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By bringing unseen creatures to television, | 0:00:04 | 0:00:07 | |
Sir David Attenborough has himself become the rarest of species. | 0:00:07 | 0:00:11 | |
A broadcaster, his programmes reach huge audiences, | 0:00:11 | 0:00:14 | |
but he's also known for the intelligence of his views on science and broadcasting. | 0:00:14 | 0:00:19 | |
Sir David Attenborough has combined science and entertainment | 0:00:47 | 0:00:50 | |
in a succession of natural history series | 0:00:50 | 0:00:53 | |
screened and praised around the world, | 0:00:53 | 0:00:55 | |
including Life on Earth, The Living Planet and The Life of Birds. | 0:00:55 | 0:01:00 | |
I get to see the most fantastic things. | 0:01:01 | 0:01:04 | |
We've been seeing things in the last couple of weeks | 0:01:04 | 0:01:09 | |
that no human being's seen before. | 0:01:09 | 0:01:12 | |
Can you imagine? | 0:01:12 | 0:01:13 | |
And, as a former controller of BBC2 and managing director of BBC Television, | 0:01:16 | 0:01:21 | |
he's also one of the most respected voices in the debate on the future of TV. | 0:01:21 | 0:01:25 | |
But as David Attenborough ultimately found the jungle a more comfortable environment than the boardroom, | 0:01:25 | 0:01:30 | |
it seemed fitting to meet at the Natural History Museum. | 0:01:30 | 0:01:33 | |
You're in your late seventies now. | 0:01:36 | 0:01:38 | |
Looking back, the life you've had, how does it measure up to what | 0:01:38 | 0:01:41 | |
you might have imagined in your twenties, thirties? | 0:01:41 | 0:01:45 | |
Ah, well, pretty well really. | 0:01:47 | 0:01:49 | |
I couldn't have dreamt that I have done what I have done. | 0:01:49 | 0:01:53 | |
Um, of course, when I was in my teens and thinking what I was going to do, | 0:01:53 | 0:01:58 | |
I thought I was going to be a scientist. | 0:01:58 | 0:02:00 | |
Um, and in many ways I regret not being a scientist. | 0:02:00 | 0:02:05 | |
But I couldn't possibly have imagined that I was going to be in television because there wasn't any television. | 0:02:05 | 0:02:11 | |
Not effectively, anyway. | 0:02:11 | 0:02:13 | |
1938, there was just the beginning of television, but I didn't see it. | 0:02:13 | 0:02:17 | |
So I didn't know. And I couldn't have imagined it would have opened so many doors and paid so many air tickets. | 0:02:17 | 0:02:24 | |
You're currently filming the next big series, Life in the Undergrowth. | 0:02:25 | 0:02:29 | |
At a simple level, cos you don't have to do it financially, I assume, why do you still do it? | 0:02:29 | 0:02:33 | |
Oh, that's not a very difficult question! | 0:02:33 | 0:02:37 | |
Because it's enormously interesting. | 0:02:37 | 0:02:39 | |
Um...I mean I get to see the most fantastic things. | 0:02:39 | 0:02:44 | |
We've been seeing things in the last couple of weeks | 0:02:44 | 0:02:50 | |
that no human being has seen before. | 0:02:50 | 0:02:53 | |
Can you imagine? What a fantastic privilege. | 0:02:53 | 0:02:57 | |
And the excitement, um, and also... | 0:02:57 | 0:02:59 | |
Such as? Give me an example of something you've seen. | 0:02:59 | 0:03:02 | |
Well, we've been watching | 0:03:02 | 0:03:06 | |
ants called Matabele ants, which live by raiding termites. | 0:03:06 | 0:03:13 | |
And we've been able to put | 0:03:14 | 0:03:16 | |
new electronic gear, tiny little cameras, inside to see what happens. | 0:03:16 | 0:03:23 | |
And these Matabele ants come along and tackle the huge soldier termites | 0:03:23 | 0:03:28 | |
that have enormous armed heads, helmets of chitin. | 0:03:28 | 0:03:33 | |
And they set about them. | 0:03:33 | 0:03:35 | |
And nobody's ever seen or described how they do it. | 0:03:35 | 0:03:38 | |
What they actually do is to seize the jaw of this termite soldier, | 0:03:38 | 0:03:44 | |
and then bring round their abdomen, which is armed with a sting, | 0:03:44 | 0:03:47 | |
and sting them in the one place where you can actually sting a termite, | 0:03:47 | 0:03:52 | |
uh, a termite soldier anyway, | 0:03:52 | 0:03:54 | |
and that is in the mouth. | 0:03:54 | 0:03:56 | |
I mean, it's awful to see, actually. | 0:03:56 | 0:03:58 | |
This juddering termite is hauled away by the rest of the soldiers. | 0:03:58 | 0:04:03 | |
Nobody has ever watched that kind of thing going on before | 0:04:03 | 0:04:06 | |
in that degree of detail. | 0:04:06 | 0:04:07 | |
