever you were, | 0:14:12 | 0:14:15 | |
you would all have seen Quatermass. | 0:14:15 | 0:14:17 | |
And so there was a kind of national sort of mania. | 0:14:17 | 0:14:21 | |
"Oh, my God, what's going on? What IS that thing that's going to come out of the pit? Eurgh!" | 0:14:21 | 0:14:26 | |
-They're not inside. -They must be! Unless they got swept away. | 0:14:26 | 0:14:29 | |
I checked - that door hasn't been opened till now. | 0:14:29 | 0:14:32 | |
Victor, where are the others? | 0:14:32 | 0:14:33 | |
Victor, what happened? | 0:14:33 | 0:14:36 | |
I'm pretty sure it was live, | 0:14:36 | 0:14:38 | |
and so trying to do effects | 0:14:38 | 0:14:41 | |
of ectoplasmic ghastly things coming out and strangling you | 0:14:41 | 0:14:45 | |
is jolly difficult if you're doing it live. | 0:14:45 | 0:14:49 | |
It tapped into specific concerns to do with the paranoias of the time, | 0:14:49 | 0:14:53 | |
the politics of the time, there's a lot of Cold War stuff in there. | 0:14:53 | 0:14:56 | |
There's also a lot of lingering World War Two material. | 0:14:56 | 0:15:00 | |
I mean, the image of the rocket scientists, | 0:15:00 | 0:15:03 | |
particularly for London audiences, | 0:15:03 | 0:15:05 | |
wasn't that hot because they thought of Wernher von Braun, | 0:15:05 | 0:15:08 | |
the man who had invented things that had rained from the sky, | 0:15:08 | 0:15:12 | |
killing their neighbours and knocking their streets down. | 0:15:12 | 0:15:15 | |
-Well, I seen this great blare of light... -He was out of the house in a flash. -Ah, Mrs Matthews. | 0:15:15 | 0:15:19 | |
Not a moment's hesitation - just as he was through the Blitz. | 0:15:19 | 0:15:23 | |
But although space travel was seen as something that could destroy the world, | 0:15:23 | 0:15:28 | |
the hero who saves our bacon is in fact a scientist - Professor Bernard Quatermass. | 0:15:28 | 0:15:32 | |
That may mean nothing. The main thing is to get control. | 0:15:32 | 0:15:35 | |
He's described as British television's first hero. | 0:15:35 | 0:15:38 | |
Yes, TV's first heartthrob, a scientist. | 0:15:38 | 0:15:41 | |
The writer modelled him on real-life astronomer Bernard Lovell - | 0:15:41 | 0:15:46 | |
a science geek no less. | 0:15:46 | 0:15:47 | |
Quatermass is a maverick scientist taking on the Establishment. | 0:15:47 | 0:15:52 | |
Sort of a science version of James Dean's Rebel Without A Cause. | 0:15:52 | 0:15:56 | |
Rebel with a PhD. | 0:15:56 | 0:15:58 | |
'There's something comforting and paternal about Quatermass. | 0:15:58 | 0:16:01 | |
'That's who we'd like to think was doing science, | 0:16:01 | 0:16:04 | |
'even though in all of the serials what he's doing turns out to be really dangerous.' | 0:16:04 | 0:16:09 | |
30 years ago I'd almost decided to devote my life to land surveying in the Tropics. | 0:16:09 | 0:16:13 | |
That at least would have harmed only myself. | 0:16:14 | 0:16:16 | |
Alas, most of the first Quatermass series doesn't exist today | 0:16:16 | 0:16:20 | |
due to another technological breakthrough, the BBC's tape erasing machine. | 0:16:20 | 0:16:25 | |
While Quatermass traded on our fears, | 0:16:25 | 0:16:29 | |
it was down to the BBC science department | 0:16:29 | 0:16:32 | |
to take a more user-friendly approach to space. | 0:16:32 | 0:16:35 | |
What science programming needed in the '50s was an eccentric-looking boffin-type | 0:16:35 | 0:16:40 | |
who had lots of passion, lots of knowledge and a sense of fun about space. | 0:16:40 | 0:16:44 | |
No, too old. | 0:16:44 | 0:16:46 | |
Too young. | 0:16:46 | 0:16:47 | |
Too flippant. | 0:16:47 | 0:16:49 | |
Too boring. | 0:16:49 | 0:16:51 | |
Oh, hang on. Go back. No, go back. | 0:16:51 | 0:16:54 | |
Ah! That's the fella. | 0:16:54 | 0:16:56 | |
In 1957, they found him. | 0:16:56 | 0:16:58 | |
Patrick Moore. | 0:16:58 | 0:16:59 | |
All the indications are that the Russians | 0:16:59 | 0:17:02 | |
are making such immense progress | 0:17:02 | 0:17:03 | |
that almost anything may happen at any moment. | 0:17:03 | 0:17:06 | |
I am very anxious to see what it is. | 0:17:06 | 0:17:08 | |
He was the first person to permanently pilot a non-fiction astronomy series on TV. | 0:17:08 | 0:17:13 | |
What do you think are the prospects at the moment? | 0:17:13 | 0:17:16 | |
I think we're nearly totally obscured, Patrick. | 0:17:16 | 0:17:19 | |
He pointed his telescope towards TV's longest-running solo-manned show in any genre, | 0:17:19 | 0:17:25 | |
The Sky At Night. | 0:17:25 | 0:17:26 | |
Obviously, Patrick Moore was the reason why it was so successful. | 0:17:28 | 0:17:32 | |
He had this blazing enthusiasm, which came right through your television set. | 0:17:32 | 0:17:38 | |
When I was young I loved Patrick Moore, and one of my real thrills | 0:17:38 | 0:17:42 | |
when I started work for the BBC was when I got to meet Patrick Moore. | 0:17:42 | 0:17:47 | |
Moore is in fact an amateur astronomer, but he showed that passion and enthusiasm | 0:17:47 | 0:17:52 | |
could achieve more than knowledge. | 0:17:52 | 0:17:55 | |
Plus a bit of English eccentricity helps. | 0:17:55 | 0:17:58 | |
It's PG Wodehouse in space. | 0:17:58 | 0:18:01 | |
I believed that Patrick Moore, | 0:18:01 | 0:18:03 | |
when he wasn't on the telly doing Sky At Night, | 0:18:03 | 0:18:07 | |
was looking at the stars every other moment. | 0:18:07 | 0:18:11 | |
And then, when it was too light, you know, to be looking at the stars, | 0:18:11 | 0:18:15 | |
he would be reading every available book on them. | 0:18:15 | 0:18:17 | |
The diamond ring will be appearing in a minute. We've got... | 0:18:17 | 0:18:20 | |
And there's the diamond ring. An incredible sight! | 0:18:20 | 0:18:23 | |
'I've always been just myself on television.' | 0:18:23 | 0:18:26 | |
I've never cultivated anything. | 0:18:26 | 0:18:29 | |
I just talk as I always do. | 0:18:29 | 0:18:31 | |
There it is. The ring has appeared. The corolla has vanished. | 0:18:31 | 0:18:35 | |
And that is the end of this eclipse of the century, | 0:18:35 | 0:18:39 | |
and, by jove, was it worth seeing. | 0:18:39 | 0:18:41 | |
'The idea was to put it on the air once every four weeks' | 0:18:41 | 0:18:44 | |
for three months see how it went. That was 53 years ago and we're still going. | 0:18:44 | 0:18:48 | |
-Do you think it's any good turning it to moon? -Frankly I don't think it is. | 0:18:48 | 0:18:52 | |
-I can't see a single star at the moment. -It's totally obscured. | 0:18:52 | 0:18:56 | |
In the early days, everything was live and things could go wrong. | 0:18:56 | 0:19:00 | |
I remember once we went down to see George Hole's telescope for the first time. | 0:19:00 | 0:19:05 | |
We could see Saturn and Jupiter live through a telescope, and five minutes | 0:19:05 | 0:19:09 | |
before the programme and five minutes after, the sky was clear. | 0:19:09 | 0:19:13 | |
There's definitely a lightening there. Can you see it? | 0:19:13 | 0:19:16 | |
It's coming out. There is the moon. I can see it for the moment. | 0:19:16 | 0:19:19 | |
No, it's gone again. | 0:19:19 | 0:19:21 | |
In a way, The Sky At Night was Britain's small contribution to the post-war space race. | 0:19:21 | 0:19:26 | |
A much cheaper budget and we didn't have to start with dogs or monkeys, | 0:19:26 | 0:19:30 | |
we had Patrick Moore right from the start. | 0:19:30 | 0:19:33 | |
Sky At Night got a huge boost when it started | 0:19:33 | 0:19:36 | |
because of when it started. 1957 - it was before Sputnik. | 0:19:36 | 0:19:39 | |
If I'd come on air in 1957 when we did the first of these Sky At Night programmes, | 0:19:39 | 0:19:44 | |
and said that within five years I'd be showing you pictures of the first man to go round the earth in orbit | 0:19:44 | 0:19:49 | |
in a space ship... Well, I think you'd have regarded me as mad. | 0:19:49 | 0:19:52 | |
The show has racked up nearly 1,000 episodes. | 0:19:52 | 0:19:56 | |
The look has changed over that time. Well, Moore has changed his ties, occasionally. | 0:19:56 | 0:20:02 | |
I think Sky At Night works and has a sort of unique place in the ecology of television | 0:20:02 | 0:20:06 | |
because it's one of the few programmes that still has space to sit the scientist down and say, | 0:20:06 | 0:20:11 | |
"What's new? Tell us what you're excited by," and so we get these stories. | 0:20:11 | 0:20:15 | |
Patrick Moore's programme reflected the optimism of the space race. | 0:20:15 | 0:20:19 | |
You're one of the very few people who's appeared saying this is really worth having. | 0:20:19 | 0:20:24 | |
In fact, there's only four of you. Do you think, from your knowledge of the moon, having been there, | 0:20:24 | 0:20:29 | |
it's going to be possible in the foreseeable future | 0:20:29 | 0:20:32 | |
to set up scientific bases there on anything like a large scale? | 0:20:32 | 0:20:35 | |
Oh, I'm quite certain that we'll have such bases in our lifetime. | 0:20:35 | 0:20:39 | |
Yes, Cold War rockets could have nuclear warheads on them, but they could also carry people to the moon. | 0:20:39 | 0:20:45 | |
Hopefully not the ones with nuclear warheads. | 0:20:45 | 0:20:48 | |
While The Sky At Night celebrated the space race, at the start of the '60s, | 0:20:55 | 0:20:59 | |
the BBC drama-makers in the next-door studio wanted to build on the success of Quatermass | 0:20:59 | 0:21:04 | |
and carry on scaring people about space, with A For Andromeda. | 0:21:04 | 0:21:08 | |
The plot sees a group of scientists detect a radio signal | 0:21:09 | 0:21:13 | |
from another galaxy in which are embedded instructions | 0:21:13 | 0:21:16 | |
for creating a computer, | 0:21:16 | 0:21:18 | |
which then gives them further instructions on how to build Julie Christie. | 0:21:18 | 0:21:22 | |
Well, Julie Christie playing an alien called Andromeda. | 0:21:22 | 0:21:25 | |
Nice or nasty? | 0:21:25 | 0:21:28 | |
Nasty. | 0:21:29 | 0:21:30 | |
But what they've done is build an alien | 0:21:30 | 0:21:33 | |
whose mission is to take over Earth. D'oh! | 0:21:33 | 0:21:37 | |
The interesting thing about science fiction is... | 0:21:37 | 0:21:40 | |
this view of a dystopia. | 0:21:40 | 0:21:43 | |
A lot of science fiction has a vision of the future which is essentially negative. | 0:21:43 | 0:21:48 | |
And interestingly, that's not really reflected in science documentary. | 0:21:48 | 0:21:52 | |
Most science documentary is actually quite positive about science. | 0:21:52 | 0:21:55 | |
Science documentary-makers are not that fond of criticising... | 0:21:55 | 0:22:01 | |
erm...science itself. | 0:22:01 | 0:22:02 | |
Interestingly, it was penned by a real scientist, | 0:22:02 | 0:22:06 | |
world-renowned cosmologist Fred Hoyle. Perhaps using science fiction to express his fears | 0:22:06 | 0:22:12 | |
about man's advancement into space. | 0:22:12 | 0:22:14 | |
-You're like children with your missiles and rockets. -Don't count me in on that. | 0:22:14 | 0:22:18 | |
This was different to the kind of science fiction done | 0:22:18 | 0:22:21 | |
on the other side of the Atlantic in the '60s, like Star Trek. | 0:22:21 | 0:22:24 | |
American science fiction, | 0:22:24 | 0:22:26 | |
which was sort of invented at the period | 0:22:26 | 0:22:29 | |
where America was attaining world hegemony as a superpower, | 0:22:29 | 0:22:32 | |
saw the future as wonderful because they saw the future as being great. | 0:22:32 | 0:22:37 | |
British science fiction has been written by a culture | 0:22:37 | 0:22:40 | |
that knows it used to have an empire and doesn't any more. | 0:22:40 | 0:22:43 | |
Like Quatermass, Andromeda was hugely popular. | 0:22:46 | 0:22:49 | |
It got viewing figures of 12 million. | 0:22:49 | 0:22:52 | |
It struck a chord - that the ordinary British public were fearful of the future | 0:22:52 | 0:22:56 | |
