Browse content similar to 30/12/2012. Check below for episodes and series from the same categories and more!
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A coastline rugged and rich, | 0:00:32 | 0:00:34 | |
wrapped around the country in a ribbon 11,000 miles long. | 0:00:34 | 0:00:39 | |
Inside, an ornate tapestry of forests and fields | 0:00:41 | 0:00:45 | |
tying together steep climbs and vast plains. | 0:00:45 | 0:00:48 | |
And covering it all, weather as dramatic | 0:00:50 | 0:00:52 | |
as the scenery it falls upon. | 0:00:52 | 0:00:55 | |
This is the landscape of Britain. | 0:00:57 | 0:00:59 | |
A vibrant backdrop to all our lives. | 0:00:59 | 0:01:02 | |
And one that's inspired generations of artists | 0:01:02 | 0:01:05 | |
to produce literature, music and art | 0:01:05 | 0:01:08 | |
that's celebrated around the world. | 0:01:08 | 0:01:10 | |
So as the year draws to a close, | 0:01:12 | 0:01:14 | |
we're looking back to past programmes. | 0:01:14 | 0:01:17 | |
Celebrating the creativity our countryside has inspired. | 0:01:17 | 0:01:21 | |
Julia's in the Lake District, discovering the hidden talents | 0:01:25 | 0:01:28 | |
of one of our favourite children's authors. | 0:01:28 | 0:01:31 | |
While here, she got to indulge one of her greatest passions. | 0:01:31 | 0:01:35 | |
No, not rabbits, not Puddle-Ducks. Mushrooms. | 0:01:35 | 0:01:39 | |
Helen meets a woman who is being | 0:01:39 | 0:01:40 | |
carved out of the landscape in Northumberland. | 0:01:40 | 0:01:43 | |
-If that's the nose... -We're just here, just next to the wrist. | 0:01:43 | 0:01:47 | |
-So, is this the hand behind us? -That's the hand, yeah. | 0:01:47 | 0:01:50 | |
And Matt visits the rural town that created movie-making history. | 0:01:50 | 0:01:54 | |
Shall we put it on? | 0:01:56 | 0:01:58 | |
I don't know how...I'll clap me hands and see what happens. | 0:01:58 | 0:02:01 | |
Oh! Oh, it's started! | 0:02:01 | 0:02:03 | |
As for me, I'll be exploring the land here around Haworth, | 0:02:03 | 0:02:07 | |
discovering how it shaped the literary brilliance of the Brontes | 0:02:07 | 0:02:10 | |
and how it still provides a source of inspiration to artists today. | 0:02:10 | 0:02:14 | |
Moorland, barren yet beautiful, | 0:02:24 | 0:02:26 | |
with windswept wonders waiting around every corner. | 0:02:26 | 0:02:30 | |
These vistas are framed by the brickwork of timeless towns. | 0:02:31 | 0:02:34 | |
Their cobbled streets transporting visitors back to another age. | 0:02:34 | 0:02:38 | |
Haworth in West Yorkshire and the moors that surround it | 0:02:40 | 0:02:43 | |
are a place of real character. | 0:02:43 | 0:02:45 | |
But perhaps the most outstanding character, | 0:02:48 | 0:02:51 | |
or characters of the area, | 0:02:51 | 0:02:53 | |
walked these very streets over 150 years ago | 0:02:53 | 0:02:55 | |
because this was the home of the Brontes, | 0:02:55 | 0:02:58 | |
three clergyman's daughters who changed the literary world for ever. | 0:02:58 | 0:03:02 | |
And it all started right here. | 0:03:02 | 0:03:05 | |
The Bronte parsonage is now a museum. | 0:03:07 | 0:03:10 | |
A chance to peer into the lives of these three industrious sisters. | 0:03:10 | 0:03:14 | |
Anne, was this where most of the writing happened? | 0:03:15 | 0:03:18 | |
Yes, that's right. | 0:03:18 | 0:03:20 | |
Every evening at nine o'clock, their father would knock on the door | 0:03:20 | 0:03:23 | |
and tell the girls not to stay up too late. | 0:03:23 | 0:03:25 | |
Then he would go to bed and that's when the sisters | 0:03:25 | 0:03:28 | |
would discuss their writing projects. | 0:03:28 | 0:03:30 | |
And they would walk around the table, reading aloud from their work. | 0:03:30 | 0:03:34 | |
And then, when Emily died, it was just Charlotte and Anne | 0:03:34 | 0:03:38 | |
walking around the table every evening. | 0:03:38 | 0:03:40 | |
After Anne died, it was Charlotte alone who'd walk around the table. | 0:03:40 | 0:03:44 | |
It was like a nightly ritual. | 0:03:44 | 0:03:46 | |
That's a very sad image of her by herself, | 0:03:46 | 0:03:48 | |
-after being with her sisters. -It is. | 0:03:48 | 0:03:50 | |
And so, were they quite critical of each other's work, | 0:03:50 | 0:03:53 | |
or helpful with each other's work? | 0:03:53 | 0:03:55 | |
They all kind of sparked off each other. | 0:03:55 | 0:03:58 | |
They were quite critical of each other's work, | 0:03:58 | 0:04:01 | |
but when they were younger, they used to pinch characters from each other. | 0:04:01 | 0:04:05 | |
They had kind of like a shared pool of ideas | 0:04:05 | 0:04:09 | |
and themes for their stories. | 0:04:09 | 0:04:11 | |
How much did the outdoors influence their work? | 0:04:11 | 0:04:14 | |
A great deal. | 0:04:14 | 0:04:15 | |
Living right on the edge of the moors, they would walk. | 0:04:15 | 0:04:19 | |
They spent a lot of their time out walking on the moors. | 0:04:19 | 0:04:22 | |
Particularly Wuthering Heights. | 0:04:22 | 0:04:24 | |
The moors, the landscape, it's almost like another character in the book. | 0:04:24 | 0:04:29 | |
Inspired by the lives and landscapes that they saw around them, | 0:04:29 | 0:04:33 | |
the Bronte's books have sold millions of copies | 0:04:33 | 0:04:36 | |