In the Natural History Museum, there's a fossil named after Attenborough. | 0:04:12 | 0:04:15 | |
This, rather than a television series, | 0:04:15 | 0:04:17 | |
would have been the ambition of a schoolboy interested in science, | 0:04:17 | 0:04:21 | |
growing up in Leicester as the son of a teacher. | 0:04:21 | 0:04:23 | |
You...are, to some extent, a performer. | 0:04:25 | 0:04:28 | |
Your brother Dickie, better known as Lord Attenborough, he is very much a fine actor, a director. | 0:04:28 | 0:04:34 | |
There must somewhere have been a showbiz gene, was there? | 0:04:34 | 0:04:38 | |
Well, I don't know. I suppose there has to be some kind of histrionic gene or something. | 0:04:38 | 0:04:45 | |
I never intended...could have gone into the theatre or feature films. | 0:04:45 | 0:04:50 | |
I mean, that is a world I know nothing about | 0:04:50 | 0:04:53 | |
and feel still very uneasy in it. | 0:04:53 | 0:04:58 | |
I mean, when I'm alongside him, it's not my world at all. | 0:04:58 | 0:05:03 | |
And I daresay he'll probably say that his world wasn't the world of the entomologist. | 0:05:03 | 0:05:09 | |
Um, but I suppose that actually a good teacher has to be something of an actor. | 0:05:09 | 0:05:15 | |
And I daresay an actor has to be something of a teacher. | 0:05:15 | 0:05:18 | |
I'm interested in the upbringing | 0:05:18 | 0:05:20 | |
because Richard Attenborough's films are very often liberal, | 0:05:20 | 0:05:24 | |
they're campaigning films. | 0:05:24 | 0:05:26 | |
Obviously, Gandhi, Biko and so on. | 0:05:26 | 0:05:29 | |
Your programmes, although they're good programmes, | 0:05:29 | 0:05:31 | |
they also seek to do a certain amount of good - to educate, to spread messages. | 0:05:31 | 0:05:35 | |
Is that something you were brought up with, do you think? | 0:05:35 | 0:05:38 | |
Yes. My parents were certainly... | 0:05:38 | 0:05:41 | |
..people with strong social consciences. | 0:05:43 | 0:05:45 | |
And we were certainly brought up to feel that we should have a social conscience | 0:05:45 | 0:05:49 | |
and have some regard for the society of which we were a part. | 0:05:49 | 0:05:54 | |
And yeah, we were taught that was a proper thing to do. | 0:05:54 | 0:06:00 | |
I think during the Second World War, your family took in refugees. | 0:06:00 | 0:06:04 | |
Oh, yes, and before. | 0:06:04 | 0:06:06 | |
My mother...I have an early memory of my mother herding us up, the three of us, her three sons, | 0:06:06 | 0:06:14 | |
and taking us to a big hall outside Leicester, where we lived, | 0:06:14 | 0:06:18 | |
and said we had to clean this hall | 0:06:18 | 0:06:20 | |
because there were Basque children who had been bombed during the Spanish Civil War. | 0:06:20 | 0:06:25 | |
And these children had lost their mothers and their fathers, | 0:06:25 | 0:06:28 | |
and they were going to live here and we've got to do something for them. | 0:06:28 | 0:06:31 | |
So my mother actually got down and scrubbed the floors. | 0:06:31 | 0:06:34 | |
And then they were involved very much | 0:06:34 | 0:06:38 | |
in getting Jewish refugees from Germany. | 0:06:38 | 0:06:44 | |
And that was because, | 0:06:44 | 0:06:46 | |
and they did so through academic areas | 0:06:46 | 0:06:49 | |
because my father was an academic. | 0:06:49 | 0:06:51 | |
So they looked after, as far as they could, doctors, physicists, chemists | 0:06:51 | 0:06:57 | |
and all kinds of people who came from Germany. | 0:06:57 | 0:07:01 | |
The question of God arises, obviously, for anyone who studies the natural world, as you have. | 0:07:01 | 0:07:06 | |
Was it a religious upbringing? | 0:07:06 | 0:07:08 | |
Not at all, no. | 0:07:08 | 0:07:10 | |
And have you, at any time, had any religious faith? | 0:07:10 | 0:07:13 | |
No. | 0:07:13 | 0:07:15 | |
And so...your programmes clearly are Darwinist. | 0:07:15 | 0:07:20 | |
But you never seem to actually take on the creationists who, for example... | 0:07:20 | 0:07:25 | |
Oh, I certainly do privately, and would be quite happy to do so. | 0:07:25 | 0:07:29 | |
It's not the place to do it in the sort of programmes I make. | 0:07:29 | 0:07:32 | |
Ah, but, um... | 0:07:32 | 0:07:35 | |
I don't have... | 0:07:35 | 0:07:36 | |
I mean, I have a very vigorous correspondence | 0:07:36 | 0:07:39 | |
with a number of religious fundamentalists. | 0:07:39 | 0:07:42 | |
And I have a pretty straightforward answer really, | 0:07:42 | 0:07:46 | |