and afraid of the progress of science. | 0:22:56 | 0:22:58 | |
In our culture, of course, we have a fear of science. | 0:22:58 | 0:23:02 | |
On the whole, we don't understand it and what we don't understand we don't much like. | 0:23:02 | 0:23:06 | |
But we do like scaring ourselves silly. | 0:23:06 | 0:23:10 | |
Do I smell nasty? | 0:23:11 | 0:23:13 | |
You'll have to find that out for yourself, won't you? | 0:23:15 | 0:23:18 | |
When you look at the representations of science, scientists in fiction, | 0:23:20 | 0:23:25 | |
all the way back to Frankenstein, | 0:23:25 | 0:23:28 | |
apart from anything else, fiction is created by artists, and naturally | 0:23:28 | 0:23:32 | |
they look upon scientists with a certain amount of suspicion. | 0:23:32 | 0:23:36 | |
Plus, in the 20th century, | 0:23:37 | 0:23:39 | |
we'd seen our fair share of scary ideas and scary scientists, | 0:23:39 | 0:23:42 | |
from the atom bomb | 0:23:42 | 0:23:44 | |
to the experiments carried out by Nazi scientists. | 0:23:44 | 0:23:47 | |
Add to this the public image | 0:23:47 | 0:23:48 | |
of wild-eyed, crazy-haired boffins like Einstein, | 0:23:48 | 0:23:51 | |
it's hardly surprising that British audiences were worried about what scientists got up. | 0:23:51 | 0:23:56 | |
So if you can't find a scientist you can trust on Earth, who you going to call? | 0:23:58 | 0:24:03 | |
In 1963, the BBC looked to the planet Gallifrey | 0:24:04 | 0:24:07 | |
and found an alien scientist who might be able to save the image of scientists. | 0:24:07 | 0:24:13 | |
Have you ever thought what it's like | 0:24:13 | 0:24:15 | |
to be wanderers in the fourth dimension? Have you? | 0:24:15 | 0:24:18 | |
I remember the first Dr Who. | 0:24:18 | 0:24:20 | |
'The moment I saw that police box land in that junkyard | 0:24:20 | 0:24:24 | |
'and William Hartnell get out and bumble away, | 0:24:24 | 0:24:28 | |
'I was absolutely, completely hooked.' | 0:24:28 | 0:24:31 | |
I know this is absurd, but... | 0:24:31 | 0:24:33 | |
The series was created with the full intention of bringing science to family drama, | 0:24:33 | 0:24:38 | |
fulfilling the old BBC code - entertain, inform, educate... | 0:24:38 | 0:24:42 | |
exterminate. | 0:24:42 | 0:24:44 | |
'The idea was, you'd have science-based programmes which illustrated physics or whatever.' | 0:24:44 | 0:24:50 | |
But what the kids liked, what the audience liked, | 0:24:50 | 0:24:52 | |
and I speak as one of the kids who actually watched this show when it first went out, | 0:24:52 | 0:24:57 | |
what we liked were the monsters or the weird stuff | 0:24:57 | 0:25:00 | |
or the things like bigger on the inside than the outside, the concepts there. | 0:25:00 | 0:25:05 | |
I hated at school the idea of science. Science was boring. | 0:25:05 | 0:25:09 | |
But this thing on the telly | 0:25:09 | 0:25:11 | |
which was all about light bending and time only being pretend, | 0:25:11 | 0:25:16 | |
that was wonderful. I wanted to be right at the heart of that. | 0:25:16 | 0:25:19 | |
The series brought, er... quantum mechanics to a family audience. | 0:25:21 | 0:25:27 | |
Science was key. | 0:25:27 | 0:25:28 | |
The Doctor's good science versus evil alien bad science. | 0:25:28 | 0:25:31 | |
Like the Daleks, bent on universal domination through science. | 0:25:31 | 0:25:37 | |
You poor pathetic creatures, don't you realise before you attempt to conquer the Earth | 0:25:37 | 0:25:42 | |
you will have to destroy all living matter? | 0:25:42 | 0:25:47 | |
Take them, take them. | 0:25:47 | 0:25:48 | |
We are the masters of Earth. | 0:25:52 | 0:25:56 | |
William Hartnell plays Dr Who as the eccentric scientist. | 0:25:56 | 0:25:59 | |
The idea of the eccentric scientist has been around since the 19th century, | 0:25:59 | 0:26:04 | |
but perhaps it was a boffin closer to the BBC studio that inspired the writers. | 0:26:04 | 0:26:08 | |
Well, of course, space travel lies in the future yet but I think the explorers may have some surprises. | 0:26:08 | 0:26:14 | |
The series marked another unique difference between US and British science fiction. | 0:26:14 | 0:26:19 | |
I think in Britain, we're not afraid to make a scientist a hero. | 0:26:19 | 0:26:23 | |
I think in America, the really clever guy will be the number two | 0:26:23 | 0:26:26 | |
or the assistant, someone like Mr Spock | 0:26:26 | 0:26:28 | |
who helps out, but he's not the hero. He's not Captain Kirk. | 0:26:28 | 0:26:31 | |
Captain Kirk's off getting the girl and doing all the fighting and being the leader. | 0:26:31 | 0:26:36 | |
We've got the characters like the Doctor, or Quatermass, | 0:26:36 | 0:26:39 | |
who are always the cleverest men in the room, who sort it out, | 0:26:39 | 0:26:42 | |
but they do it by using their brain rather than their fists. | 0:26:42 | 0:26:45 | |
They dare to tamper with the forces of creation? | 0:26:45 | 0:26:49 | |
Yes, they dare. | 0:26:49 | 0:26:51 | |
And we have got to dare to stop them. | 0:26:51 | 0:26:53 | |
Science has given the nation the longest running sci-fi series ever. | 0:26:53 | 0:26:59 | |
Loved by everyone. | 0:26:59 | 0:27:00 | |
Well, almost everyone. | 0:27:00 | 0:27:03 | |
This is going to get me into trouble with the BBC again | 0:27:03 | 0:27:06 | |
because I'm probably the only person who doesn't get Doctor Who. | 0:27:06 | 0:27:09 | |
I'm really sorry. I just don't get it. | 0:27:09 | 0:27:11 | |
I've never watched an episode. | 0:27:11 | 0:27:13 | |
Is that really bad? | 0:27:13 | 0:27:14 | |
Yes, it is. Your P45 is in the post. | 0:27:14 | 0:27:17 | |
While the Dr Who creatives were busy scaring up to 15 million viewers a week, | 0:27:19 | 0:27:23 | |
ten million hiding behind the sofa, | 0:27:23 | 0:27:25 | |
real science programmes were still in need of a facelift. | 0:27:25 | 0:27:30 | |
..But there are 20 amino acids. | 0:27:30 | 0:27:31 | |
It simply isn't enough. | 0:27:31 | 0:27:33 | |
So in 1964, the science producers brought out Horizon, | 0:27:35 | 0:27:40 | |
a series of science documentaries, | 0:27:40 | 0:27:42 | |
each one focusing on a different science topic. | 0:27:42 | 0:27:45 | |
Its aim was to make science cool, | 0:27:45 | 0:27:48 | |
as the programme stated itself. | 0:27:48 | 0:27:49 | |
'Horizon aims to present science | 0:27:49 | 0:27:52 | |
'as an essential part of our 20th century culture. | 0:27:52 | 0:27:56 | |
'A continuing growth of thought that cannot be sub-divided. | 0:27:56 | 0:27:59 | |
It was started on the trendy new channel, BBC2, | 0:27:59 | 0:28:03 | |
by David Attenborough, when he used to have a desk-job. | 0:28:03 | 0:28:06 | |
The fashion in the mid '60s was for magazine programmes. | 0:28:06 | 0:28:10 | |
But doing news about science required you to know the basics before you got to the news | 0:28:10 | 0:28:15 | |
and it's difficult to do that in a seven-minute item, for example. | 0:28:15 | 0:28:19 | |
So doing a 50-minute programme about one particular subject | 0:28:19 | 0:28:23 | |
gave you a chance to do it in a more satisfying way. | 0:28:23 | 0:28:26 | |
It did without a regular presenter to focus more on the science. | 0:28:28 | 0:28:32 | |
Scientists got a voice. | 0:28:32 | 0:28:34 | |
Horizon, I think, | 0:28:34 | 0:28:35 | |
was at one time, | 0:28:35 | 0:28:37 | |
the sort of landmark keystone of science on television | 0:28:37 | 0:28:41 | |
and was an example held around the world for the best of what factual television should be about. | 0:28:41 | 0:28:47 | |
Horizon was avidly watched by the scientific community, | 0:28:47 | 0:28:50 | |
subject of discussion in the coffee room, in the lab. | 0:28:50 | 0:28:53 | |
On Wednesdays and Thursdays | 0:28:53 | 0:28:54 | |
it would always be discussed. Very influential. | 0:28:54 | 0:28:57 | |
This was hip science, social, cultural. | 0:28:59 | 0:29:02 | |
The very first Horizon featured Buckminster Fuller, | 0:29:02 | 0:29:05 | |
the inspiration for the Eden Project. | 0:29:05 | 0:29:08 | |
These are what we call geodesic ray domes | 0:29:08 | 0:29:12 | |
and they are designed to protect the very powerful and important apparatus | 0:29:12 | 0:29:17 | |
from the great storms of nature. | 0:29:17 | 0:29:20 | |
I just remember the range of topics that they chose. | 0:29:20 | 0:29:24 | |
One week it would be maths, the next, biology, | 0:29:24 | 0:29:26 | |
and then something closer to my heart, astronomy. | 0:29:26 | 0:29:29 | |
The dimension of the programme was take a difficult issue, | 0:29:29 | 0:29:32 | |
whether it's popular or not | 0:29:32 | 0:29:34 | |
and make it interesting. | 0:29:34 | 0:29:36 | |
The only thing we can sure about the future is that it will be fantastic. | 0:29:36 | 0:29:40 | |
The real concern was, is it possible to express the idea? Horizon, | 0:29:42 | 0:29:46 | |
if you like, looked across the field of science and said, | 0:29:46 | 0:29:49 | |
"What are the things that are the most interesting | 0:29:49 | 0:29:52 | |
"in the world of science at that time?" | 0:29:52 | 0:29:54 | |
Whether they were, if you like, generally popular, | 0:29:54 | 0:29:58 | |
or in any way pictorial, | 0:29:58 | 0:29:59 | |
or easy to tell, that wasn't the issue. "Is this important in the world of science?" | 0:29:59 | 0:30:05 | |
TV science producers had at last found a platform for showing hard science at the cutting edge. | 0:30:05 | 0:30:10 | |
COMMENTATOR: What kind of industry employs 3,000 workers | 0:30:10 | 0:30:13 | |
but apparently produces nothing? | 0:30:13 | 0:30:15 | |
The work - high-energy physics. | 0:30:15 | 0:30:18 | |
The name - European Organisation for Nuclear Research, or CERN for short. | 0:30:18 | 0:30:24 | |
After nearly 50 years, Horizon is still on the air. | 0:30:26 | 0:30:29 | |
It's covered everything from, well, cats on acid | 0:30:29 | 0:30:32 | |
to black holes with Stephen Hawking. | 0:30:32 | 0:30:35 | |
Many believe it's continued success is down to being at the forefront | 0:30:35 | 0:30:39 | |
of every key scientific revolution that's captivated and worried the public over the decades. | 0:30:39 | 0:30:44 | |
Nuclear science and space exploration in the '60s... | 0:30:44 | 0:30:49 | |
computing and molecular biology in the '70s and '80s... | 0:30:49 | 0:30:53 | |
..and environmental concerns | 0:30:54 | 0:30:56 | |
in the '90s and noughties. | 0:30:56 | 0:30:58 | |
It's been on the frontline of science, and so has sometimes had its critics. | 0:30:58 | 0:31:03 | |
Horizon gets criticised for being elitist, I think, because the topics they choose are often right | 0:31:03 | 0:31:09 | |
from the cutting edge of science, and they're not things that you know you're going to be interested in. | 0:31:09 | 0:31:14 | |
If somebody said to you, "Do you want to hear about carbon in space?" | 0:31:14 | 0:31:18 | |
The odds are that the answer is no. | 0:31:18 | 0:31:20 | |
But what they were actually telling was stories. | 0:31:20 | 0:31:23 | |
The successful Horizon programmes are seen as the ones | 0:31:23 | 0:31:26 | |
that bring science alive by humanizing the scientist. | 0:31:26 | 0:31:29 | |
One programme that sticks in my head | 0:31:29 | 0:31:31 | |
was about Fermat's Last Theorem, | 0:31:31 | 0:31:33 | |
which is this mathematical proof that for a couple of centuries | 0:31:33 | 0:31:36 | |
mathematicians struggled to find out whether the theorem was true or not | 0:31:36 | 0:31:40 | |
and how on earth Fermat proved it, and eventually somebody did. | 0:31:40 | 0:31:44 | |
This tiny note is the world's hardest mathematical problem. | 0:31:44 | 0:31:49 | |
It's been unsolved for centuries, yet it begins with an equation so simple | 0:31:49 | 0:31:53 | |
that children know it off by heart. | 0:31:53 | 0:31:55 | |