and been translated into more than 25 different languages. | 0:04:36 | 0:04:40 | |
But when they were first published, they were provocative, | 0:04:40 | 0:04:43 | |
as well as popular. | 0:04:43 | 0:04:45 | |
Wuthering Heights was considered | 0:04:45 | 0:04:47 | |
to be extremely shocking and controversial. | 0:04:47 | 0:04:50 | |
Readers were advised to burn Wuthering Heights. | 0:04:50 | 0:04:53 | |
Young women were advised not to read the Brontes. | 0:04:53 | 0:04:57 | |
How did they react to the general public's reaction to their work? | 0:04:57 | 0:05:01 | |
I think amazement, really. | 0:05:01 | 0:05:03 | |
I don't really think they understood a lot of the criticisms | 0:05:03 | 0:05:06 | |
which were levelled at their novels. | 0:05:06 | 0:05:09 | |
The sisters' work pushed at the boundaries, | 0:05:10 | 0:05:12 | |
both of what was acceptable of women and of writing of the time. | 0:05:12 | 0:05:18 | |
More than 150 years after their deaths, | 0:05:18 | 0:05:21 | |
the Bronte legacy is still very much a living, breathing one. | 0:05:21 | 0:05:25 | |
And it's not just the lives of the ladies themselves | 0:05:27 | 0:05:30 | |
that have inspired others. | 0:05:30 | 0:05:31 | |
I'm heading out into the hills | 0:05:35 | 0:05:37 | |
where the landscape that influenced much of their work | 0:05:37 | 0:05:40 | |
is still inspiring creativity in others today. | 0:05:40 | 0:05:43 | |
And earlier in the year, Julia discovered | 0:05:43 | 0:05:45 | |
that exploring the countryside can throw up some surprises, | 0:05:45 | 0:05:49 | |
even about one of our greatest-loved children's authors. | 0:05:49 | 0:05:52 | |
It's been 110 years since the first edition of Beatrix Potter's | 0:05:59 | 0:06:03 | |
Tale of Peter Rabbit hit our bookshelves. | 0:06:03 | 0:06:05 | |
To mark this anniversary, I'm in the Lake District, | 0:06:05 | 0:06:08 | |
which set the scene for her stories. | 0:06:08 | 0:06:10 | |
Immortalising this landscape | 0:06:10 | 0:06:12 | |
for generations of children around the world. | 0:06:12 | 0:06:15 | |
This is where Beatrix Potter got her first taste of the area. | 0:06:16 | 0:06:19 | |
A Victorian folly on the shores of Lake Windermere. | 0:06:19 | 0:06:23 | |
Wray Castle. | 0:06:23 | 0:06:24 | |
Her wealthy parents rented this castle | 0:06:26 | 0:06:28 | |
as a holiday home when she was 16. | 0:06:28 | 0:06:30 | |
It's not exactly your average B&B. | 0:06:30 | 0:06:32 | |
No wonder she fell in love with the place. | 0:06:33 | 0:06:36 | |
While she was here, she indulged one of her greatest passions. | 0:06:38 | 0:06:42 | |
No, not rabbits, not Puddle-Ducks. Mushrooms. | 0:06:42 | 0:06:45 | |
Beatrix Potter was, in fact, an amateur mycologist. | 0:06:47 | 0:06:50 | |
That's an expert in fungi to you and me. | 0:06:50 | 0:06:53 | |
Before painting Peter Rabbit, | 0:06:54 | 0:06:56 | |
she painted mushrooms here at Wray Castle. | 0:06:56 | 0:06:59 | |
So I'm going to strike out in her footsteps | 0:07:00 | 0:07:02 | |
with amateur mycologist John Malley. | 0:07:02 | 0:07:05 | |
Fungi thrive on unimproved pasture like this. | 0:07:06 | 0:07:10 | |
Look at the size of the trees. They're really big and old. Look at the grass. | 0:07:10 | 0:07:14 | |
It's a real sort of mixture with different sward heights. | 0:07:14 | 0:07:17 | |
So that's the sort of stuff I'd be expecting to sort of see, | 0:07:17 | 0:07:21 | |
certainly wax cap. | 0:07:21 | 0:07:22 | |
-Oh, look! -Here we go. -Here we go. That's a wax cap. | 0:07:22 | 0:07:25 | |
I know you're an enthusiast, | 0:07:25 | 0:07:27 | |
but there are hundreds and thousands of species of mushrooms. | 0:07:27 | 0:07:30 | |
How do you know that's what you think it is? | 0:07:30 | 0:07:33 | |
The thing I use are things like these. | 0:07:33 | 0:07:35 | |
So, even the experts revert to the books? | 0:07:35 | 0:07:37 | |
That's right. This is a fairly old-ish one. | 0:07:37 | 0:07:39 | |
-There's a name I'm interested in. -That's right. | 0:07:39 | 0:07:42 | |
-Her drawings are in identification books like this? -They are. | 0:07:42 | 0:07:45 | |
And we can see here, which is Hygrophorus, | 0:07:45 | 0:07:48 | |
that's what we've got here. | 0:07:48 | 0:07:50 | |
-That's her drawing? -Yes. -How fantastic! | 0:07:50 | 0:07:54 | |
I wouldn't be 100% happy that those two are the same. | 0:07:54 | 0:07:57 | |
Shall we have a closer look? Let's have a closer look. | 0:07:57 | 0:08:00 | |
So the first things I'm looking for | 0:08:00 | 0:08:02 | |
are how are these gills attached to the stem. | 0:08:02 | 0:08:05 | |
You can actually see how wet or slimy it actually is. | 0:08:05 | 0:08:10 | |
I don't tend to nibble or eat any of these. | 0:08:10 | 0:08:13 | |
Which you shouldn't do because there are a lot of poisonous mushrooms. | 0:08:13 | 0:08:17 | |
-There certainly are. -You are a man in love with fungi. | 0:08:17 | 0:08:20 | |
What is it about mushrooms? What is it with you and Beatrix? | 0:08:20 | 0:08:23 | |
These are hidden gems. They come up once a year. | 0:08:23 | 0:08:26 | |
They're a bit like orchids, in a way. | 0:08:26 | 0:08:28 | |
I like these far better than flowers. | 0:08:28 | 0:08:30 | |