which is that all societies, ALL societies, have had need to find an explanation | 0:07:46 | 0:07:53 | |
of the way in which human beings came into the world. | 0:07:53 | 0:07:56 | |
And the Australian Aboriginals think it's a rainbow serpent in the sky. | 0:07:56 | 0:08:01 | |
And the Thais think that it's a sea of milk being churned by demons. | 0:08:01 | 0:08:06 | |
And a tribe of people in the Middle East thought that it was | 0:08:06 | 0:08:12 | |
a garden in which the first woman was made by taking a rib from Adam. | 0:08:12 | 0:08:19 | |
Now, they can't all be right. | 0:08:19 | 0:08:21 | |
Some of them have to be wrong. | 0:08:21 | 0:08:22 | |
Um, so which are right? | 0:08:22 | 0:08:25 | |
Well, the only...faced with such conflict, | 0:08:25 | 0:08:27 | |
why don't we look at the world around us, | 0:08:27 | 0:08:29 | |
as in this institution, | 0:08:29 | 0:08:32 | |
and try and make sense of that? | 0:08:32 | 0:08:34 | |
Because THIS evidence is the same everywhere, you know. | 0:08:34 | 0:08:38 | |
And I find it far more awesome, wonderful, | 0:08:38 | 0:08:43 | |
that creation, and our appearance in the world, | 0:08:43 | 0:08:47 | |
should be the culmination or at least | 0:08:47 | 0:08:50 | |
one of the latest products of 3,000 million years of organic evolution, | 0:08:50 | 0:08:56 | |
than a kind of conjuring trick from taking a rib out of a man's side in a trance. | 0:08:56 | 0:09:03 | |
But the word "wonder" is important cos you get letters from creationists, | 0:09:03 | 0:09:07 | |
particularly who watch the programmes in America. | 0:09:07 | 0:09:09 | |
A lot of people take that leap from a sense of wonder in nature, | 0:09:09 | 0:09:13 | |
to assuming there must be something behind it. | 0:09:13 | 0:09:15 | |
When you look, and you clearly have that sense of wonder, | 0:09:15 | 0:09:18 | |
that sense of awe at the natural world, | 0:09:18 | 0:09:20 | |
you are thinking what? | 0:09:20 | 0:09:21 | |
This just...it just happened? It's just... | 0:09:21 | 0:09:24 | |
I, I, I... | 0:09:24 | 0:09:25 | |
I don't know. | 0:09:25 | 0:09:28 | |
I can't believe that each species was brought into existence | 0:09:28 | 0:09:33 | |
by a merciful God who cares about human beings, for obvious reasons. | 0:09:33 | 0:09:39 | |
I mean, for the fact that, | 0:09:39 | 0:09:41 | |
why is there so much pain? Why so much disaster? | 0:09:41 | 0:09:45 | |
Why are some animals tortured in so many ways? | 0:09:45 | 0:09:50 | |
Why are human beings tortured by all kinds of parasites? | 0:09:50 | 0:09:53 | |
I can't believe that God created parasites in order to torture small children. | 0:09:53 | 0:09:59 | |
Attenborough's avowed secularism leaves the question | 0:10:01 | 0:10:04 | |
of what drives an almost evangelical passion | 0:10:04 | 0:10:07 | |
to communicate the facts and wonders of nature. | 0:10:07 | 0:10:10 | |
If there were a Hollywood movie about you, | 0:10:14 | 0:10:17 | |
there'd be a moment when you first looked at a fossil, or the "light-bulb moment". | 0:10:17 | 0:10:20 | |
Is there such a moment when the realisation came? | 0:10:20 | 0:10:23 | |
Oh, yeah, mmm. | 0:10:23 | 0:10:24 | |
Um, I mean, I know its kind because it repeated itself. | 0:10:24 | 0:10:30 | |
It's that moment when you hit a rock | 0:10:30 | 0:10:33 | |
and it falls in two halves and there is this astonishing, | 0:10:33 | 0:10:38 | |
beautiful, shining, glittering, wonderful organic shape. A shell. | 0:10:38 | 0:10:44 | |
Or indeed a creature with legs. | 0:10:44 | 0:10:49 | |
And nobody has ever seen that before, except you. | 0:10:49 | 0:10:52 | |
You are the first person to do it. | 0:10:52 | 0:10:54 | |
And that's thrilling. | 0:10:54 | 0:10:56 | |
I mean, I find that thrilling, still. | 0:10:56 | 0:10:58 | |
Given what happened to you, | 0:10:58 | 0:11:00 | |
to become like the story of the person who said the Beatles would never come to anything, | 0:11:00 | 0:11:04 | |
but you were rejected, first of all, in radio, you tried. | 0:11:04 | 0:11:07 | |
Yes, and I saw an advertisement for the BBC. | 0:11:07 | 0:11:10 | |
The advertisement was for a radio producer, | 0:11:10 | 0:11:13 | |
and I thought, "Well, I'm supposed to be thinking up ideas | 0:11:13 | 0:11:16 | |
"for books, for science books, why can't I think up ideas for radio?" | 0:11:16 | 0:11:20 | |
And so I applied and didn't get an interview even. | 0:11:20 | 0:11:25 | |