I give my students the choice of three Horizons - Mega-Tsunami, | 0:31:55 | 0:31:58 | |
Supervolcano and Fermat's Last Theorum, | 0:31:58 | 0:32:01 | |
a story of a branch of mathematics only a handful of people understand, | 0:32:01 | 0:32:05 | |
and they all, of course, vote for one of the first two. | 0:32:05 | 0:32:07 | |
And then I show them the pre-title, the first few minutes of Fermat's Last Theorum | 0:32:07 | 0:32:12 | |
and most of them want to watch it. | 0:32:12 | 0:32:14 | |
What happens is that the camera goes into this office and reveals | 0:32:14 | 0:32:17 | |
this mathematician working with paper everywhere, | 0:32:17 | 0:32:20 | |
and he's trying to explain this great discovery he's made, and he starts to cry. | 0:32:20 | 0:32:24 | |
The most important moment of my working life. | 0:32:24 | 0:32:27 | |
Nothing I ever do again will... | 0:32:40 | 0:32:42 | |
I'm sorry. | 0:32:42 | 0:32:44 | |
No-one who watched the programme | 0:32:44 | 0:32:45 | |
would have had any understanding of the solution, | 0:32:45 | 0:32:48 | |
but it was this story of a man trying to prove something, | 0:32:48 | 0:32:51 | |
and you came away with this sense of mathematics as an art form. | 0:32:51 | 0:32:54 | |
I think one of the most wonderful science programmes ever on TV | 0:32:54 | 0:32:57 | |
was Chris Sykes' interview with Richard Feynman. | 0:32:57 | 0:33:00 | |
I remember watching that as a student and just being blown away by it. | 0:33:00 | 0:33:04 | |
But I don't have to know an answer. | 0:33:04 | 0:33:07 | |
I don't feel frightened by not knowing things, | 0:33:07 | 0:33:11 | |
by being lost in a mysterious universe without having any purpose, | 0:33:11 | 0:33:15 | |
which is the way it really is, as far as I can tell, possibly. It doesn't frighten me. | 0:33:15 | 0:33:19 | |
'The most courageous programme you could imagine. They took professor Richard Feynman,' | 0:33:19 | 0:33:24 | |
Nobel laureate, one of the greatest physicists | 0:33:24 | 0:33:27 | |
of the 20th century, and they just stuck him on a chair. | 0:33:27 | 0:33:31 | |
And it just goes on like that for a whole hour - one talking head. | 0:33:31 | 0:33:34 | |
Looking at a bird, he says, "Do you know what that is? | 0:33:34 | 0:33:38 | |
"It's a brown-throated thrush. | 0:33:38 | 0:33:40 | |
"But in Portuguese, it's a Bom da Peida, | 0:33:40 | 0:33:43 | |
"in Italian a Chutto Lapittida." | 0:33:43 | 0:33:46 | |
He says, "In Chinese, it's a Chung long-tah, in Japanese, a Katano Tekeda, et cetera. | 0:33:46 | 0:33:51 | |
"You know in all the languages you want to know what the name of that bird is, | 0:33:51 | 0:33:55 | |
"and when you've finished with all that, you'll know absolutely nothing whatever about the bird. | 0:33:55 | 0:34:00 | |
"You only know about humans in different places and what they call the bird. | 0:34:00 | 0:34:04 | |
"Let's look at the bird and what it's doing." | 0:34:04 | 0:34:07 | |
There is always something fantastic | 0:34:07 | 0:34:09 | |
about hearing a real expert explain what they know about, | 0:34:09 | 0:34:14 | |
if they really know about it, and if they are articulate and clear in their explanations. | 0:34:14 | 0:34:20 | |
It's no good having a sort of wild-eyed person just blather. | 0:34:20 | 0:34:23 | |
The same year Horizon started, TV went looking for another type of science programme, | 0:34:26 | 0:34:31 | |
born out of Britain's early '60s feeling of hope | 0:34:31 | 0:34:34 | |
that technological advancement was the answer. | 0:34:34 | 0:34:36 | |
APPLAUSE The Britain that is going to be forged | 0:34:36 | 0:34:39 | |
in the white heat of this revolution. | 0:34:39 | 0:34:42 | |
'This is the early '60s. This is the Wilson era. | 0:34:42 | 0:34:44 | |
'The era of the white heat of a technological revolution' | 0:34:44 | 0:34:48 | |
which is going to transform Britain. | 0:34:48 | 0:34:50 | |
That's the promise. | 0:34:50 | 0:34:51 | |
So they want to make an entertaining regular news programme about science. | 0:34:51 | 0:34:56 | |
That programme is Tomorrow's World. | 0:34:56 | 0:34:59 | |
Tomorrow's World began in 1965, a live, fun science and technology programme | 0:35:07 | 0:35:12 | |
showcasing the latest gadgets from the future. | 0:35:12 | 0:35:15 | |
Presenting it, that safe pair of hands with live TV, | 0:35:19 | 0:35:21 | |
ex-Spitfire pilot Raymond Baxter and his clever sidekick James Burke. | 0:35:21 | 0:35:26 | |
Da-da-dit, da-da-da, | 0:35:27 | 0:35:29 | |
da-da-da, da-dit-dit. | 0:35:29 | 0:35:31 | |
Diddy-da-da-da-di, | 0:35:31 | 0:35:33 | |
da-da-di? | 0:35:33 | 0:35:35 | |
HE CHUCKLES | 0:35:35 | 0:35:37 | |
Which is quite enough of dat. | 0:35:37 | 0:35:39 | |
'Raymond Baxter.' | 0:35:39 | 0:35:40 | |
He was like Sherlock Holmes, only of today. | 0:35:40 | 0:35:44 | |
What we were trying to say at the beginning of the programme | 0:35:44 | 0:35:48 | |
was "good evening" in Morse and get this machine to print it out. | 0:35:48 | 0:35:51 | |
'Somebody once described him' | 0:35:51 | 0:35:53 | |
when he walks across the floor as a formation dancer | 0:35:53 | 0:35:56 | |
who doesn't know yet that he's lost the rest of the team. | 0:35:56 | 0:35:59 | |
Dit-dit-da-da-dit. | 0:35:59 | 0:36:00 | |
PHONE RINGS | 0:36:00 | 0:36:02 | |
-Hello. Who dat? -Hello? | 0:36:04 | 0:36:06 | |
You got the right number, cos you got James burke. | 0:36:07 | 0:36:11 | |
-Ring him off. -Dit-dit-da-dit-dit. | 0:36:11 | 0:36:13 | |
This is in fact the first prototype | 0:36:13 | 0:36:16 | |
and it goes on show for the first time next week at the Physics Exhibition at Alexandra Palace. | 0:36:16 | 0:36:21 | |
I don't think he wrote his scripts, but all he did was glance at what was needed, throw it away | 0:36:21 | 0:36:26 | |
and then ad-lib the whole thing, | 0:36:26 | 0:36:29 | |
but always the detail was there, always the essentials were there. | 0:36:29 | 0:36:33 | |
A deadly weapon at a much longer range than this. | 0:36:33 | 0:36:37 | |
At this range, totally terrifying. | 0:36:37 | 0:36:40 | |
In your own time, fire, Jim. | 0:36:40 | 0:36:42 | |
That made you jump a bit. | 0:36:43 | 0:36:45 | |
Phew, well, even from here, that was frightening! | 0:36:46 | 0:36:49 | |
I was ten when Tomorrow's World started | 0:36:49 | 0:36:53 | |
and I loved it. | 0:36:53 | 0:36:54 | |
I loved the technology. Everything seemed so exciting. | 0:36:54 | 0:36:58 | |
I remember watching a schoolboy having access to a computer and thinking, | 0:36:58 | 0:37:04 | |
"Gosh, we haven't got anything like that at Evington Hall Convent." | 0:37:04 | 0:37:08 | |
Like Horizon, Tomorrow's World remained popular throughout the '60s and beyond, | 0:37:08 | 0:37:12 | |
getting viewing figures of ten million plus every week. | 0:37:12 | 0:37:15 | |
It was pure celebration of science, as exemplified in the Tomorrow's World song | 0:37:15 | 0:37:20 | |
that played out the series in 1966. | 0:37:20 | 0:37:23 | |
With the accelerating pace of technological advance, | 0:37:24 | 0:37:28 | |
it's hard for a girl to keep up to date. | 0:37:28 | 0:37:31 | |
In tomorrow's world, | 0:37:31 | 0:37:33 | |
there a chance that technology will just have to wait. | 0:37:33 | 0:37:37 | |
JAZZ MUSIC PLAYS | 0:37:37 | 0:37:39 | |
# Tomorrow's world is coming | 0:37:39 | 0:37:43 | |
# Whether we like it or not... # | 0:37:43 | 0:37:47 | |
Tomorrow's World worked because it focused, | 0:37:47 | 0:37:49 | |
not so much on hard science, but on where science met technology. | 0:37:49 | 0:37:55 | |
And because of that it attracted an audience that wasn't initially interested, perhaps, in science, | 0:37:55 | 0:38:00 | |
but was interested in the kinds of things that were happening. | 0:38:00 | 0:38:04 | |
It was concerned with filming things that moved as opposed to stood still. | 0:38:04 | 0:38:08 | |
It was more concerned with things that changed our lives as opposed to pure scientific theories. | 0:38:08 | 0:38:13 | |
That doesn't mean it didn't touch pure scientific theories, but it was focused on hardware. | 0:38:13 | 0:38:18 | |
There comes a time in every demonstration when the talking has to stop and only actions will do. | 0:38:18 | 0:38:23 | |
It was a bunch of guys really enthusiastic about the science they were playing with | 0:38:23 | 0:38:28 | |
and really trying to make that interesting to a wider audience. | 0:38:28 | 0:38:31 | |
'There was a real competition for doing interesting stories. I got a reputation | 0:38:31 | 0:38:36 | |
'for doing all the kind of edgy stories that involved the kind of frisson of danger. | 0:38:36 | 0:38:40 | |
'I did stories like falling off a crane in the London Docks | 0:38:40 | 0:38:44 | |
'to demonstrate that this safety harness really worked.' | 0:38:44 | 0:38:47 | |
..And fall! Ugh. | 0:38:47 | 0:38:50 | |
Well, it works, doesn't it? | 0:38:50 | 0:38:51 | |
And a rather novel view of the London skyline. | 0:38:51 | 0:38:55 | |
It certainly inspired me and my decision to continue | 0:38:57 | 0:39:00 | |
with science after school. I remember religiously watching it. | 0:39:00 | 0:39:03 | |
It was Tomorrow's World and Top Of The Pops. | 0:39:03 | 0:39:06 | |
There was that hour of Tomorrow's World and Top Of The Pops, | 0:39:06 | 0:39:09 | |
-and they seemed to go together. -Two ounces of explosive, that's all? | 0:39:09 | 0:39:13 | |
-Correct. -Good gracious. | 0:39:13 | 0:39:15 | |
'It also, I think,' | 0:39:15 | 0:39:16 | |
was crucially important | 0:39:16 | 0:39:17 | |
that in its early days, the first 10 or 15 years, it was live. | 0:39:17 | 0:39:21 | |
Just look at that. Can you get me that piece...? | 0:39:21 | 0:39:24 | |
And because it was still done live right up until the 1990s, | 0:39:24 | 0:39:27 | |
whilst most other TV programmes were pre-recorded, | 0:39:27 | 0:39:30 | |
Tomorrow's World became infamous for the occasional failure of its studio demos. | 0:39:30 | 0:39:36 | |
Live Tomorrow's World was fabulous, because what you got was robots | 0:39:36 | 0:39:40 | |
'which did what they were absolutely not expected to do.' | 0:39:40 | 0:39:43 | |
Nothing appears to be happening. | 0:39:43 | 0:39:45 | |
Let me introduce first of all... Oh, wait a minute. Oh, God. | 0:39:45 | 0:39:49 | |
And the opponent's back at it... | 0:39:49 | 0:39:51 | |
For example, if a vehicle were a fork-lift truck | 0:39:51 | 0:39:54 | |
it could perform stacking... | 0:39:54 | 0:39:55 | |
Ah, he blew it at the 11th hour. | 0:39:55 | 0:39:57 | |
Now, Bill, of course, thinks he's picked up the light bulb. | 0:39:57 | 0:40:01 | |
He'll now go to the next bit of the proceedings, | 0:40:01 | 0:40:04 | |
which is to deliver it to me. | 0:40:04 | 0:40:06 | |
All right, here I am, now he delivers the non-existent light bulb | 0:40:06 | 0:40:10 | |
at my feet. Well, he blew that one. | 0:40:10 | 0:40:12 | |
You're going to get another chance now, Sid, so do it right. | 0:40:12 | 0:40:16 | |
And every single voice recognition system I can remember failed, | 0:40:16 | 0:40:20 | |
because we rehearsed it in the studio, | 0:40:20 | 0:40:22 | |
and then live on air the presenters' voices would tighten, | 0:40:22 | 0:40:25 | |
would go up an octave, and it would never work. | 0:40:25 | 0:40:27 | |
I feel like breaking it with an axe. | 0:40:27 | 0:40:29 | |
There was nothing worse than standing in the studio | 0:40:29 | 0:40:32 | |
with the Tomorrow's World music playing, | 0:40:32 | 0:40:34 | |
knowing that you were about to do a demonstration | 0:40:34 | 0:40:36 | |
that was not going to work. And, you would feel physically sick, | 0:40:36 | 0:40:40 | |
absolutely, physically sick. | 0:40:40 | 0:40:41 | |
I don't think it's going to do anything because | 0:40:41 | 0:40:44 | |
