Browse content similar to 14/10/2012. Check below for episodes and series from the same categories and more!
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Our tiny country has more than its fair share of natural wonders. | 0:00:31 | 0:00:36 | |
From crystal clear rivers | 0:00:36 | 0:00:38 | |
to ancient forests | 0:00:38 | 0:00:40 | |
and picture perfect pastures. | 0:00:40 | 0:00:43 | |
Until a few decades ago, unless you were an enthusiastic traveller | 0:00:45 | 0:00:49 | |
or you live in one of these glorious places, | 0:00:49 | 0:00:52 | |
you could be forgiven for not knowing much about them. | 0:00:52 | 0:00:55 | |
But, then, something magical happened. | 0:00:55 | 0:00:58 | |
A little box in the corner of our room flickered into life | 0:00:58 | 0:01:01 | |
and, in just a short time, showed us wonders we had never seen before. | 0:01:01 | 0:01:06 | |
It wasn't easy to catch those first faltering glimpses, | 0:01:10 | 0:01:13 | |
but when they succeeded, those early film-makers | 0:01:13 | 0:01:16 | |
helped transform the way we thought about our countryside. | 0:01:16 | 0:01:20 | |
In tonight's special programme, | 0:01:22 | 0:01:24 | |
we'll pay tribute to just a few of those dedicated men and women. | 0:01:24 | 0:01:27 | |
And, for one of us, it's a very personal journey. | 0:01:29 | 0:01:33 | |
Long before I found myself in front of the TV cameras, | 0:01:33 | 0:01:36 | |
my dad was telling the world about what is was like | 0:01:36 | 0:01:38 | |
to be a farmer. | 0:01:38 | 0:01:39 | |
-A lot has changed since then, Dad, hasn't it? -It certainly has. | 0:01:39 | 0:01:42 | |
So, a time to look back at the films that opened up a window | 0:01:44 | 0:01:48 | |
on a whole new world. | 0:01:48 | 0:01:49 | |
Our journey into the past starts in the heart of Hampshire. | 0:01:57 | 0:02:01 | |
This county of contrasts has inspired | 0:02:01 | 0:02:03 | |
more than its fair share of filmmakers. | 0:02:03 | 0:02:06 | |
And no wonder. | 0:02:06 | 0:02:07 | |
Later on, we'll be exploring the ancient beauty | 0:02:11 | 0:02:14 | |
of the New Forest. | 0:02:14 | 0:02:15 | |
But, first, I'm here to see this. | 0:02:15 | 0:02:18 | |
The gin clear water of a chalk stream. | 0:02:18 | 0:02:22 | |
Rare and fragile, there are only 200 of these streams in the world. | 0:02:23 | 0:02:27 | |
Almost all of them are in Britain | 0:02:27 | 0:02:30 | |
and some of the most famous are here in Hampshire. | 0:02:30 | 0:02:35 | |
So, it really is no surprise that this landscape | 0:02:35 | 0:02:37 | |
and, in fact, this very spot, | 0:02:37 | 0:02:39 | |
was the inspiration for one of our most defining nature films. | 0:02:39 | 0:02:44 | |
Made in 1968, it was the BBC's first colour wildlife film | 0:02:48 | 0:02:54 | |
and the public loved it so much, it was repeated eight times. | 0:02:54 | 0:02:59 | |
-NARRATOR: -'The river is home for many creatures. | 0:03:01 | 0:03:05 | |
'Water rat paddles for the safety of the home bank. | 0:03:05 | 0:03:08 | |
'A tell-tale shell dropped by a kingfisher. | 0:03:08 | 0:03:12 | |
'Now a parent. | 0:03:12 | 0:03:15 | |
'The birds are busy delivering tiny fish to tiny offspring.' | 0:03:15 | 0:03:19 | |
This pioneering film was the first of many | 0:03:21 | 0:03:23 | |
for husband and wife team, Ron and Rosemary Eastman | 0:03:23 | 0:03:27 | |
and it changed the way we saw the natural world. | 0:03:27 | 0:03:30 | |
I'm catching up with their daughter, Liz Baylis, | 0:03:30 | 0:03:33 | |
to find out how they made the film | 0:03:33 | 0:03:35 | |
and to discover more about their extraordinary love of nature. | 0:03:35 | 0:03:39 | |
So, how did your mum and dad start making films? | 0:03:39 | 0:03:42 | |
-How did it all begin? -It was my dad. | 0:03:42 | 0:03:44 | |
He was a projectionist at the cinema in Whitchurch. | 0:03:44 | 0:03:47 | |
He would sit watching films that somebody else had made every day | 0:03:47 | 0:03:51 | |
thinking he could do better himself. He went off and bought a camera. | 0:03:51 | 0:03:55 | |
Having kingfishers living on the River Tess, | 0:03:55 | 0:03:57 | |
was an opportunity to film them. | 0:03:57 | 0:03:59 | |
-And your mum? What was her role? -She was the sound recordist. | 0:03:59 | 0:04:03 | |
Luckily, she had an interest in wildlife, particularly birds. | 0:04:03 | 0:04:07 | |
They did everything together. | 0:04:07 | 0:04:09 | |
Ron and Rosemary's vision was to reveal the intimate world | 0:04:11 | 0:04:15 | |
of one of the riverbank's most elusive creatures, the kingfisher. | 0:04:15 | 0:04:19 | |
But, as no one had done it before, no-one knew how to do it | 0:04:19 | 0:04:22 | |
or even if it could be done. | 0:04:22 | 0:04:25 | |
Every step of the way was a test, | 0:04:25 | 0:04:27 | |
not only of their skill and patience, | 0:04:27 | 0:04:30 | |
but also of their ingenuity. | 0:04:30 | 0:04:32 | |
Well, Liz and I are going to have a go at recreating | 0:04:34 | 0:04:38 | |
some of the tricks and techniques that Ron and Rosemary used | 0:04:38 | 0:04:42 | |
to get the kingfishers in exactly the right position. | 0:04:42 | 0:04:45 | |
-It all started with these jars and, Liz, some bait, yeah? -Yeah. | 0:04:45 | 0:04:50 | |
OK. You've laid out some jars last night, was it? | 0:04:50 | 0:04:52 | |
Yes, last night. | 0:04:52 | 0:04:54 | |
What is the ideal tempter for a kingfisher from a food perspective? | 0:04:54 | 0:04:57 | |
They like minnows, sticklebacks and bullheads. | 0:04:57 | 0:05:00 | |
-Let's have a look and see what you've got, shall we? -Yes. | 0:05:00 | 0:05:04 | |
Oh, right! | 0:05:04 | 0:05:06 | |
-There is! -There's a stickleback, isn't there? | 0:05:06 | 0:05:08 | |
-Yeah, there's a stickleback and there's definitely bullhead. -Yeah! | 0:05:08 | 0:05:13 | |
These fish are going to be the stars of our show | 0:05:13 | 0:05:15 | |
but as they're from a protected habitat, we'll release them | 0:05:15 | 0:05:19 | |
back into the river once we're finished | 0:05:19 | 0:05:21 | |
and we've checked that we are OK to do this. | 0:05:21 | 0:05:24 | |
For Liz, though, these fellas are small fry | 0:05:24 | 0:05:27 | |
as growing up in a house that often doubled up as a film set, | 0:05:27 | 0:05:30 | |
really was a wildlife experience. | 0:05:30 | 0:05:33 | |
It wouldn't be unusual to come home from school, | 0:05:33 | 0:05:36 | |
walk up the stairs, go into the shower and find a swan, | 0:05:36 | 0:05:39 | |
go into the bathroom and find eels in the bath. | 0:05:39 | 0:05:42 | |
One of the weirdest ones was opening the fridge | 0:05:42 | 0:05:44 | |
and seeing a rattlesnake in there. | 0:05:44 | 0:05:46 | |
-Really?! How many pets have you got now? -We've got two goldfish! | 0:05:46 | 0:05:50 | |
THEY LAUGH | 0:05:50 | 0:05:52 | |
-NARRATOR: -'The bullhead shuffles down among the stones. | 0:05:52 | 0:05:55 | |
'It's into this flickering, quiet world | 0:05:55 | 0:05:58 | |
'that the hero of our story makes his entry. | 0:05:58 | 0:06:01 | |
'The kingfisher. The most beautiful bird in Britain.' | 0:06:04 | 0:06:08 | |
So, having caught the bait then, Liz, how did your mum and dad | 0:06:10 | 0:06:13 | |
then contain it so they knew where the kingfishers were going to land? | 0:06:13 | 0:06:17 | |
This is a mock replica of what they would have done. | 0:06:17 | 0:06:21 | |
They would have used a ceramic ceiling light turned upside down, | 0:06:21 | 0:06:24 | |
-covered in cement then gravel. -Ingenious. | 0:06:24 | 0:06:27 | |
Yes. We went to the charity shop and just got a glass fruit bowl. | 0:06:27 | 0:06:30 | |
Chicken wire, cement so that it looks like the riverbed | 0:06:30 | 0:06:33 | |
so the Kingfisher isn't put off by it. | 0:06:33 | 0:06:37 | |
Then you place it in the river | 0:06:37 | 0:06:39 | |
so that the water doesn't completely overflow it, | 0:06:39 | 0:06:43 | |
but can... | 0:06:43 | 0:06:46 | |
Trickle in. Yeah. | 0:06:46 | 0:06:48 | |
Basically, the fish goes in the middle. | 0:06:48 | 0:06:50 | |
'Inspired as this was, | 0:06:52 | 0:06:54 | |
nowadays kingfishers are protected by law and you'll need a licence | 0:06:54 | 0:06:58 | |
from Natural England to photograph them near a nest.' | 0:06:58 | 0:07:01 | |
It's ingenious! | 0:07:01 | 0:07:02 | |
It's a way to make sure that, when filming, you know where they'll be. | 0:07:02 | 0:07:06 | |