But a fortnight later I got a letter from someone saying, | 0:11:25 | 0:11:28 | |
"We've got this new thing, it's only been going for a couple of years, three years, | 0:11:28 | 0:11:32 | |
"and it's called television and a lot of people are rude about it, | 0:11:32 | 0:11:37 | |
"but we think there could be something there, | 0:11:37 | 0:11:40 | |
"would you like to come and have a go?" | 0:11:40 | 0:11:43 | |
And I took a rather high line, actually, I said, "Well, what security have I got?" | 0:11:43 | 0:11:48 | |
I was married, I have got a child... | 0:11:48 | 0:11:50 | |
And they said, "We can't guarantee that we'll give you a job for more than three months." | 0:11:50 | 0:11:57 | |
And I thought, "Well, I can't do that." So I said, "Certainly not." | 0:11:57 | 0:12:01 | |
And they said, "You know it's only...", and I've forgotten the figure, a tiny figure, | 0:12:01 | 0:12:06 | |
but it was three times as much as I was earning in publishing, | 0:12:06 | 0:12:09 | |
so I thought, "Well, I'll give it a go." | 0:12:09 | 0:12:10 | |
So I went up to Alexandra Palace and just had the time of my life. | 0:12:10 | 0:12:14 | |
I thought it was absolutely marvellous. | 0:12:14 | 0:12:16 | |
When you look back at people's careers, often there's an element of luck, | 0:12:16 | 0:12:20 | |
that something happens that leads them to what they did. | 0:12:20 | 0:12:23 | |
That happened to you, cos Zoo Quest, you should've been a producer and you ended up presenting. | 0:12:23 | 0:12:27 | |
Yes. I put up an idea | 0:12:27 | 0:12:29 | |
that we should cover an expedition, on film, to West Africa. | 0:12:29 | 0:12:35 | |
The London Zoo was sending to collect animals for the zoo. | 0:12:35 | 0:12:38 | |
And the idea was that the man from the zoo, | 0:12:38 | 0:12:42 | |
a nice man called Jack Lester, who was curator of reptiles, | 0:12:42 | 0:12:45 | |
we would film him pouncing on some Gaboon viper, or enormous python or something, | 0:12:45 | 0:12:51 | |
and then we would show that sequence, and then from the film we would come to Jack in the studio | 0:12:51 | 0:12:56 | |
wrestling with this python, you see, while he told us about the intimate details of its anatomy. | 0:12:56 | 0:13:02 | |
And, poor Jack did the first programme, but he was very ill | 0:13:02 | 0:13:08 | |
and he really couldn't do the second. | 0:13:08 | 0:13:10 | |
I mean, he had to go to hospital. | 0:13:10 | 0:13:12 | |
And because it had this live element, the head of television said, | 0:13:12 | 0:13:15 | |
"It's in the Radio Times, someone's got to do it. | 0:13:15 | 0:13:18 | |
"You'd better do it, you're the only bloke there." | 0:13:18 | 0:13:20 | |
So somebody else took over the cameras and I went and did it. | 0:13:20 | 0:13:23 | |
But "staff, no fee", I hasten to add, as the phrase was in those days. | 0:13:23 | 0:13:29 | |
A month ago, Charles Lagus and I returned from spending four months in search of a dragon. | 0:13:29 | 0:13:35 | |
And for the next 10 years we went on doing that sort of thing, | 0:13:35 | 0:13:40 | |
but my job was a producer, I was paid as a producer. | 0:13:40 | 0:13:43 | |
And the fact I appeared in front of the camera was incidental. | 0:13:43 | 0:13:47 | |
But in theatre when that happens, | 0:13:48 | 0:13:50 | |
an understudy or an extra gets to go on and become a star, | 0:13:50 | 0:13:53 | |
it's what they've been waiting for, dreaming of. | 0:13:53 | 0:13:56 | |
But it wasn't in your case? | 0:13:56 | 0:13:57 | |
No, not at all. But you still saw that it was...it gave you a weapon. | 0:13:57 | 0:14:03 | |
I mean, it gave me a chance to say I wanted to do this, that and the other, | 0:14:03 | 0:14:08 | |
which I might not have been able to do so quite as effectively | 0:14:08 | 0:14:13 | |
if I didn't appear in the thing. | 0:14:13 | 0:14:16 | |
You have good nerves though, cos something happened, I think it was the fourth series, | 0:14:16 | 0:14:20 | |
you went to New Guinea and something alarming happened, | 0:14:20 | 0:14:23 | |
and you do seem to have strong nerves. | 0:14:23 | 0:14:25 | |
No, I don't think so. I don't think I have. | 0:14:25 | 0:14:29 | |
I know a lot of people who are much, as it were, strongly nerved than me. | 0:14:29 | 0:14:36 | |
I mean, that one you're talking about was just, I couldn't think what else to do, really. | 0:14:36 | 0:14:41 | |
It was that we met some people at a tribal frontier | 0:14:41 | 0:14:46 | |