it was hit by a camera just a few minutes ago, | 0:40:44 | 0:40:46 | |
so it's now right up the creek. | 0:40:46 | 0:40:48 | |
But that was the moment that people really watched it | 0:40:48 | 0:40:50 | |
and loved it, because it was so honest. | 0:40:50 | 0:40:53 | |
It would have been very easy to pre-record the difficult bit, | 0:40:53 | 0:40:56 | |
the tricky bit, but we didn't. | 0:40:56 | 0:40:58 | |
Here goes. | 0:40:58 | 0:40:59 | |
BANG | 0:41:01 | 0:41:02 | |
God! Nobody told me it would do that! | 0:41:02 | 0:41:04 | |
In the show's first years the presenters were all men | 0:41:06 | 0:41:09 | |
and not a science degree between them. | 0:41:09 | 0:41:11 | |
Then, in 1974, they let a woman get her hands on their gadgets. | 0:41:15 | 0:41:18 | |
Not only that, she was a scientist. | 0:41:18 | 0:41:21 | |
Judith Hann was, with her fabulous hair, | 0:41:21 | 0:41:24 | |
she was so part of my childhood. | 0:41:24 | 0:41:26 | |
It's a personal radio which soaks up the sun while I do. | 0:41:26 | 0:41:29 | |
To the casual viewer, it might have seemed she always got | 0:41:33 | 0:41:36 | |
the stories that no-one else wanted. | 0:41:36 | 0:41:38 | |
Like this... Bark! | 0:41:38 | 0:41:40 | |
While the boys were off testing cars or planes, | 0:41:40 | 0:41:42 | |
Judith was stuck in the London studio | 0:41:42 | 0:41:45 | |
doing yet another story on another medical breakthrough. | 0:41:45 | 0:41:49 | |
Well, the reason is this new drug called Cyclosporin A. | 0:41:49 | 0:41:53 | |
This began to change with the arrival of women producers and Maggie Philbin. | 0:41:55 | 0:41:59 | |
Then Judith and Maggie were given all the blokey jobs. | 0:41:59 | 0:42:02 | |
See what they did there? | 0:42:02 | 0:42:04 | |
When I joined Tomorrow's World, | 0:42:04 | 0:42:05 | |
obviously Judith Hann was already there | 0:42:05 | 0:42:07 | |
and there were some terrific women producers and researchers. | 0:42:07 | 0:42:12 | |
But that hadn't always been the case. | 0:42:12 | 0:42:14 | |
They were very aware of the sexist past of Tomorrow's World, | 0:42:14 | 0:42:20 | |
and they were adamant that Judith and myself would get nowhere near | 0:42:20 | 0:42:23 | |
anything that had anything to do with kitchens. | 0:42:23 | 0:42:26 | |
Here we go. | 0:42:26 | 0:42:28 | |
Come on, ride. Go on, ride. There you go. | 0:42:28 | 0:42:30 | |
Ride. There you go, ride! Go on, go on! You're going to make it! | 0:42:30 | 0:42:33 | |
And so, in an almost perverse way, Judith and I found ourselves doing | 0:42:33 | 0:42:37 | |
some very, very dangerous - there's no other word for it - items. | 0:42:37 | 0:42:41 | |
And now you hang on for dear life. | 0:42:41 | 0:42:44 | |
There might be a story about soil compaction around a Great Oak in | 0:42:44 | 0:42:47 | |
Sherwood forest, and the challenge there was how do you make this live? | 0:42:47 | 0:42:51 | |
Is what remains of Sherwood Forest, | 0:42:51 | 0:42:54 | |
the stamping ground of Britain's most loved outlaw - Robin Hood. | 0:42:54 | 0:42:58 | |
This was done live, and it's by far the most dangerous thing | 0:42:58 | 0:43:02 | |
I have ever done in my life. | 0:43:02 | 0:43:03 | |
If it involved jumping out of a helicopter and being hurled into | 0:43:03 | 0:43:07 | |
the North Sea, then it would have mine or Judith's name on it. | 0:43:07 | 0:43:10 | |
Over it's near 40 years on the box, its entertaining presenters | 0:43:12 | 0:43:15 | |
offered the British public sensational visions of the future, | 0:43:15 | 0:43:19 | |
from Concorde's first flight, the first personal jet-pack, | 0:43:19 | 0:43:23 | |
laser-gun, compact disk, and even the future of German Electronica. | 0:43:23 | 0:43:27 | |
# Fun, fun, fun, autobahn... | 0:43:27 | 0:43:29 | |
Inventions that made us go 'gee-whiz', but some should | 0:43:30 | 0:43:33 | |
have, perhaps, never made it beyond the drawing board. | 0:43:33 | 0:43:36 | |
I don't remember a single thing from Tomorrow's World. | 0:43:36 | 0:43:40 | |
All I know is it showed me what the future would be. | 0:43:40 | 0:43:44 | |
Every single thing on it was actually going to be | 0:43:44 | 0:43:47 | |
how my world would be in ten years time. | 0:43:47 | 0:43:50 | |
And it was all complete bollocks. | 0:43:50 | 0:43:53 | |
But Tomorrow World's gee-whiz approach to science | 0:43:55 | 0:43:58 | |
has divided the scientific community. | 0:43:58 | 0:44:00 | |
I don't really agree with whiz bang science, | 0:44:02 | 0:44:04 | |
because I don't find whiz bang science very entertaining. | 0:44:04 | 0:44:07 | |
Because it's too whizzy and bangy. | 0:44:07 | 0:44:09 | |
I think there's a place for gee-whiz science. | 0:44:09 | 0:44:11 | |
I think science television should be entertaining. | 0:44:11 | 0:44:14 | |
Horses for courses, you know. | 0:44:14 | 0:44:15 | |
Some people will complain about the background music on a documentary. | 0:44:15 | 0:44:19 | |
I hate background music. | 0:44:19 | 0:44:21 | |
# Uneconomic | 0:44:21 | 0:44:25 | |
# Tomorrow's World... # | 0:44:25 | 0:44:28 | |
Whilst factual programmes celebrated science, drama TV tackled one of | 0:44:31 | 0:44:36 | |
the big techno-fears of the 60s with The War Game. | 0:44:36 | 0:44:39 | |
If you were expecting some fun quiz show, you'd be very disappointed. | 0:44:39 | 0:44:42 | |
It's a shocking 'what if' drama-documentary of | 0:44:42 | 0:44:45 | |
nuclear science gone wrong when there's a nuclear attack on Britain. | 0:44:45 | 0:44:49 | |
It was made for the 20th anniversary | 0:44:49 | 0:44:51 | |
of the dropping of the atom bomb on Hiroshima. | 0:44:51 | 0:44:54 | |
Move, hurry up, inside the house! Move, come on, come on! | 0:44:54 | 0:44:57 | |
The voice-over commentary and dramatic reconstructions were | 0:45:00 | 0:45:03 | |
based on real facts and evidence given by scientists | 0:45:03 | 0:45:06 | |
about what happens in a nuclear attack. | 0:45:06 | 0:45:08 | |
'At this distance, the heat wave is sufficient to cause | 0:45:08 | 0:45:12 | |
'melting of the upturned eyeball, third degree burning of the skin | 0:45:12 | 0:45:16 | |
'and ignition of furniture.' | 0:45:16 | 0:45:17 | |
SCREAMING | 0:45:17 | 0:45:19 | |
It's direct and unemotional commentary plays against bleak | 0:45:19 | 0:45:22 | |
images of Britons surviving - or not - nuclear devastation, | 0:45:22 | 0:45:26 | |
with shocking effect. | 0:45:26 | 0:45:27 | |
It will be followed | 0:45:27 | 0:45:30 | |
by death, within three minutes. | 0:45:30 | 0:45:33 | |
The War Game was never broadcast in 1965. It wasn't shown until 1985. | 0:45:38 | 0:45:43 | |
This time not due to tape wiping or some terrible filing error, but TV | 0:45:43 | 0:45:48 | |
bosses refused to air it, deeming this science fiction too realistic. | 0:45:48 | 0:45:52 | |
'On almost the entire subject of thermonuclear weapons, | 0:45:54 | 0:45:59 | |
'there is now practically a total silence in the press, | 0:45:59 | 0:46:03 | |
'in official publications and on television.' | 0:46:03 | 0:46:07 | |
It was a frightening vision of how science can be misused. | 0:46:07 | 0:46:10 | |
Not the kind of science that will save us in Tomorrow's World. | 0:46:10 | 0:46:14 | |
Science ends with the bomb, doesn't it? | 0:46:14 | 0:46:17 | |
After the bomb there's no science any more, | 0:46:17 | 0:46:20 | |
there's no nothing any more. | 0:46:20 | 0:46:21 | |
That's the message of things like The War Game. | 0:46:21 | 0:46:23 | |
Fortunately, the world didn't end in '65, so the coming generations | 0:46:23 | 0:46:28 | |
could still find salvation in real science programmes. | 0:46:28 | 0:46:31 | |
In 1966, The Royal Institute Christmas Lectures started on the box. | 0:46:31 | 0:46:36 | |
'The Royal Institution Christmas Lectures.' | 0:46:37 | 0:46:40 | |
They'd been going for nearly 150 years, | 0:46:40 | 0:46:43 | |
so they'd just about got it right when TV got in on the act. | 0:46:43 | 0:46:46 | |
Well, let us begin with an experiment. | 0:46:50 | 0:46:52 | |
Will you uncover the apparatus, please? | 0:46:52 | 0:46:55 | |
It was very demanding. | 0:46:55 | 0:46:56 | |
I gave a series myself in the lectures on animal behaviour, | 0:46:56 | 0:47:01 | |
and that was a nightmare. | 0:47:01 | 0:47:04 | |
The thing that scared you silly | 0:47:04 | 0:47:06 | |
was that it had to be live. | 0:47:06 | 0:47:08 | |
You got this huge bank of faces, eager faces around you, | 0:47:08 | 0:47:11 | |
and you start, you don't say, "My Lords, ladies and gentlemen", | 0:47:11 | 0:47:14 | |
or, "how lovely it is to be here," | 0:47:14 | 0:47:16 | |
You say, "A equals whatever," you know, | 0:47:16 | 0:47:19 | |
or, "animals react to a noise," or something. | 0:47:19 | 0:47:22 | |
I've got a microphone inside his cage. | 0:47:22 | 0:47:26 | |
So, we'll see if he actually does anything. | 0:47:26 | 0:47:29 | |
Nothing. | 0:47:34 | 0:47:36 | |
RATTLING | 0:47:36 | 0:47:39 | |
Yes. | 0:47:39 | 0:47:40 | |
And you had to go on, and there's a clock immediately facing you. | 0:47:40 | 0:47:45 | |
A bell rang at 60 minutes, and there you stop. | 0:47:45 | 0:47:48 | |
So, this was a nightmare for the lecturer. | 0:47:48 | 0:47:51 | |
He rattles, and that's a language. | 0:47:51 | 0:47:55 | |
Let's take him away before he gets too bad tempered. | 0:47:55 | 0:47:58 | |
Thank you, Mr Coats. | 0:47:58 | 0:47:59 | |
I love the Royal Institution Christmas lectures, just this | 0:47:59 | 0:48:03 | |
incredible, almost unique, I think, anywhere in the world, | 0:48:03 | 0:48:06 | |
platform for somebody to bring people into the heart of science. | 0:48:06 | 0:48:09 | |
But if you look at when the Royal Institution lectures work, | 0:48:09 | 0:48:12 | |
it's when they're about experiment, | 0:48:12 | 0:48:14 | |
it's when they're about demonstrating in a laboratory | 0:48:14 | 0:48:17 | |
like this, perhaps, to an audience sitting there and at home | 0:48:17 | 0:48:21 | |
what it is that tells you things about the world. | 0:48:21 | 0:48:24 | |
The lectures are still a TV event after 44 years. | 0:48:24 | 0:48:27 | |
Aimed primarily at young people, they've covered ideas such as | 0:48:27 | 0:48:31 | |
quantum mechanics and evolution with Richard Dawkins. | 0:48:31 | 0:48:34 | |
This is a stick insect. | 0:48:34 | 0:48:37 | |
It may look fairly conspicuous on my hand, | 0:48:37 | 0:48:40 | |
although I've made an effort to make it feel at home with my shirt. | 0:48:40 | 0:48:43 | |
I mean, it's one thing doing it in front of an audience just in a | 0:48:43 | 0:48:47 | |
theatre, but doing in front of millions is quite demanding, I can tell you. | 0:48:47 | 0:48:51 | |
I've never been so frightened about doing a programme in my life, really. | 0:48:51 | 0:48:54 | |
How! How! | 0:49:01 | 0:49:03 | |
How can you tip a bucket of water upside down | 0:49:03 | 0:49:05 | |
without the water tipping out of it? | 0:49:05 | 0:49:07 | |
Consider the impossibility of this 'How'. | 0:49:07 | 0:49:09 | |
We have a bucket here, and it is virtually full of water. | 0:49:09 | 0:49:13 | |
The same year that the RI lectures started, another regular kids TV | 0:49:13 | 0:49:16 | |
science programme came along - How?, mixing science with, er... | 0:49:16 | 0:49:22 | |
native American Navajo. | 0:49:22 | 0:49:23 | |
-How! -How! | 0:49:23 | 0:49:25 | |
What I liked about that programme was it was so grounded. | 0:49:25 | 0:49:29 | |
It would, it would take an example from, you know, your real life, | 0:49:29 | 0:49:33 | |
and it would just ask a question about it, you know. | 0:49:33 | 0:49:37 | |
How does an aeroplane fly? | 0:49:37 | 0:49:41 | |
It felt very accessible, and it also made science very real. | 0:49:41 | 0:49:45 | |
How! | 0:49:45 | 0:49:46 | |
As TV non-fiction continued to explore science as a force for good | 0:49:54 | 0:49:58 | |