This set, constructed within the river, did the trick, | 0:07:06 | 0:07:10 | |
allowing the couple to capture detailed footage | 0:07:10 | 0:07:13 | |
of kingfisher behaviour for the first time. | 0:07:13 | 0:07:17 | |
-NARRATOR: -'She's got one! | 0:07:17 | 0:07:19 | |
'But she's accidentally speared it with her upper mandible | 0:07:19 | 0:07:22 | |
'instead of grasping it between the mandibles.' | 0:07:22 | 0:07:25 | |
But Ron and Rosemary were far from content. | 0:07:26 | 0:07:30 | |
They wanted to get, literally, | 0:07:30 | 0:07:32 | |
beneath the surface of what they saw, | 0:07:32 | 0:07:35 | |
filming a kingfisher capture its prey underwater. | 0:07:35 | 0:07:38 | |
Another first. | 0:07:38 | 0:07:39 | |
These days, technically it's not too much of a challenge. | 0:07:39 | 0:07:43 | |
You simply use an underwater camera | 0:07:43 | 0:07:45 | |
that's designed and made specifically for the job. | 0:07:45 | 0:07:48 | |
But back in Ron and Rosemary's day, this equipment wasn't around. | 0:07:48 | 0:07:52 | |
So, how did they film underwater | 0:07:52 | 0:07:54 | |
with a camera designed to be on land? | 0:07:54 | 0:07:57 | |
Well, to help us shed light on the subject, | 0:07:57 | 0:08:00 | |
I've got one of the top wildlife cameramen around today, Hugh Miles. | 0:08:00 | 0:08:04 | |
Hugh, thanks for sorting us out with the first hit of that. Lovely! | 0:08:04 | 0:08:07 | |
And Liz has got Rosemary's, book. So, what did she say, Liz? | 0:08:07 | 0:08:11 | |
Well, she documented everything, so she's basically said: | 0:08:11 | 0:08:14 | |
"To film underwater properly, we needed an aquarium. | 0:08:14 | 0:08:17 | |
"We made one two feet long and 1.5 feet wide and deep, | 0:08:17 | 0:08:20 | |
Perspex front and sides, loaded the fish and put it in the river". | 0:08:20 | 0:08:23 | |
Right, so we've got two tanks down here then. | 0:08:23 | 0:08:26 | |
Hugh, we're going to do a bit of old school underwater filming. | 0:08:26 | 0:08:29 | |
Just pop those in there then, shall we, Hugh? | 0:08:32 | 0:08:35 | |
Yeah, hopefully they've got plenty of oxygen. | 0:08:35 | 0:08:38 | |
It's a kingfisher's feast, that! | 0:08:38 | 0:08:41 | |
OK. So we've got another tank there then, Liz. | 0:08:41 | 0:08:43 | |
Give us an idea of how this comes in, Hugh. | 0:08:43 | 0:08:46 | |
Well, one way of filming it is to put another tank by the side | 0:08:46 | 0:08:50 | |
and then a camera in that tank. | 0:08:50 | 0:08:52 | |
-OK. -A plastic tank enables you to operate the camera easily... | 0:08:52 | 0:08:56 | |
Absolutely. | 0:08:56 | 0:08:58 | |
..and get the shot you want. | 0:08:58 | 0:08:59 | |
We've got the camera, which is good news. Have you got that? | 0:08:59 | 0:09:02 | |
Sorry, Liz, you've turned into a camera assistant! | 0:09:02 | 0:09:05 | |
She's been that before, I'm sure! | 0:09:05 | 0:09:07 | |
That's right, yeah! | 0:09:07 | 0:09:09 | |
So the camera goes in. We know where the kingfisher will dive | 0:09:09 | 0:09:13 | |
because they're in there. | 0:09:13 | 0:09:15 | |
That is all pretty contained. Look at that! | 0:09:16 | 0:09:19 | |
-NARRATOR: -'In ultra slow motion, | 0:09:19 | 0:09:21 | |
we follow him into the water.' | 0:09:21 | 0:09:23 | |
-NARRATOR: -'If, at first, you don't succeed... | 0:09:27 | 0:09:31 | |
'He's got it!' | 0:09:31 | 0:09:32 | |
They set the bar really high. | 0:09:36 | 0:09:38 | |
They were pioneers and they did some wonderful films. | 0:09:38 | 0:09:41 | |
Obviously inspiring you to do what you're doing today. | 0:09:41 | 0:09:44 | |
Oh, certainly. Yeah. | 0:09:44 | 0:09:45 | |
And, it's similar to how we're still striving | 0:09:45 | 0:09:50 | |
to show new things in new ways | 0:09:50 | 0:09:53 | |
to inspire the audience to love wildlife. | 0:09:53 | 0:09:56 | |
The Eastmans went on to make many, many films in a career spanning | 0:09:58 | 0:10:02 | |
more than 30 years. | 0:10:02 | 0:10:04 | |
They brought nature into the nation's living rooms. | 0:10:04 | 0:10:07 | |
And they revolutionised the way we saw the world around us. | 0:10:11 | 0:10:14 | |
For their family, though, | 0:10:16 | 0:10:18 | |
these films remain as a very personal reminder. | 0:10:18 | 0:10:22 | |
They're something which I took for granted. | 0:10:22 | 0:10:25 | |
My mum and dad filmed so that everybody can enjoy. | 0:10:25 | 0:10:27 | |
So people that wouldn't normally know | 0:10:27 | 0:10:29 | |
the life of a kingfisher can watch a film and see it. | 0:10:29 | 0:10:32 | |
And my children will grow up | 0:10:32 | 0:10:33 | |
and will be able to see what their grandparents did, which is great. | 0:10:33 | 0:10:36 | |
'Well, there's our kingfisher. | 0:10:36 | 0:10:39 | |
'Charming in manner and graceful in its arrow flight. | 0:10:39 | 0:10:43 | |
'The bird which Tennyson described as | 0:10:44 | 0:10:46 | |
' "the secret splendour of the brooks." ' | 0:10:46 | 0:10:49 | |
While I've been exploring the chalk streams of Hampshire, | 0:10:53 | 0:10:56 | |
Julia has been following in the footsteps of a man | 0:10:56 | 0:10:59 | |
who revolutionised the way that we film our favourite animals. | 0:10:59 | 0:11:03 | |
'The New Forest, | 0:11:11 | 0:11:13 | |
'a place where natural wonders await you around every corner.' | 0:11:13 | 0:11:17 | |
This really is a unique animal kingdom, | 0:11:20 | 0:11:23 | |
and one man in particular brought it to the attention of the world. | 0:11:23 | 0:11:28 | |
'The 1961, Eric Ashby created a whole new approach to wildlife filmmaking. | 0:11:29 | 0:11:35 | |
'Eric's goal was to become one with nature, | 0:11:36 | 0:11:39 | |
'totally immersing himself | 0:11:39 | 0:11:41 | |
'in this landscape to capture the creatures that live here | 0:11:41 | 0:11:44 | |
'undisturbed by man, in their own environment and on the own terms.' | 0:11:44 | 0:11:50 | |
'There are new arrivals of a different kind | 0:11:52 | 0:11:55 | |
'in the burrows under the trees. | 0:11:55 | 0:11:57 | |
'And it's not only fox cubs that emerge in the great awakening. | 0:11:57 | 0:12:00 | |
'In the soft light of evening, the young badgers are up and about. | 0:12:02 | 0:12:06 | |
'What characters they are!' | 0:12:06 | 0:12:08 | |
His whole aim was just to be able to share the wildlife | 0:12:08 | 0:12:12 | |
and nature that he loved with the rest of the world. | 0:12:12 | 0:12:16 | |
'Eric spent over four decades making his films in the forest, | 0:12:16 | 0:12:20 | |
'where he lived until his death in 2003. | 0:12:20 | 0:12:23 | |
'To find out more about the man and the forest he adored, | 0:12:23 | 0:12:25 | |
'I'm meeting family friend Frankie James. | 0:12:25 | 0:12:29 | |
'She's about to show me his love affair with wildlife was lifelong.' | 0:12:29 | 0:12:34 | |
These are some of his very, very early photographs. | 0:12:34 | 0:12:36 | |
Yes, these are when he was still a schoolboy | 0:12:36 | 0:12:39 | |
and he used his little basic camera to take photographs, | 0:12:39 | 0:12:41 | |
mainly of birds, eggs and the next, fledglings. | 0:12:41 | 0:12:45 | |
If you had to guess what he was going to be when he grew up, then... | 0:12:45 | 0:12:49 | |
-the clue was right there in front of you, wasn't it? -Yes. | 0:12:49 | 0:12:53 | |
Roundabout that time, apparently he said to his mother, | 0:12:53 | 0:12:56 | |
"Is there anything you can think of that hasn't been invented yet?" | 0:12:56 | 0:13:00 | |
So he was obviously even then thinking to himself | 0:13:00 | 0:13:03 | |
of doing things differently. | 0:13:03 | 0:13:04 | |
-What can I do? How can innovate? -Yes, yes. | 0:13:04 | 0:13:07 | |
I've heard he was a patient man, but he didn't see it like that. | 0:13:07 | 0:13:10 | |
Well, no, his attitude was he loved doing it, it was his great interest. | 0:13:10 | 0:13:13 | |
And he said, "I'm not patient, I'm just interested in what I'm doing, | 0:13:13 | 0:13:16 | |
"and if you're interested in what you're doing, | 0:13:16 | 0:13:18 | |
"you don't need patience." | 0:13:18 | 0:13:20 | |
Ultimately, he could have gone anywhere in the world | 0:13:20 | 0:13:23 | |
with his work, but he chose to stay here, in the New Forest. | 0:13:23 | 0:13:28 | |
Well, he loved the New Forest. | 0:13:28 | 0:13:30 | |
He really felt he could have lived another life again | 0:13:30 | 0:13:33 | |