and we thought we had been ambushed by them. | 0:14:46 | 0:14:49 | |
And they came galloping down the path waving spears to us. | 0:14:49 | 0:14:54 | |
I simply couldn't think what else to do. | 0:14:54 | 0:14:56 | |
I mean, the camera was turning when it happened. | 0:14:56 | 0:15:00 | |
Um...because I had been talking about where we were | 0:15:00 | 0:15:03 | |
and suddenly these people burst out from hiding. | 0:15:03 | 0:15:07 | |
And the only thing I could think of doing...I mean, no point in running, I mean, you couldn't run. | 0:15:07 | 0:15:12 | |
So the only thing to do was to go to them and say, "Hello". | 0:15:12 | 0:15:16 | |
Which I did. | 0:15:16 | 0:15:17 | |
'To my enormous relief, they greeted me not fiercely, | 0:15:17 | 0:15:21 | |
'but with considerable enthusiasm. | 0:15:21 | 0:15:23 | |
'Laughing at myself, I discovered that this, in fact, | 0:15:23 | 0:15:26 | |
'is merely the normal New Guinea welcome.' | 0:15:26 | 0:15:29 | |
And were are you scared? | 0:15:30 | 0:15:32 | |
Yes, I suppose so. | 0:15:32 | 0:15:35 | |
I scare quite easy. | 0:15:35 | 0:15:37 | |
I mean, there's times when...I have been frightened quite a lot, really. | 0:15:37 | 0:15:42 | |
If we talk about the moment that turns up in all those programmes - the greatest moments of TV ever - | 0:15:42 | 0:15:48 | |
in Rwanda when the gorilla comes up behind you. | 0:15:48 | 0:15:52 | |
I'm interested in what you were thinking. | 0:15:52 | 0:15:54 | |
Were you thinking this is an astonishing thing to happen | 0:15:54 | 0:15:57 | |
or were you thinking this is amazing TV? | 0:15:57 | 0:15:59 | |
Is that calculation ever there? | 0:15:59 | 0:16:01 | |
No, I mean, I think that was such an overwhelming experience, | 0:16:01 | 0:16:06 | |
and caught me so by surprise, | 0:16:06 | 0:16:08 | |
that the television part of it is, well, | 0:16:08 | 0:16:15 | |
it's a long way down on the priorities, really. | 0:16:15 | 0:16:19 | |
There I was thinking that this gorilla was going to be behind me | 0:16:19 | 0:16:23 | |
and that I was going to be talking, | 0:16:23 | 0:16:26 | |
and then suddenly these little baby gorillas come | 0:16:26 | 0:16:29 | |
and started taking my shoes off. | 0:16:29 | 0:16:32 | |
And the female put her hand on my head! | 0:16:32 | 0:16:36 | |
Um, and you don't think, "Is this going to be a terrific shot?" | 0:16:36 | 0:16:40 | |
I can tell you. | 0:16:40 | 0:16:42 | |
I mean, you think, "Holy mackerel!" You know. | 0:16:42 | 0:16:45 | |
This is this extraordinary thing | 0:16:45 | 0:16:47 | |
and she's treating me in this amazing way. | 0:16:47 | 0:16:51 | |
There is a temptation - dealing with animals, wildlife, nature - | 0:16:51 | 0:16:55 | |
towards sentimentality, which Disney represents obviously. | 0:16:55 | 0:16:59 | |
You have resisted that, quite deliberately. | 0:16:59 | 0:17:02 | |
Yes, I think that what interests me about the natural world | 0:17:02 | 0:17:07 | |
is the way it works, which is, um, er... | 0:17:07 | 0:17:10 | |
And trying to really understand how it works. | 0:17:10 | 0:17:13 | |
And that involves understanding about violence, | 0:17:13 | 0:17:18 | |
understanding about predators and, um, and, er... | 0:17:18 | 0:17:24 | |
understanding about insects | 0:17:24 | 0:17:26 | |
and the way they affect the way the whole machinery goes, | 0:17:26 | 0:17:31 | |
which is nothing to do with sort of "up popped mummy frog", you know. | 0:17:31 | 0:17:36 | |
We're at a stage now, technologically, where anything can be faked, essentially, visually. | 0:17:36 | 0:17:41 | |
There've been cases in wildlife films where things have been computer enhanced, have been faked. | 0:17:41 | 0:17:46 | |
Animals that don't exist are shown moving around, does that worry you? | 0:17:46 | 0:17:50 | |
Yes, a lot. | 0:17:50 | 0:17:52 | |
Um, and I, er... | 0:17:52 | 0:17:56 | |
I worry that people... | 0:17:56 | 0:17:58 | |
The natural world is so astonishing that every now and again... | 0:17:58 | 0:18:01 | |
I mean, the series I'm doing now, | 0:18:01 | 0:18:03 | |
which is about earthworms and scorpions and stuff, | 0:18:03 | 0:18:07 | |
that people will say, | 0:18:07 | 0:18:09 | |
"Oh, well, it's not really true. They don't do that sort of thing. | 0:18:09 | 0:18:13 | |
"They don't communicate in that sort of way. | 0:18:13 | 0:18:15 | |