I thought you were going to say more than humans for a moment! | 0:08:30 | 0:08:33 | |
Beatrix Potter was no novice. | 0:08:35 | 0:08:37 | |
Her illustrations weren't the idle doodles of a young girl. | 0:08:37 | 0:08:40 | |
Hidden in the basement of this nearby museum | 0:08:42 | 0:08:44 | |
are more than 400 scientific watercolours | 0:08:44 | 0:08:47 | |
of fungi painted by Beatrix. | 0:08:47 | 0:08:49 | |
I'm getting a sneak peek. | 0:08:49 | 0:08:51 | |
Wray Castle. On a rubbish heap. | 0:08:51 | 0:08:54 | |
That's just where I've been. Not a rubbish heap, but Wray Castle. | 0:08:54 | 0:08:58 | |
So obviously, that's where Beatrix saw this. | 0:08:58 | 0:09:01 | |
She did indeed. She was staying there during the summer of 1895. | 0:09:01 | 0:09:04 | |
They look...I mean, I'm not an expert, so to the naked eye, | 0:09:04 | 0:09:08 | |
these look like very beautiful drawings. | 0:09:08 | 0:09:10 | |
-But they're beyond that, aren't they? -They are. | 0:09:10 | 0:09:13 | |
Um...her guiding principle was scientific accuracy. | 0:09:13 | 0:09:17 | |
So they're both scientifically very, very accurate. | 0:09:17 | 0:09:21 | |
But they're also aesthetically very beautiful. | 0:09:21 | 0:09:24 | |
Ultimately, she wanted to be taken seriously as a scientist. | 0:09:24 | 0:09:28 | |
And she produced a paper | 0:09:28 | 0:09:31 | |
on the germination of the spores of a particular type of fungi. | 0:09:31 | 0:09:36 | |
It was presented to the Linnean Society. | 0:09:36 | 0:09:40 | |
She couldn't read it as she was a woman. | 0:09:40 | 0:09:43 | |
And it was met with, I think you could say, sort of polite respect, | 0:09:43 | 0:09:48 | |
but she was really told to take it away | 0:09:48 | 0:09:51 | |
and go and do a little more work, basically. | 0:09:51 | 0:09:53 | |
Because she was a woman, not because there was anything wrong with the paper. | 0:09:53 | 0:09:57 | |
Absolutely. Absolutely. | 0:09:57 | 0:09:59 | |
If she'd been born 50 years later, she would have been an academic. | 0:09:59 | 0:10:03 | |
Slighted by the scientific community, | 0:10:03 | 0:10:06 | |
Beatrix Potter had no choice but to turn her hand to something else. | 0:10:06 | 0:10:11 | |
We all know what happens next. | 0:10:11 | 0:10:13 | |
Beatrix became a world-famous author | 0:10:13 | 0:10:16 | |
and captured our hearts with stories of Peter Rabbit and his mates. | 0:10:16 | 0:10:20 | |
She earned vast sums of cash and cash equals power. | 0:10:20 | 0:10:24 | |
Miss Potter was a lady keen to put that power to good use. | 0:10:24 | 0:10:28 | |
In the early 1900s, times in the Lakes were a-changing. | 0:10:30 | 0:10:33 | |
Tourism and developers were moving in. | 0:10:33 | 0:10:36 | |
And farmers were moving out. | 0:10:36 | 0:10:40 | |
But if farming died, the landscape would die with it. | 0:10:40 | 0:10:44 | |
So she used her hard-earned cash to buy up local farms | 0:10:44 | 0:10:47 | |
and rent them to tenant farmers. | 0:10:47 | 0:10:50 | |
She married a local man and even had a go herself. | 0:10:50 | 0:10:54 | |
Meet the now married Mrs Heelis. | 0:10:54 | 0:10:57 | |
An award-winning sheep farmer. | 0:10:57 | 0:11:00 | |
Highly unusual for a lady of standing. | 0:11:00 | 0:11:03 | |
She's the good-looking one in the bonnet. | 0:11:03 | 0:11:06 | |
When Beatrix died, she donated her 15 farms to the National Trust | 0:11:06 | 0:11:10 | |
to ensure the way of life and landscape she so loved | 0:11:10 | 0:11:13 | |
would be protected. | 0:11:13 | 0:11:15 | |
And it worked. | 0:11:15 | 0:11:17 | |
Three months ago, the Mallett family took over as tenants | 0:11:17 | 0:11:20 | |
of one of her former farms. | 0:11:20 | 0:11:22 | |
So a proper family business, David. Kids involved, as well. | 0:11:22 | 0:11:25 | |
She's a good wrangler, Charlotte, isn't she? | 0:11:25 | 0:11:27 | |
Yeah, they love working on the farm. | 0:11:27 | 0:11:29 | |
This time last year, things were not looking good for you in this area. | 0:11:29 | 0:11:33 | |
No. We set off farming 20 years ago and we had short-term lets. | 0:11:33 | 0:11:37 | |
Unfortunately, we lost part of that | 0:11:37 | 0:11:39 | |
and we didn't know where we were going to be, really. | 0:11:39 | 0:11:41 | |
We didn't know whether we'd be still in the area farming, | 0:11:41 | 0:11:44 | |
giving up farming or moving out of the area and farming somewhere else. | 0:11:44 | 0:11:48 | |
-So it could have been a complete life change for you. -Yeah. | 0:11:48 | 0:11:51 | |
What happened with this place? | 0:11:51 | 0:11:52 | |
We applied for it and on the viewing day, | 0:11:52 | 0:11:55 | |
60-odd lots looked around the farm. | 0:11:55 | 0:11:57 | |
And we were fortunate enough to get it in the end. | 0:11:57 | 0:11:59 | |
It was important to us because our children go to school in the village. | 0:11:59 | 0:12:03 | |
It was where I was brought up and, you know, | 0:12:03 | 0:12:05 | |
for me to teach them how I was taught | 0:12:05 | 0:12:07 | |
on the ways of farming in this area, really. | 0:12:07 | 0:12:10 | |
I bet you didn't think you'd have to thank Beatrix Potter. | 0:12:10 | 0:12:13 | |
No. It'll be the National Trust. | 0:12:13 | 0:12:15 | |