in the 60s, that started to change in the 70s. | 0:49:58 | 0:50:01 | |
The oil crisis gripped world affairs. | 0:50:01 | 0:50:03 | |
Britain went dark with strikes, and then a three day week. | 0:50:03 | 0:50:07 | |
Science, too, was under fire from the press and the media. | 0:50:07 | 0:50:11 | |
Popular TV news coverage of science changed from reverential | 0:50:11 | 0:50:14 | |
in the 50s to a more questioning approach in the 70s. | 0:50:14 | 0:50:18 | |
Can one little aerosol affect what happens 10 or 20 miles up in the sky? | 0:50:18 | 0:50:23 | |
Some scientists think it can. | 0:50:23 | 0:50:26 | |
So, in a 'misery' science face-off, science fiction went darker. | 0:50:26 | 0:50:31 | |
The 70s, obviously, in Britain were a very traumatic time, | 0:50:31 | 0:50:34 | |
and it's reflected in our TV science fiction at the time, which is | 0:50:34 | 0:50:39 | |
almost uniformly grim and down beat and miserabilist, | 0:50:39 | 0:50:43 | |
which may be why I kind of like it. | 0:50:43 | 0:50:45 | |
The 1970s saw the start of Doomwatch. | 0:50:45 | 0:50:49 | |
Doomwatch is a very down show. | 0:50:49 | 0:50:51 | |
It's all about everything going to hell. | 0:50:51 | 0:50:54 | |
With a very pessimistic view of science, | 0:50:56 | 0:50:59 | |
it followed an agency set up to preserve the world | 0:50:59 | 0:51:01 | |
from the dangers of unprincipled scientific research. | 0:51:01 | 0:51:04 | |
Surely they won't do a test until they can | 0:51:04 | 0:51:06 | |
kill the stuff off afterwards. | 0:51:06 | 0:51:08 | |
Put a scientist under political pressure | 0:51:08 | 0:51:10 | |
and he'll do anything you like. He'll even justify it. I know. | 0:51:10 | 0:51:13 | |
The programme was created by real scientist, Kit Pedler. | 0:51:13 | 0:51:17 | |
I think the public now is | 0:51:17 | 0:51:18 | |
inaccurately and incompletely informed. | 0:51:18 | 0:51:22 | |
Pedler had been the unofficial scientific adviser | 0:51:23 | 0:51:26 | |
on Dr Who in the 60s. | 0:51:26 | 0:51:27 | |
This was the first series to frequently focus on environmental issues. | 0:51:27 | 0:51:31 | |
You can tell what we, as a society, were worried about, | 0:51:31 | 0:51:35 | |
you know, whether it be, um, you know, pandemics or over population | 0:51:35 | 0:51:42 | |
or, you know, increasing de-humanisation of people | 0:51:42 | 0:51:45 | |
through over reliance on science and technology. | 0:51:45 | 0:51:49 | |
The series scared us with embryo research, | 0:51:49 | 0:51:51 | |
toxic waste and animal exploitation, | 0:51:51 | 0:51:53 | |
plus stuff that look borrowed from B-movie horrors, | 0:51:53 | 0:51:56 | |
such as genetically engineered killer rats. | 0:51:56 | 0:51:59 | |
Agh! | 0:51:59 | 0:52:01 | |
A lot livelier than GM tomatoes, and a plastic-eating virus | 0:52:03 | 0:52:08 | |
that caused planes to fall out of the sky. | 0:52:08 | 0:52:10 | |
We maybe slightly mis-remember it as a show about bad science, | 0:52:10 | 0:52:15 | |
about how science was going to do terrible, terrible things. | 0:52:15 | 0:52:18 | |
If you look at it episode by episode, usually the problem | 0:52:18 | 0:52:23 | |
isn't the science - the heroes are scientists, you know, | 0:52:23 | 0:52:27 | |
but it's usually irresponsible science. | 0:52:27 | 0:52:30 | |
Oh, budget airlines. | 0:52:30 | 0:52:33 | |
Somewhere over the Atlantic, one of my staff is flying back with a | 0:52:33 | 0:52:37 | |
piece of that crashed aircraft, so unless action is taken now. | 0:52:37 | 0:52:40 | |
That plane is going to go down. | 0:52:40 | 0:52:42 | |
Ah, too late. | 0:52:42 | 0:52:43 | |
In 1971, more science crash-landed into the | 0:52:48 | 0:52:51 | |
nation's living rooms when The Open University | 0:52:51 | 0:52:54 | |
started broadcasting to help Britons get more cleverer. | 0:52:54 | 0:52:58 | |
What I'm going to do now is to try and shoot the pellet | 0:52:58 | 0:53:01 | |
into the tube thing on top of the glider, | 0:53:01 | 0:53:03 | |
which is there only to catch the pellets | 0:53:03 | 0:53:05 | |
so it doesn't go flying around the studio, slaughtering | 0:53:05 | 0:53:08 | |
everybody and sundry. | 0:53:08 | 0:53:09 | |
I was involved because I was controller of BBC Two. | 0:53:09 | 0:53:12 | |
One of the reasons that the BBC was given that third network, | 0:53:12 | 0:53:16 | |
as it was then, was that it would find a place for | 0:53:16 | 0:53:19 | |
the Open University programmes, and the Open University was a | 0:53:19 | 0:53:23 | |
very solid plank in the Labour Party's policy. | 0:53:23 | 0:53:26 | |
The P waves vibrate the Earth up and down, vibrate the surface of | 0:53:26 | 0:53:30 | |
the Earth up and down, whereas the S waves shake it from side to side. | 0:53:30 | 0:53:34 | |
The programmes had to be made quickly and cheaply, | 0:53:34 | 0:53:38 | |
so were presented by real scientists and academics. | 0:53:38 | 0:53:41 | |
TV science was, in fact, returned to the style of the 1950s - the TV lecture. | 0:53:41 | 0:53:46 | |
The scientists had finally got their own way | 0:53:47 | 0:53:51 | |
presenting their lectures pure and unadulterated by all that | 0:53:51 | 0:53:54 | |
TV filming nonsense, like grooming, style, clothes sense, | 0:53:54 | 0:53:58 | |
fashionable haircut, entertainment... | 0:53:58 | 0:54:00 | |
And I think you'll agree that's a pretty complicated motion. | 0:54:00 | 0:54:04 | |
I did watch Open University science broadcasting, partly because I'm a bit of a geek, | 0:54:04 | 0:54:08 | |
so I wanted to see how this go ahead, dynamic, new organisation | 0:54:08 | 0:54:13 | |
was revolutionising teaching. | 0:54:13 | 0:54:15 | |
So, I used to, sort of, turn it on at 11:30 in the evening | 0:54:15 | 0:54:18 | |
or whenever it came on then watch through some crazy programme | 0:54:18 | 0:54:21 | |
on the second law of thermodynamics or something, just for the pleasure | 0:54:21 | 0:54:26 | |
of seeing the academic science presented. | 0:54:26 | 0:54:28 | |
Yeah, OK, all right stop it. | 0:54:28 | 0:54:30 | |
It was that kind of, in the middle of the night | 0:54:30 | 0:54:32 | |
if you were drunk and you came back after a few beers, | 0:54:32 | 0:54:35 | |
you'd put it on and you'd learn about, | 0:54:35 | 0:54:37 | |
how many dimensions there were, and you probably were in a different one, anyway. | 0:54:37 | 0:54:41 | |
So, over to Mick to explain how these waves | 0:54:41 | 0:54:44 | |
tie in with functions of two variables. | 0:54:44 | 0:54:47 | |
We need to be clearer about what's going on in Graeme's tank. | 0:54:47 | 0:54:51 | |
The OU paid for the programmes, but the BBC called the shots. | 0:54:53 | 0:54:56 | |
Cue lots of battles between science academics, | 0:54:56 | 0:54:59 | |
who merely wanted to reproduce their lectures, | 0:54:59 | 0:55:01 | |
and producers who had to turn them into TV presenters, | 0:55:01 | 0:55:04 | |
as this behind the scenes footage captured. | 0:55:04 | 0:55:08 | |
There is only one student, he's never heard the story before | 0:55:08 | 0:55:11 | |
and he's on his own, and he's sitting there with the telly. | 0:55:11 | 0:55:14 | |
The telly's only eight feet away. There's you and there's him. | 0:55:14 | 0:55:17 | |
Take three, go on let's do it again. Much easier to do it now. | 0:55:17 | 0:55:20 | |
TV science producers had spent two decades trying to get away from the | 0:55:22 | 0:55:26 | |
science lecture, and now they were filling hundreds of hours of screen-time with the stuff. | 0:55:26 | 0:55:31 | |
The low-fi look led to frequent parodies | 0:55:31 | 0:55:34 | |
over it's 30 years plus on the box. | 0:55:34 | 0:55:36 | |
Giving us a resultant modular quantity of 0.567359. | 0:55:36 | 0:55:41 | |
Now this should begin to give us some clues as to whether... | 0:55:41 | 0:55:45 | |
I'm sorry, Brian, I'm sorry. | 0:55:45 | 0:55:46 | |
What? What's happened? | 0:55:47 | 0:55:49 | |
You said 0.567359. | 0:55:51 | 0:55:54 | |
-Oh, no, I didn't, did I? -Yes! | 0:55:54 | 0:55:57 | |
It should 0.567395! | 0:55:57 | 0:55:59 | |
I don't believe it! Oh no! | 0:55:59 | 0:56:01 | |
BEEP hell! | 0:56:06 | 0:56:09 | |
I think there was something endearing | 0:56:09 | 0:56:11 | |
about the undiluted geekiness about the Open University programmes. | 0:56:11 | 0:56:16 | |
There was no compromise, there was no dumbing down, there was no simplifying. | 0:56:16 | 0:56:21 | |
Of course, we've done our best to make these look as simple as possible. | 0:56:21 | 0:56:25 | |
Yet despite their cheap, simple presentation | 0:56:25 | 0:56:28 | |
the OU could easily get late-night viewing figures of up to 1 million, | 0:56:28 | 0:56:31 | |
which programme-makers today would kill their own channel boss for. | 0:56:31 | 0:56:37 | |
The low-budget look never bothered their audience, | 0:56:37 | 0:56:40 | |
but it did bother the drama-makers. | 0:56:40 | 0:56:43 | |
Arriving on TV screens the same year as Star Wars, | 0:56:43 | 0:56:46 | |
Blake's 7 tried to give Hollywood a run for its money. | 0:56:46 | 0:56:49 | |
It follows the authorities and rebels battling for control | 0:56:54 | 0:56:57 | |
of technology, er, just like Star Wars. | 0:56:57 | 0:57:00 | |
Reflecting 1970s concerns about who was going to be | 0:57:00 | 0:57:03 | |
in control of the new computer revolution. | 0:57:03 | 0:57:06 | |
-This is Orac? -100 million for that? | 0:57:06 | 0:57:10 | |
Is it a computer? | 0:57:10 | 0:57:11 | |
It most certainly is not. | 0:57:11 | 0:57:13 | |
It is a brain, a genius. | 0:57:13 | 0:57:15 | |
It has a mind that can draw information | 0:57:15 | 0:57:17 | |
from every computer containing one of my cells. | 0:57:17 | 0:57:20 | |
Orac has access to the sum total | 0:57:20 | 0:57:22 | |
of all the knowledge of all the known worlds. | 0:57:22 | 0:57:25 | |
Oh, I liked Blake's 7 because it was funny. | 0:57:25 | 0:57:29 | |
It was sort of a British version of Star Wars. | 0:57:29 | 0:57:31 | |
I liked the fact that they were fighting against the evil empire and stuff like that. | 0:57:31 | 0:57:37 | |
I've never seen anything like that before. | 0:57:37 | 0:57:40 | |
The production limitations were obvious, | 0:57:40 | 0:57:42 | |
but, you know, if you've got good characters and some good ideas and, | 0:57:42 | 0:57:46 | |
you know, just this idea of freedom fighters, fighting against | 0:57:46 | 0:57:50 | |
this oppressive regime, which has been fooling drama for years. | 0:57:50 | 0:57:55 | |
And Blake's 7 was much more downbeat than Star Wars. | 0:57:55 | 0:57:59 | |
Star Wars doesn't kill off its main characters in the final episode. | 0:58:01 | 0:58:04 | |
It's me Blake. | 0:58:04 | 0:58:06 | |
Stand still. | 0:58:06 | 0:58:08 | |
I was waiting for you. | 0:58:08 | 0:58:10 | |
They've won. | 0:58:14 | 0:58:15 | |
Sorry about that if you've just bought the box-set. | 0:58:17 | 0:58:20 | |
But, despite the doom, sci-fi TV got high viewing figures. | 0:58:20 | 0:58:24 | |
Blake's 7 often got over 10 million per episode. | 0:58:24 | 0:58:27 | |
70s TV audiences had a big appetite for science, fiction and fact. | 0:58:28 | 0:58:34 | |
This was reflected in the rise of the landmark science series. | 0:58:34 | 0:58:37 | |
The cornerstone to this was Jacob Bronowski's epic The Ascent of Man, | 0:58:37 | 0:58:41 | |
tracing the development of society through our understanding of science. | 0:58:41 | 0:58:45 | |
Bronowski's Ascent of Man really changed my life. | 0:58:45 | 0:58:48 | |
It was the only series I ever bought a book of. | 0:58:48 | 0:58:51 | |
And when I started writing my own shows, the book became my bible. | 0:58:51 | 0:58:56 | |
I had not been long back from Hiroshima, when I heard someone say, | 0:58:58 | 0:59:04 | |
in Zillard's presence, that it was the tragedy of scientists | 0:59:04 | 0:59:10 | |