"That's just the way that they are doing it these days. | 0:18:15 | 0:18:18 | |
"They can model anything. | 0:18:18 | 0:18:19 | |
"They can make dinosaurs come to life, you know, | 0:18:19 | 0:18:22 | |
"and who knows, they don't really do that sort of stuff." | 0:18:22 | 0:18:25 | |
And that's terrible. | 0:18:25 | 0:18:27 | |
And so, I think one of the few justifications | 0:18:27 | 0:18:31 | |
for having people appear in natural history programmes, | 0:18:31 | 0:18:35 | |
in the way that I do, | 0:18:35 | 0:18:36 | |
is that people may say, "Well, if he says it's right, it's right." | 0:18:36 | 0:18:42 | |
And the presenter can give veracity | 0:18:42 | 0:18:48 | |
and persuade people that it IS true. | 0:18:48 | 0:18:52 | |
And that's why it's extremely important | 0:18:52 | 0:18:54 | |
that I don't ever move into that area | 0:18:54 | 0:18:57 | |
and try and deceive people about things. | 0:18:57 | 0:18:59 | |
But in one of your own series, there was an instance, | 0:18:59 | 0:19:02 | |
in which a polar bear is seen giving birth, | 0:19:02 | 0:19:06 | |
and the birth, it turns out, was filmed in a zoo, | 0:19:06 | 0:19:09 | |
put together with footage from the Arctic. | 0:19:09 | 0:19:11 | |
That WAS justifiable? | 0:19:11 | 0:19:13 | |
In my view, totally, because what the programme was about | 0:19:13 | 0:19:16 | |
was trying to tell you about the natural history of polar bears. | 0:19:16 | 0:19:21 | |
And one of the important things to understand about bears is that they, | 0:19:21 | 0:19:25 | |
particularly polar bears, | 0:19:25 | 0:19:27 | |
is that they give birth during hibernation | 0:19:27 | 0:19:29 | |
and they produce this tiny little baby. | 0:19:29 | 0:19:31 | |
I mean, that's a key thing. | 0:19:31 | 0:19:33 | |
And so I had no hesitation at all about putting together footage from all over the place, | 0:19:33 | 0:19:38 | |
including unique material of a female polar bear giving birth, | 0:19:38 | 0:19:44 | |
which was shot in Hamburg Zoo. | 0:19:44 | 0:19:46 | |
Now, if I had said, "Well, here I am in the Arctic | 0:19:46 | 0:19:50 | |
"and I'm trying to stalk this polar bear, | 0:19:50 | 0:19:53 | |
"and I'm trying to get a look inside her den", | 0:19:53 | 0:19:56 | |
and THEN put that in, then that's a lie. | 0:19:56 | 0:19:59 | |
I mean, that is totally unjustifiable. | 0:19:59 | 0:20:03 | |
But if you're saying, "I'm trying to tell you about polar bears - | 0:20:03 | 0:20:06 | |
"how they swim, how they give birth, how they hunt", | 0:20:06 | 0:20:09 | |
and you put together stuff from all areas, that's fine. | 0:20:09 | 0:20:12 | |
AND we didn't make any secret of it. | 0:20:12 | 0:20:14 | |
We gave a credit at the end of the programme, | 0:20:14 | 0:20:17 | |
saying thanks were due to the Hamburg Zoo. | 0:20:17 | 0:20:21 | |
Many people have compared the higher levels of management at the BBC to a jungle | 0:20:24 | 0:20:30 | |
and Attenborough is one of the few people to have direct experience of both savage environments. | 0:20:30 | 0:20:35 | |
Apart from your many, many appearances on screen, | 0:20:45 | 0:20:48 | |
you had a brief spell as a BBC manager, running BBC2, | 0:20:48 | 0:20:51 | |
and then running the television service. | 0:20:51 | 0:20:54 | |
In general, was TV better at that period, | 0:20:55 | 0:20:59 | |
in the '60s and '70s, than it is now? | 0:20:59 | 0:21:02 | |
Well, it wasn't all that brief. I mean, I was there for eight years. | 0:21:03 | 0:21:07 | |
And, of course, it would be dishonest of me not to say | 0:21:08 | 0:21:13 | |
that I thought that we did some good things in that time. | 0:21:13 | 0:21:16 | |
I mean, I would be ashamed if, after eight years, | 0:21:16 | 0:21:20 | |
you said, "Oh, well, it was all... it was a failure". | 0:21:20 | 0:21:24 | |
Um, but we had the opportunity to do things | 0:21:24 | 0:21:27 | |
which are much more difficult to do now. | 0:21:27 | 0:21:31 | |
Um, there were only three networks in the country. | 0:21:31 | 0:21:36 | |
The BBC had two of them. | 0:21:36 | 0:21:37 | |
And if the BBC didn't use that position of great scope that it had | 0:21:37 | 0:21:44 | |
of two networks to produce something that wasn't pretty good, | 0:21:44 | 0:21:49 | |
and was more adventurous and experimental and took risks | 0:21:49 | 0:21:53 | |
and doing all that sort of thing, | 0:21:53 | 0:21:55 | |
then I would really be ashamed of myself. | 0:21:55 | 0:21:58 | |