The farms they let is a lifeline for people like myself | 0:12:15 | 0:12:17 | |
that need to farm in the area, really. | 0:12:17 | 0:12:20 | |
-All thanks to Peter Rabbit. -Yeah. Yeah. | 0:12:20 | 0:12:22 | |
Just as Beatrix Potter found her voice | 0:12:28 | 0:12:30 | |
in the mountainous beauty of the Lake District, | 0:12:30 | 0:12:34 | |
here in the hills above Haworth, | 0:12:34 | 0:12:36 | |
the mysterious moors fired the imagination of the Bronte sisters. | 0:12:36 | 0:12:40 | |
With every step you take, you feel like you're walking through | 0:12:41 | 0:12:45 | |
the pages of one of the Bronte novels | 0:12:45 | 0:12:47 | |
with the words of the sisters ringing through your ears. | 0:12:47 | 0:12:50 | |
"It struck me directly she must have started for Penistone Crags. | 0:12:51 | 0:12:55 | |
"I walked as if for a wager, mile after mile, | 0:12:55 | 0:12:59 | |
"till a turn brought me in view of the Heights. | 0:12:59 | 0:13:02 | |
"But no Catherine could I detect, far or near." | 0:13:02 | 0:13:06 | |
But these moors haven't just brought us great literature. | 0:13:06 | 0:13:10 | |
I'm off to meet a man in the middle of the moor. | 0:13:10 | 0:13:13 | |
Not the roguish Heathcliff, | 0:13:13 | 0:13:15 | |
but a rather more gentile Arthur Butterworth, | 0:13:15 | 0:13:18 | |
a man for whom the look of this place is only half the story. | 0:13:18 | 0:13:21 | |
Arthur's a composer | 0:13:24 | 0:13:26 | |
who has written more than 100 pieces of classical music | 0:13:26 | 0:13:29 | |
in a career lasting more than 70 years. | 0:13:29 | 0:13:32 | |
He's been inspired by many places, | 0:13:34 | 0:13:36 | |
but believes there's something unique about these moors | 0:13:36 | 0:13:39 | |
and the sound they create. | 0:13:39 | 0:13:40 | |
So I've persuaded him to bring along his trusty trumpet | 0:13:40 | 0:13:43 | |
to show me what he means. | 0:13:43 | 0:13:45 | |
So, Arthur, what is it in particular about this landscape that you love? | 0:13:46 | 0:13:52 | |
There's something... How shall I say? Inscrutable about this. | 0:13:52 | 0:13:57 | |
It's as if there were some strange spirit | 0:13:57 | 0:14:04 | |
contained in these moors | 0:14:04 | 0:14:06 | |
that one is conscious of the history of it, | 0:14:06 | 0:14:09 | |
-and particularly here, about Emily Bronte. -Yes. | 0:14:09 | 0:14:13 | |
Because her fascination with the wind | 0:14:13 | 0:14:16 | |
and the loneliness of it all | 0:14:16 | 0:14:18 | |
and there's something about the spirit of the moors, | 0:14:18 | 0:14:21 | |
as there is about any landscape. | 0:14:21 | 0:14:24 | |
The moors above Haworth proved such an inspiration to Arthur | 0:14:27 | 0:14:30 | |
that in the mid-1960s, he created A Dales Suite, | 0:14:30 | 0:14:33 | |
his first major work for a brass band. | 0:14:33 | 0:14:37 | |
Arthur, it's clearly beautiful and very inspirational up here, | 0:14:37 | 0:14:40 | |
but how do you interpret what you see and translate it into music? | 0:14:40 | 0:14:44 | |
Well, very roughly speaking, | 0:14:44 | 0:14:47 | |
it's a matter of the shape of the landscape, | 0:14:47 | 0:14:50 | |
the tranquillity of it or the violence of it, whatever. | 0:14:50 | 0:14:54 | |
It somehow suggests through some strange alchemy of the mind | 0:14:54 | 0:14:59 | |
that what you see with your eye | 0:14:59 | 0:15:01 | |
is somehow translated into sounds. | 0:15:01 | 0:15:05 | |
It then turns into melodies and not only melodies but into other sounds - | 0:15:05 | 0:15:11 | |
harmonies, so that they're either beautiful harmonies | 0:15:11 | 0:15:14 | |
or they are dark or they are light, according to what the landscape is. | 0:15:14 | 0:15:20 | |
So as the landscape changes, as the day changes, | 0:15:20 | 0:15:23 | |
so the sound in one's mind changes. | 0:15:23 | 0:15:26 | |
When you see this beautiful landscape today, the lovely blue | 0:15:26 | 0:15:29 | |
sky, but the cold, what sort of thing can you hear? | 0:15:29 | 0:15:32 | |
Oh, this is a bracing kind of atmosphere, obviously, | 0:15:32 | 0:15:35 | |
as we feel now, so it comes out as a bracing, exhilarating tune. | 0:15:35 | 0:15:39 | |
Are you able to play anything here now? | 0:15:39 | 0:15:42 | |
I'll show you briefly what I mean. | 0:15:42 | 0:15:44 | |
You understand that I'm no longer a trumpeter at my age, but this | 0:15:44 | 0:15:48 | |
is the kind of thing, A Dale Suite began with a trumpet doing this. | 0:15:48 | 0:15:53 | |
PLAYS TRUMPET | 0:15:53 | 0:15:57 | |
It didn't quite reach the top of the hill, which would have been... | 0:15:57 | 0:16:02 | |
PLAYS HIGHER TOP NOTE | 0:16:02 | 0:16:05 | |
-It's sort of the minor note, rather than the major note. -That's right. | 0:16:05 | 0:16:09 | |
It's struggling up to the top of the hill, | 0:16:09 | 0:16:12 | |
as we were to see the sun rising. | 0:16:12 | 0:16:14 | |
PLAYS TRUMPET | 0:16:14 | 0:16:18 | |
It would have reached a kind of top. | 0:16:18 | 0:16:21 | |
Now don't take my trumpet playing as Gospel now. God knows! | 0:16:21 | 0:16:25 | |
It's years since I played the trumpet. | 0:16:25 | 0:16:27 | |
-But that is your music, isn't it? -Oh, yes. | 0:16:27 | 0:16:29 | |
This is the beginning of A Dale Suite where the trumpet | 0:16:29 | 0:16:32 | |