and still not got to the bottom of it all. | 0:13:33 | 0:13:35 | |
It's easy to think of Eric's forest as a timeless piece | 0:13:37 | 0:13:40 | |
of our natural world, | 0:13:40 | 0:13:41 | |
but in fact, as his films showed us, it's anything but. | 0:13:41 | 0:13:48 | |
'Times change. This forest isn't frozen in museum attitudes. | 0:13:53 | 0:13:57 | |
'No petrified forest but a living thing. | 0:13:57 | 0:14:01 | |
'In each generation, man modify it, reshape it, crop it, | 0:14:01 | 0:14:04 | |
'earn a living from it.' | 0:14:04 | 0:14:06 | |
In the 1960s, the Forest was prized for its potential | 0:14:08 | 0:14:11 | |
as a giant wood yard, | 0:14:11 | 0:14:13 | |
feeding our growing appetite for consumer goods. | 0:14:13 | 0:14:16 | |
Today, the value of the natural landscape Eric so loved | 0:14:19 | 0:14:23 | |
is treasured more highly. | 0:14:23 | 0:14:26 | |
These trees are being felled to restore precious heathlands | 0:14:26 | 0:14:29 | |
smothered years ago by this cash crop of fast-growing conifers. | 0:14:29 | 0:14:33 | |
And there are many more ways in which the natural state | 0:14:34 | 0:14:37 | |
of the New Forest is being revived. | 0:14:37 | 0:14:39 | |
This all looks very pretty, | 0:14:41 | 0:14:43 | |
but all was not as it should be with this river, is it? | 0:14:43 | 0:14:45 | |
No, this is a natural drain that was dug 150 years ago to divert | 0:14:45 | 0:14:50 | |
the course of the natural river that was here back then. | 0:14:50 | 0:14:52 | |
By straightening these river systems, | 0:14:52 | 0:14:55 | |
you increase the speed at which the river flows through them, | 0:14:55 | 0:14:58 | |
and it scours out all the sands and gravels and clays | 0:14:58 | 0:15:00 | |
and makes the riverbed a lot deeper, | 0:15:00 | 0:15:03 | |
and it's not replenishing the natural environment | 0:15:03 | 0:15:05 | |
and the nutrients that these richer woodlands need to survive. | 0:15:05 | 0:15:09 | |
So what are you doing with your can? | 0:15:09 | 0:15:10 | |
Well, basically, we're looking for the old course of the river | 0:15:10 | 0:15:15 | |
so we can put this river back into its natural channel. | 0:15:15 | 0:15:17 | |
Standing here, you can actually see the way it curves | 0:15:17 | 0:15:20 | |
and has shaped the ground beneath us. | 0:15:20 | 0:15:23 | |
Yeah, you can see those two trees bearing the distance. | 0:15:23 | 0:15:25 | |
-The river would have run through them? -Through the middle of them. | 0:15:25 | 0:15:29 | |
-So you mark here? -We'll mark out the centre of the new channel, | 0:15:29 | 0:15:32 | |
so that when the guys come in, they can see where they have to dig. | 0:15:32 | 0:15:35 | |
-Come on, you have a go. -OK. | 0:15:35 | 0:15:38 | |
Look at that! Amateur! | 0:15:39 | 0:15:42 | |
Once an old river system is located, | 0:15:43 | 0:15:46 | |
it's time to call in the heavy machinery | 0:15:46 | 0:15:47 | |
to lay the original channel bare. | 0:15:47 | 0:15:50 | |
This might look destructive, but within weeks, this gouge | 0:15:52 | 0:15:56 | |
in the grassland will once again become a natural waterway, | 0:15:56 | 0:15:59 | |
sustaining not just the life within it | 0:15:59 | 0:16:01 | |
but the wider forest which surrounds it. | 0:16:01 | 0:16:03 | |
One thing that's remained ever-present this landscape | 0:16:06 | 0:16:10 | |
is an animal which featured in another of filmmaker Eric Ashby's | 0:16:10 | 0:16:13 | |
landmark films, voiced by Sir David Attenborough. | 0:16:13 | 0:16:17 | |
'Late August - the antler is now dead bone. | 0:16:17 | 0:16:20 | |
'As the leaves fall off the trees in autumn, | 0:16:20 | 0:16:23 | |
'so the velvet on the antlers withers and dies. | 0:16:23 | 0:16:27 | |
'Now the magpies move in once more, but after insects this time | 0:16:27 | 0:16:31 | |
'but to pull off and eat the remaining strings of dried velvet.' | 0:16:31 | 0:16:34 | |
Five out of the six types of deer found in Britain live here | 0:16:36 | 0:16:39 | |
in the New Forest. | 0:16:39 | 0:16:41 | |
Then as now, the job of looking after the deer population is down | 0:16:41 | 0:16:46 | |
to the forest keepers - men like Jonathan Cook. | 0:16:46 | 0:16:49 | |
-Hello, Jonathan. -Hello, Julia. | 0:16:51 | 0:16:53 | |
-Fancy meeting you here in a beautiful forest like this! -That's right. | 0:16:53 | 0:16:56 | |
-You'd better show me some of your patch, then. -Let's have a look. | 0:16:56 | 0:16:59 | |
'And I couldn't leave here without following next footsteps | 0:16:59 | 0:17:03 | |
'to see some of the animals he so loved | 0:17:03 | 0:17:05 | |
'in their uninterrupted splendour.' | 0:17:05 | 0:17:08 | |
Aw, there they are. | 0:17:08 | 0:17:10 | |
'Eric Ashby exposed the marvels of this forest to the world | 0:17:12 | 0:17:17 | |
'over have a century ago. | 0:17:17 | 0:17:19 | |
'The unique footage he captured through his patience and passion | 0:17:19 | 0:17:23 | |
'awoke a yearning in us. | 0:17:23 | 0:17:25 | |
'Every day now, more than 40,000 people make their way here | 0:17:26 | 0:17:30 | |
'to share in Eric's world. | 0:17:30 | 0:17:33 | |
'This place may no longer be a secret, | 0:17:33 | 0:17:35 | |
'but by respecting his ethos of observing these natural wonders, | 0:17:35 | 0:17:41 | |
'it remains a sanctuary for all that his work sought to celebrate.' | 0:17:41 | 0:17:44 | |
Eric Ashby was a groundbreaking filmmaker. | 0:17:46 | 0:17:48 | |
And 40 years ago, another innovative television programme hit our screens. | 0:17:48 | 0:17:52 | |
And the idea was simple. Some presenters would walk along a canal | 0:17:52 | 0:17:55 | |
in the Cotswolds and film any wildlife they saw in real time. | 0:17:55 | 0:17:59 | |
John's been following in those footsteps. | 0:17:59 | 0:18:01 | |
Nearly 40 years ago, four experts and a couple of film crews turned up here | 0:18:10 | 0:18:16 | |
in the Gloucestershire village of Sapperton | 0:18:16 | 0:18:18 | |
to make television history. | 0:18:18 | 0:18:19 | |
The idea, revolutionary at the time, was to film just what they saw. | 0:18:22 | 0:18:27 | |
Incredible. You come into the countryside | 0:18:27 | 0:18:29 | |
and what's the first thing you see? A hunt. | 0:18:29 | 0:18:31 | |
Absolutely. Fantastic. | 0:18:31 | 0:18:33 | |
-Morning! -Morning! Here, boys. -Morning! -Morning! | 0:18:33 | 0:18:38 | |
All the team had were public rights of way, their own expertise | 0:18:38 | 0:18:42 | |
and the time to walk and perhaps most importantly to stand and stare. | 0:18:42 | 0:18:49 | |
Today, were back in deepest Britain to find out how they did it. | 0:18:49 | 0:18:53 | |
And with me is one of those four, the botanist | 0:18:55 | 0:18:59 | |
and writer Richard Mabey, | 0:18:59 | 0:19:01 | |
to recreate the experiment. | 0:19:01 | 0:19:03 | |
It's the greater burdock, | 0:19:03 | 0:19:04 | |
which has solid stems. | 0:19:04 | 0:19:06 | |
Natural history filming had become very elaborate. | 0:19:08 | 0:19:12 | |
The first kinds of high technology were beginning to come in. | 0:19:12 | 0:19:16 | |
And you felt very distant from it. | 0:19:16 | 0:19:17 | |
And we wanted to see what it would be like | 0:19:17 | 0:19:19 | |
if you just took a few people out on an ordinary day's walk | 0:19:19 | 0:19:23 | |
in the English countryside, unprepared, unscripted. | 0:19:23 | 0:19:27 | |
We didn't even know the route before we started. | 0:19:27 | 0:19:29 | |
And just to film what happened. | 0:19:29 | 0:19:31 | |
It was that concept then that lead to things like Springwatch | 0:19:31 | 0:19:34 | |
and Autumnwatch. | 0:19:34 | 0:19:35 | |
I think it did. I think you can trace a long line of programmes | 0:19:35 | 0:19:40 | |
which tried to get closer to the heartbeat | 0:19:40 | 0:19:43 | |
of what was actually happening at the moment. | 0:19:43 | 0:19:46 | |
(Richard! Fox!) | 0:19:47 | 0:19:49 | |
-That's super. -Yeah, fantastic. | 0:19:55 | 0:19:57 | |
One of their innovations was to have a cameraman | 0:19:59 | 0:20:01 | |
with a real eye for nature sitting quietly | 0:20:01 | 0:20:04 | |
on the side of a millpond from first light, | 0:20:04 | 0:20:07 | |
just to see what wildlife would happen by. | 0:20:07 | 0:20:10 | |
This is just a perfect time for a naturalist. | 0:20:10 | 0:20:15 | |
The fish are moving in the water. | 0:20:15 | 0:20:19 | |
And nearly 40 years on, Richard Taylor-Jones from Springwatch | 0:20:19 | 0:20:23 | |