that their discoveries were used for destruction. | 0:59:10 | 0:59:15 | |
Zillard replied, as he more than anyone else had the right to reply, | 0:59:15 | 0:59:20 | |
that it was not the tragedy of scientists, | 0:59:20 | 0:59:23 | |
it is the tragedy of mankind. | 0:59:23 | 0:59:26 | |
He was an incredible presenter. He worked because | 0:59:26 | 0:59:28 | |
of his belief in both science and technology and humanity. | 0:59:28 | 0:59:34 | |
He really did believe that people can achieve incredible things. | 0:59:34 | 0:59:39 | |
We have to cure ourselves of the itch for absolute knowledge and power. | 0:59:39 | 0:59:46 | |
We have to close the distance between the push button order. | 0:59:46 | 0:59:53 | |
And there were moments, of course, in The Ascent Of Man, | 0:59:53 | 0:59:56 | |
which were extraordinary moments of television, knelt down at Auschwitz | 0:59:56 | 1:00:00 | |
and picked up the ashes out of the mud, and talked about the Holocaust, | 1:00:00 | 1:00:04 | |
and how, if you like, the implication was | 1:00:04 | 1:00:07 | |
that technology had destroyed human life. | 1:00:07 | 1:00:09 | |
That's one of the great moments of television. | 1:00:09 | 1:00:12 | |
This was big science presented by big brains. | 1:00:14 | 1:00:17 | |
The trend continued with James Burke's highly successful | 1:00:21 | 1:00:25 | |
Connections, travelling the globe to trace the historical developments | 1:00:25 | 1:00:29 | |
of technology and science. | 1:00:29 | 1:00:30 | |
Would you do me a favour? | 1:00:32 | 1:00:34 | |
I'd like to stop talking for a minute, and when I do | 1:00:34 | 1:00:38 | |
take a look at the room you're in, and above all the man-made objects | 1:00:38 | 1:00:42 | |
in that room that surround you - | 1:00:42 | 1:00:44 | |
the television set, the lights, the phone, and so on - and ask yourself | 1:00:44 | 1:00:48 | |
what those objects do to your life just because they're there. | 1:00:48 | 1:00:51 | |
One of my fondest memories of watching TV as a child was watching Connections. | 1:00:51 | 1:00:56 | |
He would show how science and history are intimately related, | 1:00:56 | 1:01:00 | |
and how a scientific breakthrough leads to | 1:01:00 | 1:01:03 | |
a historical development, how that leads to more scientific breakthroughs. | 1:01:03 | 1:01:07 | |
Why does a modern invention, that fundamentally affects | 1:01:07 | 1:01:12 | |
the lives of every single human being on this planet, | 1:01:12 | 1:01:15 | |
begin 2,600 years ago with somebody doing this? | 1:01:15 | 1:01:19 | |
It was an amazing story that he would tell you, | 1:01:22 | 1:01:25 | |
and at the heart of that story would be science. | 1:01:25 | 1:01:27 | |
Later in the seventies, it was the turn of human sciences to get the | 1:01:29 | 1:01:32 | |
big brain treatment with Jonathan Miller's The Body in Question. | 1:01:32 | 1:01:36 | |
This version of me is being moved by this version of me. | 1:01:36 | 1:01:39 | |
And this version is being moved by this version. | 1:01:39 | 1:01:43 | |
But who moves me? | 1:01:43 | 1:01:45 | |
Well, I suppose I do... | 1:01:45 | 1:01:47 | |
I remember Jonathan Miller, The Body In Question... | 1:01:47 | 1:01:51 | |
But who moves I? | 1:01:51 | 1:01:52 | |
..was massively received. | 1:01:52 | 1:01:55 | |
I'm told that it's my brain, but I'm not immediately aware of having one. | 1:01:55 | 1:02:01 | |
You have to watch this programme, because at the end of it | 1:02:01 | 1:02:04 | |
Jonathan Miller does something so dramatic, he almost dies on screen. | 1:02:04 | 1:02:09 | |
It's one of the most amazing pieces of television I've seen. | 1:02:09 | 1:02:12 | |
In the final programme about respiration, | 1:02:12 | 1:02:15 | |
Miller tested his own bodily limits by cutting off his oxygen supply. | 1:02:15 | 1:02:20 | |
102 take one, end board.. | 1:02:35 | 1:02:37 | |
Give me the second mark. | 1:02:37 | 1:02:39 | |
OK. | 1:02:40 | 1:02:41 | |
There are a few other TV presenters I could recommend try this. | 1:02:41 | 1:02:45 | |
And finally, David Attenborough brought the epic science treatment to natural history, | 1:02:46 | 1:02:52 | |
exploring in detail the evolutionary process | 1:02:52 | 1:02:55 | |
in the landmark science series, Life on Earth. | 1:02:55 | 1:02:57 | |
There are some four million different kinds of animals and plants | 1:02:57 | 1:03:01 | |
in the world, four million different solutions | 1:03:01 | 1:03:04 | |
to the problems of staying alive. | 1:03:04 | 1:03:06 | |
Once we had seen that things like Ascent Of Man were a success, | 1:03:06 | 1:03:11 | |
it was obvious to anybody with any particle of programme imagination | 1:03:11 | 1:03:16 | |
that the history of life and natural history was bound to be a winner. | 1:03:16 | 1:03:21 | |
The South American rainforests | 1:03:21 | 1:03:23 | |
are the richest and most varied assemblage of life in the world. | 1:03:23 | 1:03:27 | |
Those are howler monkeys up there. | 1:03:27 | 1:03:29 | |
There are around 50 different kinds of monkeys in these forests. | 1:03:29 | 1:03:34 | |
I'd done eight years in administration, I wanted to get back | 1:03:34 | 1:03:36 | |
to making programmes, and I was terrified that someone was going to come along and say, | 1:03:36 | 1:03:41 | |
"I've got this great idea, it's about the history of life". | 1:03:41 | 1:03:44 | |
And, sitting there, in my edit controller's chair, I wouldn't have been able to turn him down. | 1:03:44 | 1:03:49 | |
But, fortunately, nobody did. | 1:03:49 | 1:03:51 | |
The 70s were a good time for science programmes. | 1:03:52 | 1:03:55 | |
Science even crept into popular entertainment with the rise of the semi-comic boffin. | 1:03:55 | 1:04:01 | |
Astronomer-boffin, Patrick Moore, was still going strong in the 70s, | 1:04:01 | 1:04:05 | |
and taken into the nation's heart by being mocked by the Two Ronnies. | 1:04:05 | 1:04:09 | |
Hello, good evening, and welcome to this special edition... | 1:04:20 | 1:04:23 | |
Moore had competition, though, when TV discovered Magnus Pyke, | 1:04:27 | 1:04:31 | |
a gangly wild boffin, to present the series Don't Ask Me on ITV. | 1:04:31 | 1:04:35 | |
The follicles in the top of... in the scalp, if they're flat, | 1:04:35 | 1:04:39 | |
the hair comes out flat and you get curly hair. | 1:04:39 | 1:04:41 | |
If they're round your hair tends to be straight. | 1:04:41 | 1:04:45 | |
He played up to the mad scientist stereotype, although he was actually a top food scientist. | 1:04:45 | 1:04:49 | |
You enjoyed his character and that enthusiasm. | 1:04:49 | 1:04:53 | |
He couldn't speak without his arms coming up and the whole thing. | 1:04:53 | 1:04:57 | |
He never learnt a script, but he got the gist of it, and so it | 1:04:57 | 1:05:01 | |
had to come out because he squeezed part of his body with his arms. | 1:05:01 | 1:05:05 | |
She blinded me with science! | 1:05:06 | 1:05:09 | |
Pyke became so popular he appeared in a pop video where he shouts... | 1:05:09 | 1:05:13 | |
Science! | 1:05:13 | 1:05:14 | |
After the video was released, | 1:05:14 | 1:05:17 | |
he was said to be annoyed by people coming up and shouting "Science!" at him. | 1:05:17 | 1:05:21 | |
Science! Science! | 1:05:21 | 1:05:24 | |
Ready, steady... | 1:05:24 | 1:05:25 | |
GUNSHOT | 1:05:25 | 1:05:26 | |
And no 70s TV schedule was complete without the mad inventor boffin | 1:05:29 | 1:05:33 | |
in the guise of Professor Heinz Wolf. | 1:05:33 | 1:05:35 | |
This appears to be a very good time. | 1:05:35 | 1:05:37 | |
But we have no standards of comparison. | 1:05:37 | 1:05:39 | |
Let's see how the other teams do. | 1:05:39 | 1:05:41 | |
I think one of the greatest boffins was Heinz Wolff. | 1:05:41 | 1:05:43 | |
First of all he's got a very attractive Middle Eastern European | 1:05:43 | 1:05:47 | |
accent, which is very interesting, it obviously means he's very clever. | 1:05:47 | 1:05:50 | |
Wolff was a German-British bioengineer, | 1:05:50 | 1:05:52 | |
who fronted the TV series The Great Egg Race. | 1:05:52 | 1:05:55 | |
It was compelling, it was a race, it was a competition, it was a | 1:05:55 | 1:05:58 | |
competition between people who could fail dismally | 1:05:58 | 1:06:02 | |
or succeed wonderfully doing trivial, silly things. | 1:06:02 | 1:06:05 | |
It was a cross between the Generation Game meets Horizon, I suppose. | 1:06:05 | 1:06:09 | |
Running the whole thing was Professor Heinz Wolff, | 1:06:09 | 1:06:12 | |
who brought that enthusiasm and excitement to it. | 1:06:12 | 1:06:16 | |
And last but not least, the maths boffin, | 1:06:16 | 1:06:18 | |
Johnny Ball in Think Of A Number. | 1:06:18 | 1:06:21 | |
You see it had been my hobby, maths, all the way through. | 1:06:21 | 1:06:25 | |
Help me unveil this. | 1:06:25 | 1:06:27 | |
It's one of the oldest computers, or the oldest computer known to man. | 1:06:27 | 1:06:30 | |
Take the cloth off. | 1:06:30 | 1:06:33 | |
Me hands! | 1:06:33 | 1:06:34 | |
You have got to clown it up here and there. | 1:06:34 | 1:06:36 | |
You have got to colour it. | 1:06:36 | 1:06:38 | |
You have got to lighten up the dark, the heavy bits. | 1:06:38 | 1:06:40 | |
Give her a round of computers. | 1:06:40 | 1:06:44 | |
Just as there's so much variety in life, all that variety's in science. | 1:06:44 | 1:06:49 | |
Tiptoe through the tulips... | 1:06:50 | 1:06:52 | |
TV was up to it's neck in comedy boffins in the 70s, | 1:06:52 | 1:06:56 | |
but what affect has this really had on the image of scientists? | 1:06:56 | 1:06:59 | |
Well, starting with the great Sir Patrick himself, | 1:06:59 | 1:07:02 | |
TV has frequently shown scientists as eccentric, | 1:07:02 | 1:07:04 | |
overly enthusiastic men with strange accents, haircuts and wardrobes. | 1:07:04 | 1:07:10 | |
# With a locket in the cause of science | 1:07:10 | 1:07:13 | |
# Perhaps you'll share a capsule with me... # | 1:07:13 | 1:07:19 | |
I think Magnus Pyke and Heinz Wolff had that boffin mentality | 1:07:19 | 1:07:23 | |
or maybe created it, you know, I think you know maybe | 1:07:23 | 1:07:26 | |
that's who've we relate it back to, and I think that is sustained, | 1:07:26 | 1:07:29 | |
the sheer success of those guys is that that has sustained today, | 1:07:29 | 1:07:33 | |
so the rest of us are always having to fight off this idea that we are these boffins. | 1:07:33 | 1:07:37 | |
So any adolescent puzzling over which career path to take | 1:07:37 | 1:07:40 | |
only needed to switch on the box to realise that a science vocation | 1:07:40 | 1:07:44 | |
would be a lonely unhip path, probably one that didn't involve girlfriends. | 1:07:44 | 1:07:48 | |
But have they really been so uncool? | 1:07:48 | 1:07:51 | |
Let's take a scientific look. | 1:07:51 | 1:07:54 | |
The regular attire of scientists had been a tweed suit and tie in the 50s. | 1:07:54 | 1:07:59 | |
The lab coat was often de rigueur. | 1:07:59 | 1:08:02 | |
That went to a shirt and beard in the 60s and 70s. | 1:08:02 | 1:08:05 | |
But there has always been a thing for the bow-tie. | 1:08:05 | 1:08:08 | |
And the er...comb-over. | 1:08:08 | 1:08:11 | |
Over 50 years of television, the comb-over | 1:08:13 | 1:08:16 | |
has proudly warmed the eggheads of TV boffins. | 1:08:16 | 1:08:19 | |
So which career path are you going to take, | 1:08:19 | 1:08:22 | |
young aspiring astrophysics student, Brian May? | 1:08:22 | 1:08:24 | |
Astronomy or Glam Rock? | 1:08:24 | 1:08:27 | |
Ah, wrong choice, Brian. | 1:08:30 | 1:08:31 | |
That won't get you a senior lecture post with protected pension plan. | 1:08:31 | 1:08:35 | |
Finally, after three decades of pessimistic science fiction, the drama-makers decided | 1:08:48 | 1:08:53 | |