begins the tune. | 0:16:32 | 0:16:34 | |
And then the whole thing expands into...as we are now, | 0:16:34 | 0:16:37 | |
a bright sunny day. | 0:16:37 | 0:16:40 | |
'Just as the Brontes captured the bleak beauty of | 0:16:40 | 0:16:43 | |
'the moors in their novels, Arthur has taken this lonely landscape | 0:16:43 | 0:16:47 | |
'and transformed it into a musical experience, creating a sound | 0:16:47 | 0:16:51 | |
'that Heathcliff himself would have recognised as home.' | 0:16:51 | 0:16:55 | |
The British landscape isn't just a source of inspiration for | 0:17:07 | 0:17:11 | |
authors, artists or musicians like Arthur. | 0:17:11 | 0:17:15 | |
Back in April, Helen Skelton discovered how the countryside | 0:17:15 | 0:17:18 | |
itself is being turned into a work of art. | 0:17:18 | 0:17:21 | |
The rugged north east. It's no stranger to dramatic landmarks. | 0:17:25 | 0:17:30 | |
This region is defined by vast manmade projects. | 0:17:32 | 0:17:37 | |
Hadrian's Wall, the Angel of the North, | 0:17:37 | 0:17:41 | |
and there's soon to be another. | 0:17:41 | 0:17:43 | |
I'm on a construction site just north of Newcastle. | 0:17:43 | 0:17:47 | |
I'm here for a preview of a new landmark | 0:17:47 | 0:17:49 | |
and it's just on the other side of these trees. | 0:17:49 | 0:17:53 | |
You move through a wood, which is very dark and very calm, | 0:17:56 | 0:18:01 | |
very silent, and as you walk forward, | 0:18:01 | 0:18:05 | |
slowly you begin to see that there's a face at the end of the walk. | 0:18:05 | 0:18:09 | |
It's the brainchild of internationally renowned | 0:18:18 | 0:18:21 | |
landscape artist Charles Jencks. | 0:18:21 | 0:18:24 | |
If you ask me what the art of landforming is, I have to say, | 0:18:24 | 0:18:27 | |
it's to do with the sun hitting the side of these pathways, creating | 0:18:27 | 0:18:33 | |
wonderful shadows and then all of a sudden, the landform comes to life. | 0:18:33 | 0:18:37 | |
You really feel it in your stomach. | 0:18:37 | 0:18:39 | |
Northumberlandia, as she's been called, | 0:18:46 | 0:18:49 | |
is the world's largest human landform. | 0:18:49 | 0:18:52 | |
It's a piece of art and a playground. | 0:18:52 | 0:18:54 | |
You probably can't tell from here, but she is definitely she. | 0:18:56 | 0:19:01 | |
Because I'm currently standing on her right boob. | 0:19:01 | 0:19:05 | |
And then finally, you head for the forehead itself. | 0:19:14 | 0:19:18 | |
From there, you get a full view of her face, the goal of the walk, | 0:19:18 | 0:19:23 | |
and the rest of her body, all the way to her feet. | 0:19:23 | 0:19:27 | |
And at this point, you get a 360 degree panorama of the whole | 0:19:29 | 0:19:35 | |
landscape, north, south, east, west, the cardinal points, | 0:19:35 | 0:19:38 | |
looking straight up, the cosmos, and the connection to the Earth. | 0:19:38 | 0:19:43 | |
But when you're up here, there's another quite different view. | 0:19:46 | 0:19:50 | |
'Coal. It's been mined in this area for 800 years. | 0:19:57 | 0:20:01 | |
'And it's all because of this surface mine that Northumberlandia is here.' | 0:20:01 | 0:20:05 | |
This place is unbelievable! What is it even made of? | 0:20:05 | 0:20:09 | |
Well, Northumberlandia's been made from the material | 0:20:09 | 0:20:12 | |
from the Shotton Surface Mine. | 0:20:12 | 0:20:14 | |
It's a core of rock, then covered by a layer of clay, | 0:20:14 | 0:20:17 | |
and then a layer of soil over the top. | 0:20:17 | 0:20:19 | |
-So everything's come out of the mine. -Yes. | 0:20:19 | 0:20:21 | |
All of the core materials come out of the mine. | 0:20:21 | 0:20:24 | |
And what made you think, we're going to turn all of that | 0:20:24 | 0:20:26 | |
material into an undeniably voluptuous woman? | 0:20:26 | 0:20:30 | |
Well, the Banks Group and the Blagdon Estate, | 0:20:30 | 0:20:32 | |
who are the landowners that Northumberlandia sits on, | 0:20:32 | 0:20:35 | |
wanted to do something that was really going to be | 0:20:35 | 0:20:38 | |
iconic for the north east and attract tourists. | 0:20:38 | 0:20:40 | |
So we worked with Charles Jencks | 0:20:40 | 0:20:42 | |
and he's come up with what we see today. | 0:20:42 | 0:20:46 | |
But how to turn an artist's vision into a practical reality? | 0:20:46 | 0:20:49 | |
Well, that job fell to landscape architect Mark Simmons. | 0:20:49 | 0:20:53 | |
Mark, I'm guessing you're not laying out your dinner. | 0:20:53 | 0:20:56 | |
-What have we got here? -Well, I've got the computer model. -My word! | 0:20:56 | 0:21:02 | |
-She's amazing! -Fantastic. | 0:21:02 | 0:21:04 | |
Looking at it like this, you can really appreciate that it is art. | 0:21:04 | 0:21:08 | |
You can see the whole thing. | 0:21:08 | 0:21:10 | |
-So where are we? That's the nose. We must be. -We're just here. | 0:21:10 | 0:21:14 | |
-Just next to the wrist. -So is this the hand behind us? -That's the hand. | 0:21:14 | 0:21:18 | |
-The paths almost make veins and make her more alive. -That's it. | 0:21:18 | 0:21:22 | |
They're developed as an intrinsic part of the landform itself, | 0:21:22 | 0:21:26 | |
so they step up, they create the steps, | 0:21:26 | 0:21:29 | |
and bring the body actually out of the surrounding landscape. | 0:21:29 | 0:21:34 | |