is on the very same millpond to see what he can film. | 0:20:23 | 0:20:27 | |
A kingfisher just flew past with a fish in its beak. | 0:20:27 | 0:20:34 | |
A lovely start to the day, | 0:20:34 | 0:20:35 | |
but I don't know if I'm going to be able to capture it on film. | 0:20:35 | 0:20:38 | |
OK, well, we have our first member of the cast this morning, | 0:20:41 | 0:20:46 | |
down here at the millpond. | 0:20:46 | 0:20:48 | |
A moorhen. | 0:20:48 | 0:20:50 | |
Oh, look at this! | 0:20:55 | 0:20:58 | |
The dabchick! Oh, that's just delightful. | 0:20:59 | 0:21:04 | |
Oh, here's a dabchick. A little grebe. | 0:21:10 | 0:21:13 | |
It's...it's got a fish. | 0:21:13 | 0:21:17 | |
I think it's time we had a sit down in the sun, John. | 0:21:24 | 0:21:27 | |
Good idea, Richard, | 0:21:27 | 0:21:29 | |
because one of the messages from your film, wasn't it, | 0:21:29 | 0:21:32 | |
was it's good just to stand or sit and stare, | 0:21:32 | 0:21:36 | |
-see what's going on around. -Yeah. | 0:21:36 | 0:21:39 | |
I'm very surprised by the extent to which the balance between | 0:21:39 | 0:21:43 | |
woodiness and open pasture here seems much the same | 0:21:43 | 0:21:46 | |
as it was years ago. I thought it would have been different, | 0:21:46 | 0:21:49 | |
because there were a lot of elms, | 0:21:49 | 0:21:50 | |
and they were plainly dying, | 0:21:50 | 0:21:51 | |
-so you might have expected... -You came across a whole stand | 0:21:51 | 0:21:54 | |
-of elms and you are worried about their future, quite rightly. -Yeah. | 0:21:54 | 0:21:57 | |
Well, there's another tree with Dutch elm disease, I'm afraid. | 0:21:57 | 0:22:02 | |
More than one. | 0:22:02 | 0:22:03 | |
Yeah. This one...is on its way. | 0:22:03 | 0:22:06 | |
This one is on its way. | 0:22:06 | 0:22:09 | |
And this stand has had it altogether. | 0:22:09 | 0:22:12 | |
I mean, the whole of this billow of trees up here | 0:22:12 | 0:22:16 | |
is almost exclusively elm, | 0:22:16 | 0:22:18 | |
and it's likely that they'll all be gone in five years' time. | 0:22:18 | 0:22:22 | |
(I've just had the most briefest of glimpses of a kingfisher. | 0:22:29 | 0:22:34 | |
(It just perched upon the branch right next to me. | 0:22:34 | 0:22:37 | |
(And here comes again.) | 0:22:37 | 0:22:38 | |
I've been hearing this bird since I got here. | 0:22:40 | 0:22:42 | |
I've seen glimpses of it flashing past, | 0:22:43 | 0:22:48 | |
but finally it's settled down. | 0:22:48 | 0:22:50 | |
A couple of birds up there. | 0:22:54 | 0:22:56 | |
It's just a big crow. | 0:22:56 | 0:22:58 | |
There was a wonderful moment in the film | 0:22:58 | 0:23:00 | |
when you spotted that hawk, the hobby. | 0:23:00 | 0:23:02 | |
Richard! Kestrel. | 0:23:02 | 0:23:05 | |
-Ah...no. It's a hobby. -It's a hobby. -It's a hobby. | 0:23:07 | 0:23:12 | |
'I think it's the one place in the film where we really funked it.' | 0:23:12 | 0:23:15 | |
John Gooders thought it was a kestrel, | 0:23:15 | 0:23:17 | |
and he being the best ornithologist in the country at the time, | 0:23:17 | 0:23:20 | |
one would have bowed to him, but I knew it was a hobby! | 0:23:20 | 0:23:23 | |
So we had 30 seconds of intense argument about its identity. | 0:23:23 | 0:23:26 | |
What we did wrong was then to go back and tidy it up. | 0:23:26 | 0:23:31 | |
We should have had that real moment of exciting chaos. | 0:23:31 | 0:23:35 | |
"What the hell is that?! Can you see it? | 0:23:35 | 0:23:39 | |
"With my binoculars. Can I find it?" | 0:23:39 | 0:23:41 | |
And that wonderful 30 seconds of muddle would have been | 0:23:41 | 0:23:43 | |
a better sequence than the one we eventually had. | 0:23:43 | 0:23:46 | |
We've got a fantastic coot fight going on. | 0:24:05 | 0:24:08 | |
This is a coot. And look at this, he's carrying nesting material. | 0:24:11 | 0:24:16 | |
Trying to get on with another brood, perhaps. | 0:24:16 | 0:24:18 | |
I think we deserve a little liquid refreshment, don't you, Richard? | 0:24:22 | 0:24:27 | |
I don't know about all this nature - | 0:24:27 | 0:24:29 | |
that's the best sight I've seen all day! | 0:24:29 | 0:24:32 | |
Much deserved. | 0:24:32 | 0:24:33 | |
Well, this is where you ended up, on the original film, Richard - | 0:24:33 | 0:24:37 | |
outside the pub, having a pint. | 0:24:37 | 0:24:38 | |
Yes, we were very pleased to arrive here. | 0:24:38 | 0:24:41 | |
I think the experience of doing a programme on the hoof, | 0:24:41 | 0:24:43 | |
shooting the entire thing in 12 hours, | 0:24:43 | 0:24:47 | |
editing it in a few days | 0:24:47 | 0:24:49 | |
and then showing it a few days later, | 0:24:49 | 0:24:52 | |
was a fantastic shot in the arm for natural history television. | 0:24:52 | 0:24:55 | |
And, Richard, down at the millpond, how was your day been? | 0:24:55 | 0:24:57 | |
It's gone very well, thank you. I got treated to a kingfisher. | 0:24:57 | 0:25:00 | |
-And you had the snitch of dabchick as well. -We did, a dabchick. | 0:25:00 | 0:25:03 | |
All the ones that were seen in our film years ago. | 0:25:03 | 0:25:06 | |
And I found the same thing, that there was a continuity | 0:25:06 | 0:25:09 | |
in the landscape, and I find that very heartening. | 0:25:09 | 0:25:12 | |
Yes, I suspect that millpond is unchanged from when you were there. | 0:25:12 | 0:25:16 | |
And do you know what, there were some huge carp in the water. | 0:25:16 | 0:25:20 | |
And carp are very, very long-lived fish. | 0:25:20 | 0:25:22 | |
And I wouldn't surprise me | 0:25:22 | 0:25:23 | |
if they were some of the very same fish filmed before. | 0:25:23 | 0:25:26 | |
It's nice to know that there is that solid landscape | 0:25:26 | 0:25:28 | |
just sitting there to be enjoyed. | 0:25:28 | 0:25:30 | |
-MATT: -'Earlier on, I discovered | 0:25:37 | 0:25:40 | |
'how Ron and Rosemary Eastman made their pioneering film | 0:25:40 | 0:25:43 | |
'revealing the private life of the kingfishers | 0:25:43 | 0:25:46 | |
'living on Hampshire's chalk streams. | 0:25:46 | 0:25:49 | |
'To learn more about these walkways, | 0:25:49 | 0:25:51 | |
'I've come here to the River Itchen near Winchester | 0:25:51 | 0:25:54 | |
'to find out about a very English pastime | 0:25:54 | 0:25:56 | |
'that's helped make these rivers what they are.' | 0:25:56 | 0:25:58 | |
Long before Ron and Rosemary Eastman brought the wonders of chalk streams | 0:26:00 | 0:26:04 | |
into our homes, they were well known by a particular group | 0:26:04 | 0:26:08 | |
of enthusiasts, and as you can see, | 0:26:08 | 0:26:10 | |
I've come kitted out to meet one of them. | 0:26:10 | 0:26:13 | |
'These waterways are claimed by some to be the birthplace | 0:26:14 | 0:26:17 | |
'of modern fly-fishing. | 0:26:17 | 0:26:19 | |
'And it's certainly true that their histories are intertwined. | 0:26:19 | 0:26:23 | |
'I'm meeting John Slader from the Salmon and Trout Association. | 0:26:23 | 0:26:27 | |
'He's fished here for over 30 years.' | 0:26:27 | 0:26:29 | |
-Well, what a peaceful scene this is! John, how are you doing? -Hi! | 0:26:29 | 0:26:34 | |
-How are you? -All right? -Yes, well thanks. -Have you caught anything yet? | 0:26:34 | 0:26:38 | |
Unfortunately not. | 0:26:38 | 0:26:40 | |
-But there's all was the one that got away, isn't there? -Indeed, indeed. | 0:26:40 | 0:26:44 | |
-Well, it's good to see you. -Likewise. | 0:26:44 | 0:26:46 | |
-So, obviously, busy fly-fishing. -Yes. | 0:26:46 | 0:26:49 | |
The whole point of fly-fishing is to try | 0:26:49 | 0:26:50 | |
and emulate the fly that's dancing on the water. | 0:26:50 | 0:26:53 | |
And you've got these little fake flies | 0:26:53 | 0:26:56 | |
that replicate the different stages. | 0:26:56 | 0:26:58 | |
Very much so. | 0:26:58 | 0:26:59 | |
From a life-cycle point of view, three simple stages - | 0:26:59 | 0:27:02 | |
and nymph, an emerging insect and then the adult fly on the surface. | 0:27:02 | 0:27:06 | |
Well, we've got some flies in this in this box here. | 0:27:06 | 0:27:09 | |
-What's the story behind these, John? -Well, those are blue-winged olives. | 0:27:09 | 0:27:13 | |
Went in the river and extracted out some nymphs, | 0:27:13 | 0:27:16 | |
and they just happened to hatch out in the bucket. | 0:27:16 | 0:27:18 | |
So let's see if we can do a comparison here. | 0:27:18 | 0:27:21 | |