science might be a good thing and took a more celebratory look at science in the 80s. | 1:08:53 | 1:08:58 | |
The Voyage of Charles Darwin was a major six-part dramatization | 1:08:58 | 1:09:02 | |
of Darwin's voyage on the Beagle and how he developed his theory of evolution. | 1:09:02 | 1:09:07 | |
Its large viewing figures reflected the public's appetite for science. | 1:09:07 | 1:09:10 | |
It never occurred to me that islands in sight of each other could have such different fauna. | 1:09:13 | 1:09:17 | |
Don't let it worry you, philosopher. And if I might venture a suggestion, | 1:09:17 | 1:09:22 | |
in future, observe the mysteries of nature | 1:09:22 | 1:09:25 | |
rather more closely and theorise about them rather less. | 1:09:25 | 1:09:30 | |
The series kicked off a spate of dramas | 1:09:33 | 1:09:35 | |
about real life scientists throughout the 80s. | 1:09:35 | 1:09:38 | |
The series Oppenheimer explored the project to put together | 1:09:38 | 1:09:41 | |
the atom bomb through the eyes of the master-builder. | 1:09:41 | 1:09:44 | |
What captured my imagination in terms of the Oppenheimer series | 1:09:44 | 1:09:48 | |
was it was grown up science, so it wasn't the whiz bang of The Great Egg Race. | 1:09:48 | 1:09:51 | |
It wasn't the whiz bang of Tomorrow's World. | 1:09:51 | 1:09:54 | |
It was men and women who'd built this bomb that could potentially | 1:09:54 | 1:09:59 | |
today destroy the world and the decisions that they faced. | 1:09:59 | 1:10:03 | |
Life Story also captured the public's imagination, | 1:10:03 | 1:10:07 | |
telling the story of how the scientists discovered the structure of DNA, starring Jeff Goldblum. | 1:10:07 | 1:10:12 | |
No-one knows anything. This is off the map. Somebody has to guess right. | 1:10:12 | 1:10:16 | |
Chapter one, page one. Once, life reproduced life. How? | 1:10:16 | 1:10:19 | |
Secret of creation. Worth the Nobel prize. | 1:10:19 | 1:10:21 | |
I really enjoyed Life Story. I mean, not everybody I know did, | 1:10:21 | 1:10:25 | |
but I was captivated by it, | 1:10:25 | 1:10:26 | |
by the story, by the drama, by the portrayals of the individuals. | 1:10:26 | 1:10:30 | |
So we got it 2400% wrong. Anybody can make a mistake. | 1:10:30 | 1:10:34 | |
I thought it was a very moving programme, | 1:10:34 | 1:10:37 | |
especially at the end when Rosalind Franklin comes in and says, | 1:10:37 | 1:10:40 | |
"Oh, my God, it's so beautiful." | 1:10:40 | 1:10:42 | |
When you see how things really are, | 1:10:42 | 1:10:45 | |
all the hurt and the waste falls away. | 1:10:45 | 1:10:52 | |
What's left is the beauty. | 1:10:52 | 1:10:56 | |
The dramas captured British audiences' need to celebrate pioneering Brits | 1:11:06 | 1:11:09 | |
like Chariots of Fire, sort of Chariots of the Bunsen Burner. | 1:11:09 | 1:11:12 | |
The success of these dramas in the '80s also showed | 1:11:12 | 1:11:15 | |
that we wanted to watch real scientists at work and see them as real people. | 1:11:15 | 1:11:19 | |
Well, really, really, really clever real people. | 1:11:19 | 1:11:23 | |
Life Story also showed how genetic science was capturing the public's imagination in the '80s. | 1:11:25 | 1:11:30 | |
A concern that had been around since Frankenstein first shot 2,000 volts through his monster, | 1:11:30 | 1:11:35 | |
but molecular biology was now prominent in the public's mind. | 1:11:35 | 1:11:40 | |
Recently, the first test-tube baby had been born, | 1:11:41 | 1:11:44 | |
and scientists were developing genetically modified foods that would feed the world. | 1:11:44 | 1:11:49 | |
And would also feed sci-fi writers' imaginations. | 1:11:49 | 1:11:52 | |
In Day Of The Triffids, | 1:11:52 | 1:11:54 | |
John Wyndham's 1950s novel is re-imagined as giant mutant plants, | 1:11:54 | 1:11:58 | |
bio-engineered by military scientists, start to take over the world. | 1:11:58 | 1:12:03 | |
Fears about genetic engineering against a backdrop of continuing Cold War paranoia. | 1:12:09 | 1:12:14 | |
For the drama-makers, addicted to dystopia, this was perfect. Two fears for the price of one. | 1:12:14 | 1:12:19 | |
Again, scientists were meddling, and it touched a raw nerve. | 1:12:21 | 1:12:25 | |
Later in the decade, TV delivered First Born. | 1:12:25 | 1:12:29 | |
Easy! | 1:12:29 | 1:12:32 | |
Charles Dance mixes his own sperm with that of a gorilla, | 1:12:32 | 1:12:35 | |
no, not like that, in a lab to form a new species. | 1:12:35 | 1:12:39 | |
Gor, stay where you are. We'll get you down. | 1:12:40 | 1:12:42 | |
The disastrous consequences were all too predictable, | 1:12:42 | 1:12:45 | |
but what was clear to those of us watching at home was that the scientists were at it again, | 1:12:45 | 1:12:50 | |
no longer giving the solutions to the world's problems, but creating them. | 1:12:50 | 1:12:54 | |
GORILLA ROARS | 1:12:54 | 1:12:55 | |
Mary! | 1:12:56 | 1:12:57 | |
No! GORILLA ROARS | 1:12:59 | 1:13:01 | |
Monkey see, monkey do. | 1:13:03 | 1:13:04 | |
But the big scientific revolution of the '80s was the microchip explosion. | 1:13:04 | 1:13:09 | |
Although computers had been muttered about since the '50s, | 1:13:09 | 1:13:13 | |
the '80s saw them come into people's homes and become part of the public consciousness. | 1:13:13 | 1:13:19 | |
But this scientific revolution didn't seem as scary as genetic engineering, | 1:13:19 | 1:13:23 | |
space rockets or nuclear science. Geeks made us laugh. | 1:13:23 | 1:13:27 | |
Dit. Da. Da. Dit. | 1:13:27 | 1:13:29 | |
Then, they seemed OK. Maybe because we knew soon we'd all be geeks sat at computers. | 1:13:29 | 1:13:35 | |
To help us cope with the new revolution in computers, | 1:13:35 | 1:13:38 | |
real science programming was on hand to make sense of the digital age. | 1:13:38 | 1:13:42 | |
With all these new light systems, the information explosion is now upon us. | 1:13:44 | 1:13:49 | |
A new science series, QED, was started up, | 1:13:49 | 1:13:52 | |
a kind of Horizon for the non-geek audience, | 1:13:52 | 1:13:55 | |
playing on 1980s technological wonders. | 1:13:55 | 1:13:58 | |
It's called virtual reality. | 1:13:58 | 1:14:01 | |
A three-dimensional place that exists | 1:14:01 | 1:14:03 | |
only inside the brain of the simulator. | 1:14:03 | 1:14:05 | |
Can you pick things up? | 1:14:05 | 1:14:07 | |
OK, pick the teapot up. | 1:14:07 | 1:14:09 | |
I can attempt to pick the teapot up. | 1:14:09 | 1:14:11 | |
Not to be outdone, Equinox started up on Channel 4, | 1:14:16 | 1:14:19 | |
bringing its own science to a new audience. | 1:14:19 | 1:14:22 | |
Artificial intelligence, fact or fantasy? | 1:14:25 | 1:14:27 | |
Equinox. | 1:14:27 | 1:14:29 | |
I just remember the title sequence very well. | 1:14:29 | 1:14:31 | |
Equinox. | 1:14:31 | 1:14:33 | |
Equinox. | 1:14:33 | 1:14:34 | |
It was almost frightening for a child. | 1:14:34 | 1:14:37 | |
Our attitude to outer space began to change in the '80s. | 1:14:41 | 1:14:45 | |
After decades of being addicted to dystopian drama, | 1:14:45 | 1:14:48 | |
along came Douglas Adams' Hitchhiker's Guide To The Galaxy. | 1:14:48 | 1:14:51 | |
Six pints of bitter, and quickly, please, the world's about to end. | 1:14:51 | 1:14:55 | |
Uniquely, British science fiction found a new friend in comedy. | 1:15:00 | 1:15:04 | |
We might not have been able to compete with Star Wars, but British TV can do Carry On in space. | 1:15:04 | 1:15:09 | |
It is quintessentially British, your hero being in a dressing gown, | 1:15:09 | 1:15:13 | |
or a spaceship that's fuelled by a cup of tea, | 1:15:13 | 1:15:16 | |
or a race, like the Vogons, who was obsessed with bureaucracy. | 1:15:16 | 1:15:20 | |
You can't imagine that in America. | 1:15:20 | 1:15:22 | |
I'm sorry, but if you can't be bothered to take an interest in local affairs, that's your own lookout. | 1:15:22 | 1:15:27 | |
Energise the demolition beam. | 1:15:27 | 1:15:29 | |
I think Douglas Adams was incredibly interested in science. | 1:15:33 | 1:15:37 | |
He invented some amazing stuff in there. | 1:15:37 | 1:15:39 | |
The iPad looks like the Hitchhiker's Guide To The Galaxy. | 1:15:39 | 1:15:44 | |
Wonder if there's a free app? | 1:15:44 | 1:15:46 | |
"Here is what to do if you want to get a lift from a Vogon. | 1:15:46 | 1:15:49 | |
"Forget it." | 1:15:49 | 1:15:50 | |
And Red Dwarf was another sci-fi comedy that responded to the attitudes of the '80s. | 1:15:50 | 1:15:55 | |
Again, it was very British, but this time with a laddish take on space and science. | 1:15:55 | 1:15:59 | |
Dear, oh, dear. It's horrible down there. There's a big hole. | 1:15:59 | 1:16:04 | |
It's an unbelievable view. | 1:16:04 | 1:16:06 | |
The comedy played on toilet humour, with characters bumbling through | 1:16:06 | 1:16:09 | |
time and space, with little understanding of technology or the laws of the universe. | 1:16:09 | 1:16:13 | |
The best Red Dwarfs for me were where the writing was really good and complicated. | 1:16:15 | 1:16:20 | |
I loved all the time-travel storylines they had when you had to bend your mind around it | 1:16:20 | 1:16:25 | |
to figure out how it worked. | 1:16:25 | 1:16:27 | |
As outer space comedy became popular in the '80s, serious outer space drama was being shot down. | 1:16:27 | 1:16:33 | |
The biggest casualty was Dr Who, axed in '89. | 1:16:37 | 1:16:40 | |
You stupid, stubborn, pig-headed numbskull! | 1:16:40 | 1:16:43 | |
Its effects just couldn't keep up with Hollywood, | 1:16:43 | 1:16:46 | |
and British sci-fi drama ran out of steam, for the time being. | 1:16:46 | 1:16:50 | |
Come along, my dear. It's time we were off. | 1:16:50 | 1:16:52 | |
The upcoming '90s would be a fallow time for serious sci-fi. | 1:16:52 | 1:16:56 | |
Big changes came to science on TV in the '90s. | 1:17:05 | 1:17:08 | |
The driving force behind this new look was computers, revolutionising TV graphics. | 1:17:08 | 1:17:13 | |
There's always the question of how you show, visually, | 1:17:13 | 1:17:18 | |
it's television, after all, some difficult concept, | 1:17:18 | 1:17:21 | |
and, you know, naff graphics, or simply people talking to camera | 1:17:21 | 1:17:26 | |
might achieve something, | 1:17:26 | 1:17:28 | |
but a really compelling, exciting, visual representation can be much more dramatic. | 1:17:28 | 1:17:33 | |
We'd got used to bad graphics in science TV over the decades, | 1:17:33 | 1:17:38 | |
with drawings, ropey models and cartoon-style animations. | 1:17:38 | 1:17:42 | |
It was all done by hand, so often costly and time-consuming. | 1:17:42 | 1:17:45 | |
Cool graphics were something Hollywood did best, | 1:17:45 | 1:17:48 | |
until the boffins came up with computer graphics illustration - CGI. | 1:17:48 | 1:17:54 | |
They opened up possibilities. | 1:17:54 | 1:17:56 | |
TV makers could now film, and afford to film, the impossible. | 1:17:56 | 1:18:00 | |
Programmes like The Planets proved that now science TV could boldly go where no science TV had gone before. | 1:18:00 | 1:18:07 | |
But when the first probe got there, | 1:18:09 | 1:18:11 | |
it found the conditions were atrocious. | 1:18:11 | 1:18:14 | |
The swirling clouds were made of superheated ammonia. | 1:18:14 | 1:18:17 | |
They could never support life. | 1:18:17 | 1:18:19 | |
And programmes like The Human Body, presented by scientist Robert Winston, | 1:18:24 | 1:18:29 | |
could now take us inside the most alien world imaginable - ourselves. | 1:18:29 | 1:18:32 | |
What worked about that was grand visual pictures, | 1:18:32 | 1:18:36 | |
but also often quite simple science, | 1:18:36 | 1:18:40 | |
always absolutely scrupulously explained. | 1:18:40 | 1:18:42 | |
'By putting the medical scans together, we've created a three-dimensional...' | 1:18:42 | 1:18:47 | |
Through breakthrough CGI, the series took viewers on the most incredible journey from birth to death. | 1:18:47 | 1:18:52 | |