Um, and I think we did do those things. | 0:21:58 | 0:22:00 | |
We introduced all kinds of new kinds of programme genres. | 0:22:00 | 0:22:05 | |
And we were able to go for audiences of a size, in proportionate terms, | 0:22:05 | 0:22:11 | |
which you couldn't possibly do now. | 0:22:11 | 0:22:16 | |
You say its key was that there were three channels, | 0:22:16 | 0:22:19 | |
now that there are hundreds, and may eventually be thousands, | 0:22:19 | 0:22:22 | |
is it impossible to create the kind of television that was created then? | 0:22:22 | 0:22:26 | |
Well, it only is impossible if you set yourself the wrong targets | 0:22:27 | 0:22:31 | |
or say you're working within the wrong parameters. | 0:22:31 | 0:22:34 | |
And the BBC is continually on a pendulum, you know. | 0:22:34 | 0:22:40 | |
At one end, they're saying, | 0:22:40 | 0:22:42 | |
"Oh, you're doing all these highbrow things | 0:22:42 | 0:22:44 | |
"and unpopular things and you are up in the ivory tower. | 0:22:44 | 0:22:47 | |
"A lot of people resent paying - your licence holder - | 0:22:47 | 0:22:52 | |
"because they don't see those kind of programmes, | 0:22:52 | 0:22:55 | |
"therefore loosen up and get more popular." | 0:22:55 | 0:22:58 | |
And then so you do and then the poor old BBC, having done that | 0:22:58 | 0:23:01 | |
and proved itself to be more popular than commercial television, | 0:23:01 | 0:23:05 | |
people say, "Oh, what a terrible thing, | 0:23:05 | 0:23:07 | |
"that you aren't doing your public service obligations, you should... | 0:23:07 | 0:23:11 | |
And so it's continually doing that. | 0:23:11 | 0:23:12 | |
And it's battered over the head whichever way it does. | 0:23:12 | 0:23:16 | |
And it was certainly the case five years ago that everybody - | 0:23:16 | 0:23:22 | |
politicians and people running the BBC, | 0:23:22 | 0:23:25 | |
and all kinds of other people were saying, | 0:23:25 | 0:23:27 | |
"The BBC's got to be more popular. | 0:23:27 | 0:23:29 | |
"We won't be able to get the licence renewed unless we are." | 0:23:29 | 0:23:33 | |
So they did move that way, but now they're moving back again. | 0:23:33 | 0:23:37 | |
We hear that phrase so often, and it's crucial in this period when the BBC is seeking a new charter - | 0:23:37 | 0:23:42 | |
"public service broadcasting." What, in your view, does that mean? | 0:23:42 | 0:23:46 | |
It doesn't mean there's any such thing as a public service programme. | 0:23:46 | 0:23:49 | |
Public service broadcasting is using a broadcasting network NOT to make money, | 0:23:49 | 0:23:55 | |
but to try and cover the widest possible spectrum of viewer interests. | 0:23:55 | 0:24:01 | |
And your success as a public service broadcaster is measured, | 0:24:01 | 0:24:05 | |
to a very considerable degree, by the width of that spectrum, | 0:24:05 | 0:24:09 | |
the number of people who come for all kinds of different kinds of programmes. | 0:24:09 | 0:24:13 | |
So it's a schedule, it's a total schedule. | 0:24:13 | 0:24:15 | |
And you don't call yourself a public service broadcaster | 0:24:15 | 0:24:18 | |
just because you happen to do a programme about Norman architecture | 0:24:18 | 0:24:21 | |
and put it out at 3.15 in the morning. | 0:24:21 | 0:24:23 | |
That's not public service broadcasting. | 0:24:23 | 0:24:26 | |
And also the news is a crucial thing in public service broadcasting. | 0:24:26 | 0:24:32 | |
News which stands up for its values, not simply political values, | 0:24:32 | 0:24:38 | |
as we've had the horrible example of that, | 0:24:38 | 0:24:41 | |
but also popularity values. | 0:24:41 | 0:24:45 | |
Your news ought to do things because you think it's important news. | 0:24:45 | 0:24:51 | |
And even if it's unpalatable news, and even if the audience turns away | 0:24:51 | 0:24:55 | |
cos they don't want to hear that particular aspect of the news, | 0:24:55 | 0:24:59 | |
that's neither here nor there, you've got to do it. | 0:24:59 | 0:25:01 | |
You can make it as accessible as you can, and as interesting as you can, but you've got to do it. | 0:25:01 | 0:25:07 | |
That's what public service broadcasting is about. | 0:25:07 | 0:25:10 | |
The horrible example of what can happen in political news, | 0:25:10 | 0:25:13 | |
-I assume is a reference to the Andrew Gilligan affair. -Of course, yeah. | 0:25:13 | 0:25:16 | |
And what was your view of that? | 0:25:16 | 0:25:18 | |