-Here we go. -And there we've got the artificial with the real thing. | 0:27:21 | 0:27:26 | |
And as you see, what we're trying to do is not only mimic | 0:27:26 | 0:27:30 | |
what it looks like but also the size. | 0:27:30 | 0:27:32 | |
And of course it's the way it sits on the top of the water, | 0:27:32 | 0:27:35 | |
probably more so than what it looks on a side vision, | 0:27:35 | 0:27:39 | |
because the fish is looking up. | 0:27:39 | 0:27:41 | |
Would you like to have a go? | 0:27:41 | 0:27:43 | |
-I would love to have a go. -What we're trying to do, | 0:27:43 | 0:27:45 | |
come from the blindside to present that fly over the finish, | 0:27:45 | 0:27:49 | |
hopefully fooling the fish for the fish to come up and take the fly. | 0:27:49 | 0:27:52 | |
And then you've got that satisfying moment as the fish comes up, | 0:27:52 | 0:27:56 | |
takes the fly and then drops down again. | 0:27:56 | 0:27:58 | |
-Which will never happen today. Anyway, let's go on. -Right! | 0:27:58 | 0:28:03 | |
-Very satisfying, isn't it? -It's very relaxing, yeah. -Yeah. | 0:28:07 | 0:28:11 | |
-I'm not having much luck, am I? -No, but that's fishing for you. | 0:28:23 | 0:28:27 | |
I'm enjoying it! | 0:28:27 | 0:28:28 | |
I'm just playing with the other flies that are dancing around. | 0:28:28 | 0:28:31 | |
-I'm not bothered about catching a fish. -No, no. | 0:28:31 | 0:28:34 | |
Later, I'll be taking stock of the chalk streams | 0:28:36 | 0:28:39 | |
and discovering more about the threats that face them. | 0:28:39 | 0:28:43 | |
But first, we're back in the New Forest with Julia | 0:28:43 | 0:28:46 | |
on the trail of some of our most elusive mammals. | 0:28:46 | 0:28:50 | |
This forest is teeming with wildlife. | 0:28:59 | 0:29:02 | |
The real skill is finding it. And that's why Eric Ashby was the master. | 0:29:02 | 0:29:06 | |
Earlier, I discovered how Eric captured life in the New Forest | 0:29:09 | 0:29:12 | |
over four decades, starting in the 1960s. | 0:29:12 | 0:29:16 | |
One character in particular intrigued him. | 0:29:16 | 0:29:19 | |
'While badgers are shy and nocturnal, so are rarely seen, | 0:29:21 | 0:29:26 | |
'but I've found that, with care, I could get close to them | 0:29:26 | 0:29:29 | |
'and sometimes I even saw them playing at three in the afternoon. | 0:29:29 | 0:29:33 | |
'To share my experiences with others, I bought a cine camera.' | 0:29:33 | 0:29:37 | |
Eric developed his technique over a lifetime | 0:29:37 | 0:29:41 | |
and he really set the standard | 0:29:41 | 0:29:42 | |
when it came to filming animals in the wild. | 0:29:42 | 0:29:45 | |
'I always arrive long before the badgers emerge. | 0:29:46 | 0:29:50 | |
'I never walk over their sett | 0:29:50 | 0:29:52 | |
'and always put my camera downwind of them | 0:29:52 | 0:29:54 | |
'so that they can't scent me.' | 0:29:54 | 0:29:56 | |
'I'm meeting Manuel Hinge, a modern-day Eric Ashby. | 0:29:58 | 0:30:00 | |
'Manny's going to show me the lengths Eric had to go to.' | 0:30:00 | 0:30:05 | |
So this is a sett that he frequently filmed at? | 0:30:06 | 0:30:08 | |
Yes, this is one of Eric's setts. | 0:30:08 | 0:30:10 | |
In the early days, he would actually have a clockwork camera, | 0:30:10 | 0:30:15 | |
not quite a clockwork camera, | 0:30:15 | 0:30:17 | |
you wind it up and it gives you about 30-seconds run. | 0:30:17 | 0:30:21 | |
-Then... -CAMERA WHIRS | 0:30:21 | 0:30:23 | |
-Very noisy. -Very noisy. | 0:30:23 | 0:30:26 | |
You very soon, quickly find out | 0:30:26 | 0:30:29 | |
if you film badgers with this, unadapted, | 0:30:29 | 0:30:31 | |
they won't stay out very long. | 0:30:31 | 0:30:34 | |
Also, the other problem that went with that particular camera, | 0:30:34 | 0:30:37 | |
and including the camera that's in here, | 0:30:37 | 0:30:40 | |
was it was all done on film in those days. | 0:30:40 | 0:30:42 | |
Of course, beautiful film. | 0:30:42 | 0:30:44 | |
-Here is a roll of film that is now out of date. -16mm? -16mm. | 0:30:44 | 0:30:50 | |
It would last just over two-and-a-half minutes. | 0:30:50 | 0:30:54 | |
Two-and-a-half minutes! | 0:30:54 | 0:30:56 | |
So, every two-and-a-half minutes | 0:30:56 | 0:30:58 | |
you would have to take the film out, reload. | 0:30:58 | 0:31:01 | |
Exactly. Today is quite different. | 0:31:01 | 0:31:03 | |
Today we actually shoot on tapeless, or film-less. | 0:31:03 | 0:31:08 | |
We shoot on to discs and essentially | 0:31:08 | 0:31:10 | |
that is 40 minutes of high-definition film. | 0:31:10 | 0:31:13 | |
So you've got 40 minutes, you've got two-and-a-half minutes. | 0:31:13 | 0:31:17 | |
-Can I have a look at the soundproofing? -Of course you can. | 0:31:17 | 0:31:20 | |
This box was actually built by Eric himself. | 0:31:20 | 0:31:23 | |
I'll put that back in there. | 0:31:23 | 0:31:24 | |
But the main part of the camera, that was the focusing hatch, | 0:31:24 | 0:31:29 | |
put your hand through there. | 0:31:29 | 0:31:31 | |
Also, all these little bags in here | 0:31:31 | 0:31:35 | |
were labelled by him as to where they went. | 0:31:35 | 0:31:39 | |
-"Against the front of camera." -"Against camera, top of camera." | 0:31:39 | 0:31:43 | |
That is actually the camera he used. He used a Beaulieu R16. | 0:31:43 | 0:31:48 | |
There it is, the example of his obsession, his passion, his detail. | 0:31:48 | 0:31:53 | |
What are the chances of spotting any badgers right now? | 0:31:54 | 0:31:58 | |
Non-existent. The middle of the day, no. | 0:31:58 | 0:32:00 | |
Also, I wouldn't even come back here in the evening | 0:32:00 | 0:32:03 | |
because there is so much scent around. | 0:32:03 | 0:32:05 | |
There are other places to film badgers, | 0:32:05 | 0:32:07 | |
and Manny's going there later. | 0:32:07 | 0:32:09 | |
It wasn't just in the forest that Eric was an innovator. | 0:32:09 | 0:32:13 | |
He wanted to film badgers underground too, | 0:32:13 | 0:32:15 | |
no mean feat in the 1970s. | 0:32:15 | 0:32:18 | |
Collecting concrete and drainpipes | 0:32:18 | 0:32:21 | |
he built a two chambers full of straw bedding. | 0:32:21 | 0:32:24 | |
One under the garden shed, complete with camera. | 0:32:24 | 0:32:27 | |
He hoped to inquisitive badgers would explore this des res. | 0:32:27 | 0:32:31 | |
And explore they did. | 0:32:31 | 0:32:33 | |
'I had to accustom the badgers to my lights. | 0:32:35 | 0:32:38 | |
'This was the very first badger to except my lights | 0:32:38 | 0:32:41 | |
'and he was only four-foot away from me.' | 0:32:41 | 0:32:44 | |
These first ever shots of badgers underground | 0:32:44 | 0:32:47 | |
revolutionised our understanding of these complex animals. | 0:32:47 | 0:32:50 | |
But in the true spirit of Countryfile, | 0:32:54 | 0:32:56 | |
we want to find badgers in the wild. | 0:32:56 | 0:33:00 | |
I've got over the fact | 0:33:00 | 0:33:01 | |
that we are not going to film any badgers at this sett today, | 0:33:01 | 0:33:05 | |
but if I came back say in five days, what are the signs to look for | 0:33:05 | 0:33:08 | |
to know the badgers are in residence and are actually still here? | 0:33:08 | 0:33:12 | |
Well, there are many signs that show an active sett. | 0:33:12 | 0:33:15 | |
The first thing is you've got a large hole | 0:33:15 | 0:33:19 | |
which is shaped like a cross section of a loaf, | 0:33:19 | 0:33:21 | |
it's D-shaped at the top. | 0:33:21 | 0:33:23 | |
You have a vast amount of earth | 0:33:23 | 0:33:24 | |
that they've been digging out and throwing over this mound. | 0:33:24 | 0:33:27 | |
-So that's them? -That's them. | 0:33:27 | 0:33:30 | |
Over here... | 0:33:30 | 0:33:31 | |
..they come out just onto this area here, they groom. | 0:33:34 | 0:33:37 | |
-If you look, there's tiny little hairs. -Hair's everywhere. | 0:33:37 | 0:33:41 | |
White tips and black just behind the white tip | 0:33:41 | 0:33:44 | |
which gives them that silvery look if you see them in daylight. | 0:33:44 | 0:33:48 | |
This is their little lounging area. | 0:33:48 | 0:33:50 | |
But also, look, it's on a path that goes away. | 0:33:50 | 0:33:53 | |
I'm sure there's more signs around the corner. | 0:33:53 | 0:33:56 | |
There are some actually unusual signs of badgers | 0:34:01 | 0:34:04 | |
which you wouldn't normally think about. | 0:34:04 | 0:34:07 | |
If you look on this log here, you've got scratch marks. | 0:34:07 | 0:34:10 | |