Plus, its presenter was prepared to put his own body under the microscope. | 1:18:52 | 1:18:56 | |
These are my sperm. | 1:18:56 | 1:18:58 | |
Amazingly, about 500 million of them from a single ejaculation. | 1:18:58 | 1:19:04 | |
With just this one ejaculation it should be possible to impregnate all the fertile women of western Europe, | 1:19:04 | 1:19:10 | |
and I'm nothing special. | 1:19:10 | 1:19:12 | |
Today, new technology is letting us see the world of the unborn in a completely new way. | 1:19:14 | 1:19:21 | |
The ability to produce computer graphics at an affordable price | 1:19:21 | 1:19:26 | |
was a huge moment. | 1:19:26 | 1:19:28 | |
I remember when Tim Haines, | 1:19:28 | 1:19:29 | |
who was a producer in the science department, | 1:19:29 | 1:19:32 | |
came back from watching Jurassic Park, and said, "We can do that." | 1:19:32 | 1:19:35 | |
CGI allowed TV science producers to start thinking differently, | 1:19:35 | 1:19:38 | |
and it came into its own with Walking With Dinosaurs. | 1:19:38 | 1:19:41 | |
As much as I was really passionate about dinosaurs when I was a kid, as we all are, | 1:19:41 | 1:19:45 | |
I'm guilty to say that then you lose your passion along the way. | 1:19:45 | 1:19:49 | |
And Walking With Dinosaurs certainly reignited that. | 1:19:49 | 1:19:51 | |
This series turned out to be the most-watched science programme ever. | 1:19:53 | 1:19:58 | |
It showed the power of CGI, bringing alive a scientific study that was previously just a lot of fossils. | 1:19:58 | 1:20:04 | |
CGI changed our perception of what a science programme could be, and it also changed our expectations. | 1:20:04 | 1:20:11 | |
We started to expect spectacle. | 1:20:11 | 1:20:15 | |
We expected to see the inner workings of an ant's digestive tract, | 1:20:15 | 1:20:19 | |
or electrons spinning, or what the end of the world would look like if squirrels took over. | 1:20:19 | 1:20:24 | |
CGI also meant that science on TV could do without presenters. | 1:20:24 | 1:20:28 | |
More and more through the '90s, graphics increased and presenters got pushed out. | 1:20:28 | 1:20:34 | |
And science could go global, since all that was needed was to change the voice-over. | 1:20:34 | 1:20:39 | |
As more and more channels filled the airwaves in the noughties, | 1:20:49 | 1:20:52 | |
some appeared which were wholly devoted to science. | 1:20:52 | 1:20:55 | |
Filling a lot of this screen time in the 2000s was disaster science. | 1:20:55 | 1:21:00 | |
A supervolcano. | 1:21:03 | 1:21:05 | |
The science of environmental disaster captured the public's imagination, | 1:21:09 | 1:21:13 | |
and was explored to great effect thanks to CGI once again. | 1:21:13 | 1:21:16 | |
It allowed science to do disaster, where science had gone wrong, which included incredible volcanoes, | 1:21:16 | 1:21:22 | |
superstorms, and meteors hitting earth. | 1:21:22 | 1:21:25 | |
After just three weeks, aerosols would form a sulphurous cloak around the world. | 1:21:25 | 1:21:31 | |
After the millennium, environmental disaster was played out to epic proportions. | 1:21:32 | 1:21:37 | |
Dystopian visions, previously explored by drama-makers, | 1:21:37 | 1:21:41 | |
became the new addiction of real science TV producers. | 1:21:41 | 1:21:44 | |
Dystopia, fear, worries about science... For the sci-fi writers, that seemed too good to miss out on. | 1:21:48 | 1:21:54 | |
The noughties saw a rejuvenation of sci-fi, again helped by CGI. | 1:21:56 | 1:22:01 | |
Taking the lead was the resurrection of Dr Who in 2005. | 1:22:01 | 1:22:05 | |
I think people who would have perhaps dismissed it before as just this kids' show, | 1:22:06 | 1:22:10 | |
with the so-called wonky sets, | 1:22:10 | 1:22:12 | |
now they're sort of taking it as serious science fiction | 1:22:12 | 1:22:15 | |
that can compete with the big-budget stuff from America. | 1:22:15 | 1:22:18 | |
Don't blink. Blink and you're dead. | 1:22:18 | 1:22:21 | |
This has changed the landscape of TV again, just as it did in 1963. | 1:22:21 | 1:22:25 | |
Hello. I'm the Doctor. | 1:22:25 | 1:22:28 | |
It could be down to the scripts, the actors... | 1:22:28 | 1:22:30 | |
The effects are better than they were, | 1:22:30 | 1:22:32 | |
but it could also be down to the new fears of attack in the war on terror, | 1:22:32 | 1:22:36 | |
just like the old fears of attack in the Cold War. | 1:22:36 | 1:22:39 | |
I think that science fiction is back on television because we like it, | 1:22:40 | 1:22:44 | |
we've always liked it. | 1:22:44 | 1:22:45 | |
It was taken away from us, it wasn't something we rejected. | 1:22:45 | 1:22:48 | |
Now it's back, I think that if you look at the shape of it, | 1:22:48 | 1:22:52 | |
you look at the stories that are being done on Dr Who or the various other shows, | 1:22:52 | 1:22:56 | |
they all reflect our contemporary concerns, there they are, throbbing through the form. | 1:22:56 | 1:23:02 | |
But that's what science fiction always does. | 1:23:02 | 1:23:04 | |
New fears and new technology to play them out on on the small screen | 1:23:07 | 1:23:12 | |
saw the reigniting of old Cold War favourites. | 1:23:12 | 1:23:15 | |
Quatermass was back, and Day Of The Triffids returned, | 1:23:15 | 1:23:19 | |
thickly layered with 9/11 references. | 1:23:19 | 1:23:21 | |
And even A For Andromeda was remade to scare everyone all over again about aliens. | 1:23:23 | 1:23:27 | |
Again, all scientists at the core, but this time a lot cooler, sexier. | 1:23:27 | 1:23:33 | |
Professors Quatermass, Dawnay and the Doctor never looked this good in black and white. | 1:23:33 | 1:23:38 | |
Now everyone's easy on the eye, handy with a shotgun, and kicking alien butt. | 1:23:38 | 1:23:44 | |
WOMAN CRIES IN FEAR | 1:23:44 | 1:23:46 | |
Aaagh! | 1:23:46 | 1:23:48 | |
As special effects got better and better, | 1:23:51 | 1:23:54 | |
science TV proved there was nowhere out of reach in the noughties. | 1:23:54 | 1:23:57 | |
We could go inside Animals In The Womb... | 1:23:57 | 1:24:00 | |
It's 13 months since conception. | 1:24:00 | 1:24:02 | |
..and even inside TV presenters. | 1:24:02 | 1:24:04 | |
After years in the wilderness, pushed out by CGI, the TV presenter was back fronting TV science. | 1:24:06 | 1:24:12 | |
Not only that, the scientist-presenter returned as the authorial voice of science. | 1:24:14 | 1:24:19 | |
But not like the '70s boffins. He's younger, beardless, | 1:24:19 | 1:24:22 | |
not a lab coat in sight, or a comb-over, or a tweed jacket. | 1:24:22 | 1:24:25 | |
And sometimes, he's a woman. | 1:24:25 | 1:24:27 | |
We're going nice and high. | 1:24:29 | 1:24:31 | |
My eyes started to go weird then. | 1:24:31 | 1:24:33 | |
Today the scientist is everywhere, even when they want to shock us. | 1:24:34 | 1:24:39 | |
Well, especially when they want to shock us. | 1:24:39 | 1:24:42 | |
How do you imagine your own death? | 1:24:42 | 1:24:44 | |
Will it be peaceful? Will it be quick? Will you be old? | 1:24:44 | 1:24:49 | |
'Our death is a mystery to us.' | 1:24:49 | 1:24:51 | |
Even popular primetime science programmes are led by scientists. | 1:24:51 | 1:24:56 | |
And perhaps the epitome of new science TV - Wonders Of The Solar System. | 1:25:08 | 1:25:13 | |
It's hard science presented by a real scientist, and it's popular. | 1:25:13 | 1:25:16 | |
We live on a world of wonders. | 1:25:16 | 1:25:20 | |
A place of astonishing beauty and complexity. | 1:25:20 | 1:25:24 | |
Very few scientists are good presenters, | 1:25:24 | 1:25:27 | |
and very few presenters happen to be scientists. | 1:25:27 | 1:25:30 | |
So when you get somebody like Brian Cox, | 1:25:30 | 1:25:32 | |
with his great, infectious enjoyment of what he does, it's so refreshing. | 1:25:32 | 1:25:36 | |
If you think that this is all there is, | 1:25:36 | 1:25:39 | |
that our planet exists in magnificent isolation, then you're wrong. | 1:25:39 | 1:25:43 | |
He's so popular even Jonathan Ross wants to meet him. | 1:25:43 | 1:25:47 | |
If the future hasn't happened yet... Or has it happened? | 1:25:47 | 1:25:51 | |
That's a really good question, because... | 1:25:51 | 1:25:53 | |
Hold on, that's a first. Let's enjoy that moment! | 1:25:53 | 1:25:56 | |
Science on TV has come a long way in the past 60 years. | 1:25:58 | 1:26:02 | |
It's played a schizophrenic role on the box. | 1:26:02 | 1:26:05 | |
In science fiction, the scientist has been decidedly downbeat, | 1:26:05 | 1:26:08 | |
foretelling a dark vision of the future. | 1:26:08 | 1:26:10 | |
You're scientists. | 1:26:10 | 1:26:13 | |
You kill half the world. | 1:26:13 | 1:26:16 | |
And the other half cannot live without you. | 1:26:16 | 1:26:19 | |
In real science TV it's been a bit more hopeful, optimistic. | 1:26:19 | 1:26:24 | |
A bit. Yet, despite the overall pessimism, | 1:26:26 | 1:26:28 | |
we still continue to draw on science TV, ever hopeful for what it might bring. | 1:26:28 | 1:26:33 | |
We still look to TV to celebrate the transformational power of science and technology. | 1:26:33 | 1:26:40 | |
Some years ago, history documentaries were made cool | 1:26:40 | 1:26:45 | |
by a number of presenters who brought them to the masses, | 1:26:45 | 1:26:48 | |
and I think now it's the turn of science to be brought to the masses. | 1:26:48 | 1:26:52 | |
And it's only in the last year or two that people are starting to seriously think about science | 1:26:52 | 1:26:56 | |
as being embedded in popular culture. | 1:26:56 | 1:26:59 | |
It's not something just for the aficionados or the geeks who want to learn about something complicated. | 1:26:59 | 1:27:05 | |
So TV has got science just where it wants it, presented as a vital form of culture by hip, young scientists. | 1:27:05 | 1:27:12 | |
Well, the scientific community think there's always room for improvement. | 1:27:12 | 1:27:16 | |
Things are actually rather complicated. | 1:27:16 | 1:27:18 | |
And I don't think it always necessarily does to simplify things. | 1:27:18 | 1:27:22 | |
I think it's better to say, "Look, this is a difficult idea, | 1:27:22 | 1:27:25 | |
"and you probably won't get it the first time." | 1:27:25 | 1:27:27 | |
I think it would be terrible | 1:27:27 | 1:27:30 | |
if television decided that it wasn't going to make, | 1:27:30 | 1:27:34 | |
put programmes on that made demands on the audience, | 1:27:34 | 1:27:38 | |
or indeed that you always reduced it to a very basic level of understanding. | 1:27:38 | 1:27:44 | |
Like science, science TV can always be better. | 1:27:44 | 1:27:48 | |
It is an essential part of all of our lives. | 1:27:48 | 1:27:51 | |
Science and technology are increasingly dominating our lives, and more than that, | 1:27:51 | 1:27:56 | |
it is emblematic of the curiosity and the creative power of human beings. | 1:27:56 | 1:28:02 | |
It's something to celebrate, | 1:28:02 | 1:28:04 | |
so it shouldn't be hived off to specialised areas of broadcasting alone. | 1:28:04 | 1:28:08 | |
I think that science should permeate all of broadcasting. | 1:28:08 | 1:28:11 | |
But look how far we've come since the early days of TV science, | 1:28:11 | 1:28:16 | |
or the early years of science on film. | 1:28:16 | 1:28:18 | |
Now we have incredible CGI and sexy scientists telling us about how wonderful the world is. | 1:28:18 | 1:28:25 | |
Look how far. I mean, what would you prefer? | 1:28:25 | 1:28:28 | |
Yeah, me too. Cue the fly. | 1:28:28 | 1:28:31 | |
MUSIC: "Sexy Boy" By Air | 1:28:31 | 1:28:34 | |
# Sexy boy | 1:28:34 | 1:28:37 | |
# Sexy boy | 1:28:43 | 1:28:46 | |
# Sexy boy... # | 1:28:51 | 1:28:54 | |
Subtitles by Red Bee Media Ltd | 1:28:54 | 1:28:56 | |
E-mail [email protected] | 1:28:56 | 1:29:00 |