I really like the idea of a figurative model | 0:21:34 | 0:21:37 | |
because the scale of it, it wouldn't be figurative the whole of the time. | 0:21:37 | 0:21:40 | |
It becomes abstract when you're actually walking on it. | 0:21:40 | 0:21:43 | |
-You don't know what you're walking on when you're up there. -Absolutely. | 0:21:43 | 0:21:47 | |
It's just a series of different interlocking curves and shapes | 0:21:47 | 0:21:50 | |
that change as you move round it and the light moves over it, | 0:21:50 | 0:21:53 | |
which is just fantastic. | 0:21:53 | 0:21:55 | |
And then when you move back, it just all clicks into place. | 0:21:55 | 0:21:57 | |
When you build a sandcastle, | 0:21:57 | 0:21:59 | |
it almost feels impossible to keep the turrets upright. | 0:21:59 | 0:22:02 | |
How do you know that you're going to be able to build a nose | 0:22:02 | 0:22:06 | |
-and make it stay that pointy? -Well, on the actual face itself, | 0:22:06 | 0:22:09 | |
we've used a reinforcing material called a geogrid, which is | 0:22:09 | 0:22:14 | |
a plastic mesh and then the material is pushed in behind that and that's | 0:22:14 | 0:22:19 | |
pulled over through the structure and that holds it all in place. | 0:22:19 | 0:22:22 | |
So we've been able to get the much steeper | 0:22:22 | 0:22:25 | |
slopes on the side of the face. | 0:22:25 | 0:22:27 | |
'Wet winters aren't the time for delicate finishing work, | 0:22:29 | 0:22:33 | |
'so for the last few months, the site has been silent. | 0:22:33 | 0:22:36 | |
'But Mark's letting me leave my mark on the palm of her left hand.' | 0:22:36 | 0:22:40 | |
Mark, I'm hoping you've had something bigger than these to do the hips | 0:22:40 | 0:22:45 | |
-and the head. -Yes. Just slightly! | 0:22:45 | 0:22:47 | |
'Her right hand points. | 0:22:50 | 0:22:51 | |
'And like everything in Jencks's work, it's laden with meaning.' | 0:22:51 | 0:22:55 | |
When you point at something, it says, "Look there! Go there! | 0:22:55 | 0:23:00 | |
"What is that?" It has a command meaning. | 0:23:00 | 0:23:03 | |
And I wanted the pointed finger to be used in that way, | 0:23:03 | 0:23:08 | |
to suggest there's a point to the whole walk. | 0:23:08 | 0:23:13 | |
The other hand is opened and that's a great sign of peace | 0:23:13 | 0:23:17 | |
and welcome and giving and receiving. | 0:23:17 | 0:23:20 | |
Like many of our most infamous artworks, | 0:23:23 | 0:23:26 | |
Northumberlandia has caused plenty of discussion. | 0:23:26 | 0:23:30 | |
Some people have affectionately nicknamed her Slag Alice, | 0:23:30 | 0:23:33 | |
others have been asking - when are they going to build Northumbermandia? | 0:23:33 | 0:23:36 | |
But what about the people living on her doorstep? | 0:23:36 | 0:23:39 | |
Well, there's no-one more local than the Philipson family, | 0:23:39 | 0:23:42 | |
whose farmhouse sits in the middle of the mining area. | 0:23:42 | 0:23:45 | |
How will they feel when Northumberlandia opens this year? | 0:23:45 | 0:23:49 | |
-Fabulous. -Really excited. Yeah. | 0:23:49 | 0:23:52 | |
Hopefully great for the local community. | 0:23:52 | 0:23:56 | |
Great views and it's just an amazing sculpture. | 0:23:56 | 0:23:58 | |
We can't wait to actually have a walk on it. | 0:23:58 | 0:24:01 | |
-That's right, I had a sneaky preview! -Yeah! I know! | 0:24:01 | 0:24:04 | |
'And I'm about to get another.' | 0:24:04 | 0:24:07 | |
I'm embarrassed to admit this is my lift. | 0:24:07 | 0:24:10 | |
This is so showbiz! | 0:24:10 | 0:24:12 | |
She's unbelievable! | 0:24:24 | 0:24:26 | |
I don't know how they've got it that defined and that immaculate. | 0:24:26 | 0:24:31 | |
'All landforms gain by movement. | 0:24:31 | 0:24:34 | |
'Seeing things in relationship to each other, | 0:24:34 | 0:24:36 | |
'you will get that dynamic quality. | 0:24:36 | 0:24:39 | |
'It's so exciting because the drama unfolds. Movement is key.' | 0:24:39 | 0:24:43 | |
One thing it definitely is is impressive. | 0:24:43 | 0:24:47 | |
'The sun comes out, it sings, it's just beautiful. It's surprising. | 0:24:48 | 0:24:53 | |
'It surprises me.' | 0:24:53 | 0:24:55 | |
Northumberlandia was finished just a few months after Helen's visit. | 0:25:00 | 0:25:04 | |
Since then, tens of thousands of visitors have come to explore | 0:25:04 | 0:25:08 | |
the north of England's newest icon. | 0:25:08 | 0:25:11 | |
Like so much of our countryside, the more you take time to | 0:25:11 | 0:25:15 | |
absorb your surroundings, the more they reveal themselves to you. | 0:25:15 | 0:25:20 | |
That's the lesson I learned some months ago when I got to | 0:25:20 | 0:25:23 | |
spend the day with our greatest living artist, David Hockney. | 0:25:23 | 0:25:27 | |
Winter has stripped the east Yorkshire landscape bare. | 0:25:34 | 0:25:39 | |
The trees are stark, the hedgerows without colour. | 0:25:39 | 0:25:43 | |
The fields lie dormant under a thin sun. | 0:25:43 | 0:25:47 | |
The Wolds in winter has a paired down beauty, muted, | 0:25:50 | 0:25:54 | |
quiet and understated, but how many of us | 0:25:54 | 0:25:57 | |
really notice as we whizz by on our way to somewhere else? | 0:25:57 | 0:26:01 | |
If we just slowed down a bit, took time to look around, | 0:26:03 | 0:26:09 | |