Lots of scratch marks. | 0:34:10 | 0:34:12 | |
This is where badgers have been climbing over the tree. | 0:34:12 | 0:34:15 | |
Because badgers are Mustelas they have five claws, | 0:34:15 | 0:34:17 | |
not four like the fox, five. | 0:34:17 | 0:34:19 | |
Just here, one, two, three, four, five. | 0:34:19 | 0:34:22 | |
-Classic badger. -Classic badger. | 0:34:22 | 0:34:23 | |
It looks like they've been playing noughts and crosses up here. | 0:34:23 | 0:34:27 | |
Signs are all well and good, | 0:34:27 | 0:34:30 | |
but there's one more thing Manny needs to film these badgers. | 0:34:30 | 0:34:33 | |
That's for us to give him some peace. | 0:34:33 | 0:34:35 | |
As light begins to fade, the badgers emerge. | 0:34:39 | 0:34:43 | |
Since Eric made his films, badgers have thrived in Britain, | 0:35:02 | 0:35:07 | |
along with the wildlife film-makers he inspired. | 0:35:07 | 0:35:10 | |
Now faced with the spread of bovine tuberculosis | 0:35:15 | 0:35:18 | |
in which badgers play a part, the plan is to cull them. | 0:35:18 | 0:35:23 | |
Who knows what the future will hold. | 0:35:25 | 0:35:27 | |
We aren't the only ones taking a nostalgic walk down memory lane. | 0:35:32 | 0:35:35 | |
Adam and his dad have also been looking back at life on the farm. | 0:35:35 | 0:35:40 | |
Farming's my life and I spend a lot of time on camera | 0:35:48 | 0:35:52 | |
sharing my love of the land. | 0:35:52 | 0:35:53 | |
But long before I got in front of the lens, | 0:35:53 | 0:35:55 | |
it was my dad doing the talking. | 0:35:55 | 0:35:59 | |
'Take a lung-full of the fresh Cotswold air. | 0:36:07 | 0:36:10 | |
'Now finding Angela Rippon In The Country.' | 0:36:10 | 0:36:13 | |
Back in the '70s, Dad had his own career as a television presenter, | 0:36:15 | 0:36:19 | |
often rubbing shoulders with telly royalty like Angela Ripon. | 0:36:19 | 0:36:23 | |
'What are you digging for? You look as if you're looking for gold. | 0:36:23 | 0:36:26 | |
'Well, this wheat's slow coming up, | 0:36:26 | 0:36:28 | |
'I was just checking it was germinating.' | 0:36:28 | 0:36:30 | |
Dad's mission in those days was to convince his audience | 0:36:30 | 0:36:34 | |
of the value of traditional ways of farming. | 0:36:34 | 0:36:37 | |
'The Cotswolds were always a livestock-rearing area. | 0:36:37 | 0:36:40 | |
'Today, it's mostly a great big sheet of corn | 0:36:40 | 0:36:43 | |
'and no longer do you see the patchwork of fields of grass | 0:36:43 | 0:36:49 | |
'which, to most people, is the idyllic picture of farming. | 0:36:49 | 0:36:54 | |
'Something which I would love to see come back.' | 0:36:54 | 0:36:57 | |
His plan to make sure our farm bucked the trend | 0:36:57 | 0:37:01 | |
was to keep plenty of animals. | 0:37:01 | 0:37:02 | |
Do you recognise the handsome lad on the right? | 0:37:02 | 0:37:06 | |
We still have animals today, | 0:37:07 | 0:37:09 | |
my children Ella and Alfie have grown up with rare breeds. | 0:37:09 | 0:37:12 | |
Preserving traditional breeds like these rare sheep | 0:37:14 | 0:37:17 | |
are at the heart of Dad's philosophy | 0:37:17 | 0:37:21 | |
and I still rely on his wealth of experience. | 0:37:21 | 0:37:25 | |
You haven't lost it. | 0:37:25 | 0:37:26 | |
I've lost a couple, actually. | 0:37:26 | 0:37:29 | |
In the early days, your mates thought you were nuts. | 0:37:29 | 0:37:32 | |
When I used to take Gloucestershire Old Spots into Gloucester market, | 0:37:32 | 0:37:35 | |
they laughed me out of the market and I used to give them away, | 0:37:35 | 0:37:38 | |
but now you've got a waiting list, haven't you? | 0:37:38 | 0:37:41 | |
We have, yes. It's a niche market. | 0:37:41 | 0:37:43 | |
Named, old-fashioned breeds. People want them. | 0:37:43 | 0:37:46 | |
There's a Portland ram lamb I'd like you to look at. | 0:37:46 | 0:37:48 | |
-I'll just catch it. -Right. | 0:37:48 | 0:37:50 | |
I think he's a very nice Portland, nice tanned face, | 0:37:56 | 0:38:00 | |
plenty of gap between the horns there which is important. | 0:38:00 | 0:38:04 | |
A black line on the horn there | 0:38:04 | 0:38:06 | |
which is very popular with some breeders. | 0:38:06 | 0:38:08 | |
-I think he's worth keeping as a ram. -OK, off you go, fella. | 0:38:08 | 0:38:12 | |
Thanks to people like my dad, | 0:38:12 | 0:38:15 | |
British rare breeds are a little less rare. | 0:38:15 | 0:38:17 | |
He dedicated his life to getting them back | 0:38:17 | 0:38:20 | |
into the heart of farming. | 0:38:20 | 0:38:22 | |
Like most farmers, he has his favourites. | 0:38:22 | 0:38:24 | |
'Of all our rare breeds, | 0:38:24 | 0:38:26 | |
'I think the longhorn is the one with the brightest future. | 0:38:26 | 0:38:29 | |
'It really seems to be staging a comeback.' | 0:38:29 | 0:38:32 | |
That was a very good jump, little man, wasn't it? | 0:38:32 | 0:38:35 | |
A very good jump indeed. | 0:38:35 | 0:38:37 | |
Using pioneering techniques like semen collection | 0:38:40 | 0:38:43 | |
help secure the future of breeds like the longhorns. | 0:38:43 | 0:38:45 | |
They are doing well now. | 0:38:45 | 0:38:48 | |
One of my favourites on the farm nowadays though are the Gloucesters. | 0:38:48 | 0:38:52 | |
We need to tag a freshly born calf. | 0:38:52 | 0:38:55 | |
-Yes. -But it is quite quick on its feet. | 0:38:55 | 0:38:58 | |
I think you'll have a job, but we can try. | 0:38:58 | 0:39:01 | |
And as usual, he's right. They're not having any of it. | 0:39:04 | 0:39:06 | |
Go on, you mad things. Why are you so stirred up? | 0:39:09 | 0:39:11 | |
You're supposed to be quiet Gloucesters. | 0:39:11 | 0:39:15 | |
-Looks like they're all going whether we like it or not. -Yes. | 0:39:15 | 0:39:18 | |
Go on, little calf, in you go. | 0:39:21 | 0:39:24 | |
Life's a lot more secure for our rare breeds now | 0:39:24 | 0:39:26 | |
than it was 40 years ago. | 0:39:26 | 0:39:28 | |
There's been some good success stories, Dad, hasn't there? | 0:39:30 | 0:39:33 | |
Well, yes. We were keeping longhorns | 0:39:33 | 0:39:35 | |
and now they are no longer a rare breed. | 0:39:35 | 0:39:38 | |
And the Gloucesters, you were personally involved in saving. | 0:39:38 | 0:39:41 | |
Yes, a group of us got together | 0:39:41 | 0:39:43 | |
and saved the ones from the last herd | 0:39:43 | 0:39:45 | |
down at Wick Court, near Arlingham | 0:39:45 | 0:39:47 | |
and then there was about 50 left in the breed. | 0:39:47 | 0:39:50 | |
-Now there are 700. -Incredible, isn't it? | 0:39:50 | 0:39:53 | |
Right, let's get these tags in his ears. | 0:39:53 | 0:39:55 | |
There you go. | 0:40:01 | 0:40:03 | |
There you go, little one. | 0:40:03 | 0:40:05 | |
Lovely job. | 0:40:05 | 0:40:08 | |
One thing that has changed on the farm | 0:40:08 | 0:40:10 | |
since Dad's day is our machinery. | 0:40:10 | 0:40:13 | |
Dad and his business partner employed five men. | 0:40:13 | 0:40:16 | |
We have the same number in the team today, but thanks to all this | 0:40:16 | 0:40:18 | |
high-tech machinery, we're able to farm twice the land. | 0:40:18 | 0:40:22 | |
-Combines have changed a bit. -Haven't they just! | 0:40:28 | 0:40:31 | |
Enormous, and you've got one sitting out in the dust! | 0:40:31 | 0:40:36 | |
Of course, some things never change, like hay-making in the summer. | 0:40:41 | 0:40:44 | |
It's as vital to get it right now as it ever was, | 0:40:44 | 0:40:47 | |
because buying it in to feed our animals over the winter, | 0:40:47 | 0:40:51 | |
would cost us thousands of pounds What do you recommend, Dad? | 0:40:51 | 0:40:54 | |
Well, let's have a look. | 0:40:54 | 0:40:56 | |
I reckon that's nearly fit to bale. | 0:40:58 | 0:41:00 | |
D'you reckon it'll go tomorrow, still a little bit of green, isn't it? | 0:41:00 | 0:41:04 | |
-Well, there is a nose on it. -Got a bit of nose, hasn't it? -Oh yeah. | 0:41:04 | 0:41:08 | |
-Horse hay, really. -Yeah. | 0:41:08 | 0:41:10 | |
-With this lovely weather, you can't fail. -No. | 0:41:10 | 0:41:13 | |
Go on then, crack on! | 0:41:13 | 0:41:15 | |
It is great having my dad still involved | 0:41:15 | 0:41:18 | |
and he clearly loves it. | 0:41:18 | 0:41:20 | |
And what about the next generation? | 0:41:24 | 0:41:28 | |
Alfie and Ella certainly enjoy living on the farm. | 0:41:28 | 0:41:31 | |
And those crazy dogs, Dolly and Boo, have a great time as well. | 0:41:35 | 0:41:40 | |