Oh, well, I think it pointed up, very importantly, | 0:25:18 | 0:25:23 | |
the bad condition we've got | 0:25:23 | 0:25:27 | |
vis-a-vis the governors of the BBC and the governance of the BBC. | 0:25:27 | 0:25:30 | |
There wasn't any question, in my view, | 0:25:30 | 0:25:32 | |
that the correct thing that should've happened, | 0:25:32 | 0:25:35 | |
that had the governors been properly divorced from the executive, | 0:25:35 | 0:25:40 | |
that when the Government, the Prime Minister or whoever else said, | 0:25:40 | 0:25:44 | |
"We're going to have an inquiry", the chairman of the BBC should say, | 0:25:44 | 0:25:48 | |
"Thank you, you've no need to do that. | 0:25:48 | 0:25:50 | |
"That's what we're here for, that's our job. | 0:25:50 | 0:25:52 | |
"You mind your business and we'll mind ours. | 0:25:52 | 0:25:55 | |
"We will have an inquiry because we're public-spirited people | 0:25:55 | 0:25:58 | |
"and we're NOT part of the executive | 0:25:58 | 0:26:00 | |
"and WE will get to the bottom of the question." | 0:26:00 | 0:26:02 | |
Now, they didn't do that because, for the last 20 years, the executive and the governance have been merged. | 0:26:02 | 0:26:09 | |
Now, the dangers of that are now very, very apparent. | 0:26:09 | 0:26:13 | |
And people, at the moment, are making sure, within the BBC, that that is being... | 0:26:13 | 0:26:18 | |
I mean, the present chairman and the governors, are bringing them apart, | 0:26:18 | 0:26:22 | |
and a very good thing too. | 0:26:22 | 0:26:23 | |
-Are you confident that the licence fee will survive? -No. | 0:26:23 | 0:26:27 | |
Nobody should be confident the licence fee should survive. | 0:26:27 | 0:26:30 | |
The licence fee happens to be the most important element | 0:26:30 | 0:26:33 | |
in broadcasting in this country, in my view. | 0:26:33 | 0:26:36 | |
And it is SO important that nobody should ever take it for granted. | 0:26:36 | 0:26:40 | |
Everybody should be saying, "Yes, we understand why that is there. | 0:26:40 | 0:26:43 | |
"And we understand that the quality of broadcasting that there is in this country | 0:26:43 | 0:26:48 | |
"is actually a direct consequence of having one major organisation | 0:26:48 | 0:26:55 | |
"which broadcasts with a licence." | 0:26:55 | 0:26:57 | |
So once you have hundreds of channels, as we have now, | 0:26:57 | 0:27:00 | |
we have the Internet, we have everything else, | 0:27:00 | 0:27:02 | |
why should British people, if they want to watch the BBC, | 0:27:02 | 0:27:05 | |
still be required to pay a licence fee and go to jail if they don't? | 0:27:05 | 0:27:08 | |
Why should you or I pay for our rates for a public library | 0:27:08 | 0:27:13 | |
even though we never use it in our lives? | 0:27:13 | 0:27:16 | |
Why should you or I pay for a swimming pool for people if we don't...? | 0:27:16 | 0:27:20 | |
The notion of having a society that is sufficiently integrated | 0:27:20 | 0:27:24 | |
with a sufficient sense of social responsibility | 0:27:24 | 0:27:28 | |
to pay communally to make sure that everybody in the society | 0:27:28 | 0:27:32 | |
has the right sort of facilities that they need - | 0:27:32 | 0:27:35 | |
that's perfectly clear, | 0:27:35 | 0:27:36 | |
and that applies to broadcasting just as it does to public libraries. | 0:27:36 | 0:27:40 | |
The sense, which when I read and talk to you about the early days in TV, | 0:27:40 | 0:27:43 | |
that sense of wonder and hope, that can never exist again in TV? | 0:27:43 | 0:27:48 | |
No. I mean, I do remember very clearly | 0:27:48 | 0:27:53 | |
thinking that this was wonderful because, | 0:27:53 | 0:27:56 | |
and it was a monopoly situation, because the entire nation - | 0:27:56 | 0:28:01 | |
bank clerks in Surbiton could understand | 0:28:01 | 0:28:04 | |
what coalminers in Durham were talking about, | 0:28:04 | 0:28:06 | |
and musicians could hear what writers were talking about, | 0:28:06 | 0:28:11 | |
and the nation would come together and that we would be all... | 0:28:11 | 0:28:15 | |
have a social cohesive, and be that much better as a community as a consequence. | 0:28:15 | 0:28:21 | |
And then commercialism came in. | 0:28:22 | 0:28:28 | |
And that distorted - that ideal couldn't survive that. | 0:28:28 | 0:28:32 | |
Sir David Attenborough, thank you. | 0:28:33 | 0:28:34 | |
Subtitles by Red Bee Media Ltd, 2006. | 0:28:40 | 0:28:42 | |
Email [email protected] | 0:28:42 | 0:28:44 |