would we see the land we live in differently? | 0:26:09 | 0:26:12 | |
One man really thinks so. | 0:26:13 | 0:26:16 | |
And he's David Hockney, our greatest living artist. | 0:26:16 | 0:26:21 | |
He's based in LA but has a home in east Yorkshire. | 0:26:21 | 0:26:25 | |
It's here he's found renewed inspiration, in its fields | 0:26:25 | 0:26:28 | |
and trees. | 0:26:28 | 0:26:30 | |
It's very, very lovely, subtle landscape here. | 0:26:30 | 0:26:34 | |
Not too many people, very quiet roads that you can work on. | 0:26:34 | 0:26:38 | |
It's turned out to be a perfect place actually for me, | 0:26:38 | 0:26:43 | |
the last few years. | 0:26:43 | 0:26:45 | |
I come from west Yorkshire, west Yorkshire, Wharfedale, | 0:26:45 | 0:26:48 | |
everybody knows it's rather beautiful and so on. | 0:26:48 | 0:26:52 | |
But, you know, people who just drive from west Yorkshire | 0:26:52 | 0:26:56 | |
into Bridlington just think, "Well, there's one big hill, | 0:26:56 | 0:26:59 | |
"Garrowby Hill, and then it's just little hills, just looks like | 0:26:59 | 0:27:03 | |
"a load of fields," and nobody really looks at it, I don't think. | 0:27:03 | 0:27:08 | |
But if you know how to look, the landscape is alive with colour. | 0:27:08 | 0:27:13 | |
In David's eyes, trees can be purple, fields sometimes blue, | 0:27:13 | 0:27:18 | |
stone is often red. | 0:27:18 | 0:27:20 | |
The same subject never looks the same way twice. | 0:27:20 | 0:27:23 | |
He's painted the tree he calls the Totem many, many times. | 0:27:23 | 0:27:27 | |
Right now, you're seeing it in really reds and greens, in a way. | 0:27:27 | 0:27:32 | |
-Yes. -On a different day, you might see it differently, | 0:27:32 | 0:27:36 | |
but right now the dominant colours are red and green, essentially. | 0:27:36 | 0:27:41 | |
OK, the red's brown, orange, isn't brown. | 0:27:41 | 0:27:45 | |
If it had been raining very heavily, you'd get like you see there. | 0:27:45 | 0:27:51 | |
-That side of the tree goes dark. The rain will make it dark. -Yes. | 0:27:51 | 0:27:56 | |
And I usually then wait and come out immediately then | 0:27:56 | 0:27:59 | |
because then you get... | 0:27:59 | 0:28:01 | |
It's the only time the trees' trunks are very dark, when it's rained. | 0:28:01 | 0:28:07 | |
'David's able to respond quickly to changing conditions by using | 0:28:07 | 0:28:11 | |
'the very latest in high-tech gadgets. | 0:28:11 | 0:28:14 | |
'Out goes the sketch book, in comes the iPad.' | 0:28:14 | 0:28:18 | |
Some people might be quite surprised to see technology | 0:28:18 | 0:28:21 | |
rather than paintbrushes. | 0:28:21 | 0:28:24 | |
-Paintbrushes are technology. -I suppose so, yeah. | 0:28:24 | 0:28:27 | |
A pencil is technology, isn't it? | 0:28:27 | 0:28:30 | |
For me, on this road, the great advantage was you can quickly | 0:28:30 | 0:28:35 | |
establish a range of colour faster than any medium I've come across. | 0:28:35 | 0:28:40 | |
There's no mixing, it's just all there in front of you. | 0:28:40 | 0:28:43 | |
-Yeah, because you're doing it all here. -Yes. -With one instrument. | 0:28:43 | 0:28:48 | |
-I don't have to change it. -Yeah. | 0:28:48 | 0:28:51 | |
So it's an absolutely new medium really. | 0:28:51 | 0:28:54 | |
'And the results are terrific. | 0:28:56 | 0:28:58 | |
'All these pictures of east Yorkshire were made using the iPad.' | 0:29:04 | 0:29:08 | |
You've painted this structure quite a few times. Why so many times? | 0:29:12 | 0:29:15 | |
Is it all about getting it in these different lights? | 0:29:15 | 0:29:18 | |
Well, because once you've done it once in January, I then realised, | 0:29:18 | 0:29:23 | |
well, I'll keep doing it every few days, for a while. | 0:29:23 | 0:29:29 | |
Right now, it's very winter. | 0:29:29 | 0:29:31 | |
-It sure is. -We're getting the reflections in the puddles as well. | 0:29:31 | 0:29:36 | |
It's very nice in the rain because of course the road gets shiny, | 0:29:36 | 0:29:40 | |
it's lighter than the sky. | 0:29:40 | 0:29:42 | |
At the moment, the light is right at the end, isn't it? | 0:29:42 | 0:29:44 | |
I don't think I'd have seen that, had you not pointed it out to me. | 0:29:44 | 0:29:48 | |
It just looks drab. You're right, there's lots of light to be had. | 0:29:48 | 0:29:51 | |
It's like... | 0:29:51 | 0:29:52 | |
People don't look hard enough often, but I used to ask friends | 0:29:52 | 0:29:56 | |
if I drove along here, I'd say to them, "What colour is the road?" | 0:29:56 | 0:30:02 | |
One friend just didn't say anything for a while | 0:30:03 | 0:30:07 | |
and then I asked him again and he said, "I see what you mean, David, | 0:30:07 | 0:30:12 | |
'if you don't ask the question, you don't even bother. | 0:30:12 | 0:30:15 | |
'But if you ask a question and you look rather hard, | 0:30:15 | 0:30:19 | |
'well, it's violet, it's blue, | 0:30:19 | 0:30:21 | |
'it's all kind of things but you need to ask the question first.' | 0:30:21 | 0:30:25 | |
That's what Monet would have done, that's what anybody would have done and that's what I do. | 0:30:25 | 0:30:30 | |
Seeing all the colours that you can see in the landscape has made me seem very garish. | 0:30:30 | 0:30:35 | |