And Dad's still taking a keen interest. | 0:41:47 | 0:41:51 | |
This spring barley's looking really well. What's the secret? | 0:41:51 | 0:41:55 | |
We planted stubble turnips in here | 0:41:55 | 0:41:57 | |
and graze the sheep on them all winter | 0:41:57 | 0:42:00 | |
and I think their muck has helped this barley grow | 0:42:00 | 0:42:02 | |
-when we planted it in the spring. -Well, that's the old rotation. | 0:42:02 | 0:42:05 | |
You couldn't grow wheat and barley on the Cotswolds, | 0:42:05 | 0:42:08 | |
unless you folded sheep first. | 0:42:08 | 0:42:10 | |
Ella, do you like having animals on the farm? | 0:42:11 | 0:42:13 | |
Yeah, well, I love the ponies and the chickens and the dogs | 0:42:13 | 0:42:15 | |
and without the farm I wouldn't be able to ride on the ponies. | 0:42:15 | 0:42:18 | |
-That's true. -What's the best bit about the farm for you, Al? | 0:42:18 | 0:42:21 | |
Well, I like the animals, but making dens is the best. | 0:42:21 | 0:42:25 | |
Having fun, it's all about having fun. | 0:42:25 | 0:42:28 | |
Fingers crossed for another 40 years of farming on the Cotswolds. | 0:42:28 | 0:42:31 | |
I've been exploring the chalk rivers and streams of Hampshire | 0:42:40 | 0:42:44 | |
and celebrating pioneering filmmakers Ron and Rosemary Eastman, | 0:42:44 | 0:42:47 | |
who lived and worked on them. | 0:42:47 | 0:42:50 | |
In 1994, Ron was persuaded to make one last film. | 0:42:50 | 0:42:55 | |
He finished it just months before he died | 0:42:55 | 0:42:58 | |
and it's never been broadcast. | 0:42:58 | 0:43:00 | |
This is the first time it's been seen on television. | 0:43:00 | 0:43:03 | |
The film highlighted the fragile beauty of the wildlife | 0:43:11 | 0:43:14 | |
depending on chalk streams. | 0:43:14 | 0:43:17 | |
But also dangers, like pollution, that threaten their future. | 0:43:18 | 0:43:23 | |
I really do wonder what Ron and Rosemary | 0:43:23 | 0:43:25 | |
would make of the state of the chalk streams today. | 0:43:25 | 0:43:28 | |
Some have seen an improvement since the '90s, | 0:43:28 | 0:43:30 | |
but many are still in a really, bad way. | 0:43:30 | 0:43:33 | |
Dogged by pollution and mismanagement of times gone by. | 0:43:33 | 0:43:38 | |
This stretch of the River Itchen | 0:43:38 | 0:43:40 | |
is well managed by the Hampshire Wildlife Trust, | 0:43:40 | 0:43:43 | |
but it's essential to keep an eye out for problems. | 0:43:43 | 0:43:46 | |
Angler John Slater's going to show me how to take a spot health check. | 0:43:46 | 0:43:50 | |
Just stand above it and hold the net just downstream | 0:43:51 | 0:43:54 | |
and really give it a good old kick around, get into the gravel there. | 0:43:54 | 0:43:58 | |
How often would you do this then, John? | 0:43:58 | 0:44:01 | |
Well, the Anglers Monitoring Initiative, | 0:44:01 | 0:44:04 | |
we've got people that do this on a regular basis, | 0:44:04 | 0:44:06 | |
once a month, because it's a bit like the canary down a mine, | 0:44:06 | 0:44:09 | |
if you've got a problem in the river, | 0:44:09 | 0:44:13 | |
what's the first thing to show up, a problem with invertebrate numbers, | 0:44:13 | 0:44:16 | |
so by doing it on a regular basis, if we get a problem, | 0:44:16 | 0:44:19 | |
we can call up the Environment Agency | 0:44:19 | 0:44:21 | |
and they'll come and do a closer examination. | 0:44:21 | 0:44:23 | |
Invertebrates, the small marine life living in these rivers | 0:44:25 | 0:44:28 | |
depend on native plants like water crowfoot and ranunculus, | 0:44:28 | 0:44:32 | |
but their well-being is threatened, | 0:44:32 | 0:44:34 | |
both by our growing population taking too much water out of rivers | 0:44:34 | 0:44:38 | |
and by phosphorus pollution, caused by farming and industry. | 0:44:38 | 0:44:42 | |
This means that even on well-cared for stretches of stream | 0:44:42 | 0:44:46 | |
like this one, it's a constant battle to keep the water clean | 0:44:46 | 0:44:50 | |
and the wildlife in good condition. | 0:44:50 | 0:44:52 | |
-So, just talk us through what we've got. -These are blue-winged olives. | 0:44:52 | 0:44:56 | |
This one here is the mayfly. | 0:44:56 | 0:44:59 | |
The others which are interesting to look at is this one, | 0:45:00 | 0:45:02 | |
which looks to be all encased in a house, | 0:45:02 | 0:45:06 | |
-do you see him walking around? -Yes. -Yeah, well, that's a sedge. | 0:45:06 | 0:45:10 | |
It looks like there's quite a lot in there, are you surprised? | 0:45:10 | 0:45:12 | |
I would hope that there was more, actually, | 0:45:12 | 0:45:15 | |
when you look back in terms of historically, | 0:45:15 | 0:45:18 | |
because some of these populations of invertebrates | 0:45:18 | 0:45:21 | |
they've collapsed by as much as 70 percent, so it is a major concern, | 0:45:21 | 0:45:25 | |
because, after all, these are not only food for fish, | 0:45:25 | 0:45:28 | |
but they're there for bird life, etc... | 0:45:28 | 0:45:31 | |
so they've got a lot of mouths to fill. | 0:45:31 | 0:45:34 | |
The Eastmans revealed the wonders of these riverbanks | 0:45:35 | 0:45:39 | |
over four decades ago. Now, they're still a rich resource | 0:45:39 | 0:45:42 | |
but we should never lose sight of how fragile they can be. | 0:45:42 | 0:45:46 | |
If you want to find out how you can play your part | 0:45:50 | 0:45:52 | |
in helping to preserve these unique habitats, then check out | 0:45:52 | 0:45:56 | |
our Countryfile website. | 0:45:56 | 0:45:58 | |
In a while, we'll be revealing | 0:45:58 | 0:46:00 | |
how an ancient Gloucestershire oak | 0:46:00 | 0:46:01 | |
created television history, | 0:46:01 | 0:46:03 | |
but first, if you want to get your hands | 0:46:03 | 0:46:05 | |
on a Countryfile calendar, here's John with all of the details. | 0:46:05 | 0:46:09 | |
With your help, the Countryfile calendar has been raising money | 0:46:13 | 0:46:16 | |
for Children in Need for 22 years now | 0:46:16 | 0:46:19 | |
and if you'd like these wonderful photographs | 0:46:19 | 0:46:21 | |
to be gracing your walls next year, | 0:46:21 | 0:46:23 | |
well you can order the latest copy right now. | 0:46:23 | 0:46:26 | |
Either by going to our website which is bbc.co.uk/countryfile. | 0:46:26 | 0:46:31 | |
Or ringing the orderline on: 0844 811 7044. | 0:46:34 | 0:46:40 | |
To order by post, send your name address and cheque | 0:46:41 | 0:46:44 | |
to BBC Countryfile Calendar, | 0:46:44 | 0:46:47 | |
PO Box 25, Melton Mowbray, | 0:46:47 | 0:46:51 | |
LE13, 1ZG. | 0:46:51 | 0:46:55 | |
Please make cheques payable to BBC Countryfile Calendar. | 0:46:55 | 0:46:59 | |
Remember the calendar costs £9 and a minimum of £4 from each sale | 0:47:01 | 0:47:06 | |
will go to Children in Need. | 0:47:06 | 0:47:08 | |
Brilliant. There are some wonderful entries in this year's calendar. | 0:47:09 | 0:47:13 | |
Now all of the competition winners had to take a walk on the wild side | 0:47:13 | 0:47:16 | |
and if that's what you're planning in the week ahead, | 0:47:16 | 0:47:18 | |
you'd better know what the weather's got in store. | 0:47:18 | 0:47:20 | |
Here's the Countryfile forecast. | 0:47:20 | 0:47:23 | |
. | 0:49:50 | 0:49:57 | |
Today, Countryfile has been looking back at some of the natural films | 0:50:09 | 0:50:13 | |
that changed our understanding of the natural world, | 0:50:13 | 0:50:15 | |
and the wonderful wildlife that was captured on camera. | 0:50:15 | 0:50:19 | |
We've been celebrating the pioneering films and filmmakers | 0:50:19 | 0:50:24 | |
who brought the countryside into our living rooms, | 0:50:24 | 0:50:27 | |
and I'm still in Gloucestershire, | 0:50:27 | 0:50:28 | |
this time, in the Forest of Dean, to tell you the story of The Major. | 0:50:28 | 0:50:33 | |
For centuries, | 0:50:35 | 0:50:36 | |
English oak trees were planted to keep the Royal Navy in ships, | 0:50:36 | 0:50:40 | |
like the ones that defeated Napoleon's fleets 200 years ago. | 0:50:40 | 0:50:45 | |
But some of the oaks from that time survived, | 0:50:46 | 0:50:50 | |
and it's the story of one of them that we're here to discover. | 0:50:50 | 0:50:54 | |
Back in 1963, on this very spot, | 0:50:56 | 0:50:59 | |
the BBC made its first wildlife documentary in colour, | 0:50:59 | 0:51:03 | |
though initially, it was shown in black-and-white | 0:51:03 | 0:51:05 | |
because the colour television service didn't really get going | 0:51:05 | 0:51:08 | |
until four years later. | 0:51:08 | 0:51:10 | |
The film was called The Major, and it told the dramatic story | 0:51:10 | 0:51:14 | |
of an old oak tree that had spanned three centuries | 0:51:14 | 0:51:17 | |
and was about to be felled. | 0:51:17 | 0:51:19 | |
It stood right here. | 0:51:19 | 0:51:21 | |
'The ringing stroke of the axe is the bell that tolls for The Major. | 0:51:23 | 0:51:27 | |
'A heart of oak that has beaten the time of the seasons | 0:51:27 | 0:51:30 | |
'through three centuries has only a few minutes left.' | 0:51:30 | 0:51:33 | |
The oak was the central character in the drama, | 0:51:35 | 0:51:39 | |
a strong magnificent tree about to be cut down in its prime. | 0:51:39 | 0:51:43 | |
The Major was at the centre of village life, we were told. | 0:51:45 | 0:51:49 | |
A meeting place, | 0:51:49 | 0:51:53 | |
and a noticeboard. | 0:51:53 | 0:51:56 | |
Good for climbing, or just watching the girls go by. | 0:51:58 | 0:52:03 | |
'The Major looked down each spring on the oldest of all pastimes.' | 0:52:03 | 0:52:06 | |
but the real drama lay in the lives of the countless bugs | 0:52:16 | 0:52:20 | |
and beetles that lived in The Major. | 0:52:20 | 0:52:23 | |
'Successfully hatched from their hiding place on The Major's trunk, | 0:52:23 | 0:52:28 | |
'the caterpillars make no secret of their presence now.' | 0:52:28 | 0:52:31 | |
Bart Venner was a young forester when The Major met his untimely end. | 0:52:31 | 0:52:35 | |
And when it came to the felling, | 0:52:35 | 0:52:37 | |
you were around to tell the director exactly when it was going to go. | 0:52:37 | 0:52:41 | |
Well, yes, because being trained in forestry, | 0:52:41 | 0:52:44 | |
you can hear a tree when it says it's about to fall. | 0:52:44 | 0:52:47 | |
They talk to you, makes all sorts of noises, | 0:52:47 | 0:52:49 | |
and I could say, yeah, you know, get the cameras rolling. | 0:52:49 | 0:52:53 | |
-And they captured it perfectly on film, didn't they? -Yeah. | 0:53:01 | 0:53:04 | |
So why did The Major have to go, then? | 0:53:04 | 0:53:06 | |
The tree itself was a nuisance | 0:53:06 | 0:53:08 | |
to the traffic coming out of the cricket ground | 0:53:08 | 0:53:10 | |
because the size of the tree blocked the view. | 0:53:10 | 0:53:13 | |
-Ah. A traffic hazard, really. -Yeah. | 0:53:13 | 0:53:14 | |
The filmmakers did take a few liberties, didn't they? | 0:53:14 | 0:53:17 | |
Oh, certainly, yeah. | 0:53:17 | 0:53:19 | |
They wanted a village in the Forest of Dean, | 0:53:19 | 0:53:21 | |
and a church in the Forest of Dean, | 0:53:21 | 0:53:24 | |
but the snag is all the churches in the Forest of Dean | 0:53:24 | 0:53:27 | |
are in villages hidden by trees, | 0:53:27 | 0:53:28 | |
so they went over to the Cotswolds, I think it was Eastcombe. | 0:53:28 | 0:53:32 | |
The Major wasn't really at the heart of the village, | 0:53:32 | 0:53:35 | |
-cos there wasn't a village. -No! | 0:53:35 | 0:53:37 | |
-Only a pub. -And what about the cricket team? | 0:53:37 | 0:53:40 | |
When they filmed the supposed cricket match, | 0:53:40 | 0:53:44 | |
I think the team was brought in as actors, | 0:53:44 | 0:53:46 | |
because the filming would have been done during the week | 0:53:46 | 0:53:49 | |
and our cricket team wouldn't have been free until the weekend. | 0:53:49 | 0:53:52 | |
'For the first time anyone could remember, | 0:53:52 | 0:53:55 | |
'a six had landed slap on the top of The Major.' | 0:53:55 | 0:53:57 | |
But it made quite a tale, didn't it? | 0:53:57 | 0:54:00 | |
Oh, yes, it was, it was great and it put the forest on the map. | 0:54:00 | 0:54:02 | |
It's no surprise that those pioneer filmmakers came here | 0:54:04 | 0:54:08 | |
to the Forest of Dean to celebrate | 0:54:08 | 0:54:10 | |
the life of such a typically English tree. | 0:54:10 | 0:54:14 | |
Once called the Queen of the Forests, | 0:54:14 | 0:54:17 | |
there's just under 20,000 acres of mixed woodland here, | 0:54:17 | 0:54:21 | |
but there's only about half a dozen old oaks left | 0:54:21 | 0:54:25 | |
that predate the hero of this story. | 0:54:25 | 0:54:28 | |
And I suppose what this film, The Major, did, | 0:54:28 | 0:54:31 | |
was to tell millions of people just how important the oak is to Britain. | 0:54:31 | 0:54:35 | |
Oak is very much part of our culture, part of our history. | 0:54:35 | 0:54:38 | |
Everything from oak shipbuilding | 0:54:38 | 0:54:39 | |
to building timber-framed houses is a very English thing. | 0:54:39 | 0:54:43 | |
Lock gates are made of oak. It's a fantastic quality timber. | 0:54:43 | 0:54:46 | |
The Major caused a stir in 1963, | 0:54:49 | 0:54:53 | |
and just a stone's throw away from where the mighty oak stood, | 0:54:53 | 0:54:57 | |
we're now going to put on a film show of our own. | 0:54:57 | 0:55:00 | |
Thanks to the British Film Institute, | 0:55:00 | 0:55:02 | |
which takes care of our national archive, | 0:55:02 | 0:55:05 | |
we've got one of the very first wildlife films from 1912. | 0:55:05 | 0:55:09 | |
And who was the person behind the camera, then? | 0:55:10 | 0:55:14 | |
It was Oliver Pike, who was one of our...not very well-known now, | 0:55:14 | 0:55:18 | |
but he was one of our | 0:55:18 | 0:55:19 | |
most innovative and famous early wildlife pioneering filmmakers. | 0:55:19 | 0:55:24 | |
And he gets very close to the birds, doesn't he? | 0:55:24 | 0:55:26 | |
And I thought cameras in those days were very noisy affairs. | 0:55:26 | 0:55:29 | |
How come he didn't disturb them? | 0:55:29 | 0:55:31 | |
He thought of a noise that would emulate the camera, | 0:55:31 | 0:55:34 | |
and so he got a tin can and put some stones in and shook them, | 0:55:34 | 0:55:39 | |
until he thought that the birds he was about to film | 0:55:39 | 0:55:42 | |
were quite used to it, | 0:55:42 | 0:55:43 | |
and then he would drop the tin down and started the camera, | 0:55:43 | 0:55:46 | |
-and it all went smoothly. -Very ingenious. -Yes. | 0:55:46 | 0:55:49 | |
What makes this film so remarkable, Jan? | 0:55:49 | 0:55:52 | |
I think it's because it's such an early example | 0:55:52 | 0:55:56 | |
of a very natural looking colour, an additive colour onto film. | 0:55:56 | 0:55:59 | |
-So it wasn't actually shot in colour? -No. -So the colour's painted on? | 0:55:59 | 0:56:02 | |
It was added on, yes. | 0:56:02 | 0:56:04 | |
He made these films before cinema, so how would people have seen them? | 0:56:04 | 0:56:08 | |
They would have seen them at the precursors to cinemas, | 0:56:08 | 0:56:12 | |
which where the music halls and theatres of the time, | 0:56:12 | 0:56:15 | |
and here we have a programme from the London Opera House from 1912, | 0:56:15 | 0:56:20 | |
where you can see we have a number of different variety acts. | 0:56:20 | 0:56:24 | |
-And then, after the interval, cinematography! -Yeah. | 0:56:24 | 0:56:28 | |
-A film about bees. -So, a "bee movie!" -A "bee movie!" | 0:56:28 | 0:56:31 | |
Before Mr Pike came along, most people would have never, | 0:56:32 | 0:56:36 | |
ever seen wildlife like this. | 0:56:36 | 0:56:38 | |
No, no, no. To show those images of wildlife was incredible. | 0:56:38 | 0:56:42 | |
And it still looks good, doesn't it, | 0:56:42 | 0:56:44 | |
100 years on from when he first shot it. | 0:56:44 | 0:56:46 | |
Wonderful. | 0:56:46 | 0:56:48 | |
Just one of the gems in the archive of natural history films, | 0:56:50 | 0:56:54 | |
and if what you've seen tonight has inspired you, here's a challenge. | 0:56:54 | 0:56:59 | |
If you're keen on filming wildlife, we'd love to see your best clips. | 0:57:00 | 0:57:05 | |
You can find details | 0:57:05 | 0:57:07 | |
of how to share them with us on our website. | 0:57:07 | 0:57:09 | |
And if we like what you've filmed, | 0:57:15 | 0:57:17 | |
then we'll put it on the website for everyone to see. | 0:57:17 | 0:57:20 | |
And that's it tonight. | 0:57:22 | 0:57:23 | |
Hope you enjoyed our tribute both to the pioneers who created | 0:57:23 | 0:57:26 | |
the art of wildlife filmmaking and to the landscapes that inspired them. | 0:57:26 | 0:57:31 | |
Next week, we're back with the very latest from the countryside, | 0:57:31 | 0:57:35 | |
so hope you can join us then. | 0:57:35 | 0:57:36 | |
Until then, goodbye. | 0:57:36 | 0:57:38 | |
Subtitles by Red Bee Media Ltd | 0:58:01 | 0:58:03 |