-I must be very offensive to your eyes in this top. -You are fluorescent. | 0:30:35 | 0:30:40 | |
David Hockney has been blazing a trail through the arts world since the 1960s. | 0:30:40 | 0:30:47 | |
He's internationally famous and was recently voted our most influential artist ever. | 0:30:47 | 0:30:53 | |
A new show at London's Royal Academy looks set to cement that reputation. | 0:30:53 | 0:30:58 | |
Back at David's studio, I'm getting a sneak preview. | 0:30:58 | 0:31:01 | |
-So this is a miniature version of the Royal Academy, is it? -Yes, we make the models | 0:31:01 | 0:31:07 | |
so we know how to calculate where everything will fit and go. | 0:31:07 | 0:31:12 | |
Featuring prominently will be the computer drawings of Yorkshire, | 0:31:12 | 0:31:16 | |
printed up large size. | 0:31:16 | 0:31:19 | |
The effect of seeing them all together in one place is stunning. | 0:31:21 | 0:31:28 | |
-This is where we were this morning. -Oh, yeah. Big puddles. | 0:31:28 | 0:31:33 | |
That's where we were as well with the totem. | 0:31:33 | 0:31:37 | |
-There's the totem again, again. Again. -Vivid colour. It's amazing. | 0:31:37 | 0:31:43 | |
How important are the seasons and the weather to you | 0:31:43 | 0:31:46 | |
when you are going out deciding whether to paint or not? | 0:31:46 | 0:31:49 | |
It is about every time we went on that road, it was different. | 0:31:49 | 0:31:55 | |
This is England, | 0:31:55 | 0:31:57 | |
the light will be different, weather, the foliage. | 0:31:57 | 0:32:04 | |
It is just showing you the enormous amount of variety there is of it | 0:32:04 | 0:32:08 | |
and as it changes throughout the year. | 0:32:08 | 0:32:10 | |
Since I went to meet David at the end of last year, the tree trunk, | 0:32:12 | 0:32:16 | |
or totem, which features in so many of these works, has been cut down. | 0:32:16 | 0:32:21 | |
The stump that remains continues to inspire him. | 0:32:21 | 0:32:24 | |
But for some people, an important piece of natural art history has been lost forever. | 0:32:24 | 0:32:29 | |
Just spending a couple of hours in David Hockney's company was a masterclass | 0:32:32 | 0:32:36 | |
in how, with the right eye and a touch of genius, | 0:32:36 | 0:32:39 | |
everyday sights can be transformed into something extraordinary. | 0:32:39 | 0:32:43 | |
But if a Hockney is a bit out of your price range, | 0:32:43 | 0:32:46 | |
how about a Countryfile calendar to hang on your wall instead? | 0:32:46 | 0:32:51 | |
The calendar features the 12 winning pictures | 0:32:53 | 0:32:56 | |
from this year's Countryfile photographic competition | 0:32:56 | 0:32:59 | |
picked from around 50,000 entries. | 0:32:59 | 0:33:02 | |
With the New Year almost upon us, there's still time to get yours. | 0:33:02 | 0:33:07 | |
Each calendar costs £9 | 0:33:07 | 0:33:09 | |
and a minimum of £4 from each sale goes to Children In Need. | 0:33:09 | 0:33:14 | |
You can get yours by calling: | 0:33:14 | 0:33:17 | |
Or you can go to our website: | 0:33:26 | 0:33:28 | |
When Matt headed up to west Yorkshire, | 0:33:36 | 0:33:39 | |
it was a more modern form of art that he was interested in. | 0:33:39 | 0:33:44 | |
It may look like any other former mill town. | 0:33:44 | 0:33:49 | |
But once upon a time, things were very different here. | 0:33:50 | 0:33:55 | |
At the turn of the 20th century, this town was pioneering a new industry. | 0:33:55 | 0:33:59 | |
It was in at the birth of the movie business. | 0:33:59 | 0:34:02 | |
10 years before the Hollywood movie industry even started, | 0:34:02 | 0:34:06 | |
black and white films were made here in Holmfirth. | 0:34:06 | 0:34:10 | |
The Lumiere brothers had recently invented the movie camera in 1895. | 0:34:10 | 0:34:15 | |
Victorian film pioneers across Britain began experimenting with it. | 0:34:15 | 0:34:19 | |
But one man mastered the art better than most, | 0:34:19 | 0:34:23 | |
Holmfirth's James Bamforth. | 0:34:23 | 0:34:26 | |
By 1902, Bamforth was one of the most famous film producers in the world | 0:34:26 | 0:34:31 | |
with his work been enjoyed by audiences from Moscow to New York. | 0:34:31 | 0:34:37 | |
So, what was it in his background that set him on the road to success? | 0:34:37 | 0:34:43 | |
-These are beautiful, aren't they? -Absolutely fabulous, yes. | 0:34:43 | 0:34:47 | |
-What exactly are they? -These are magic lantern slides. | 0:34:47 | 0:34:52 | |
Right, which means? | 0:34:52 | 0:34:54 | |
Magic lantern slides are just like slides that you have today with the projector. | 0:34:54 | 0:34:59 | |
But these are from the late 19th century. | 0:34:59 | 0:35:01 | |
They were made by Bamforth here in Holmfirth. | 0:35:01 | 0:35:06 | |
These were the popular entertainment of their day. | 0:35:06 | 0:35:09 | |
How did it all start and how did he end up in the movie industry from here? | 0:35:09 | 0:35:15 | |
He began as a portrait photographer but he always had an eye for other ways to make money, | 0:35:15 | 0:35:21 | |
other ways to use the equipment and the setup he already had. | 0:35:21 | 0:35:25 | |
For the lantern slides, there would be sets, models. | 0:35:25 | 0:35:29 | |
There would be a script going on, | 0:35:29 | 0:35:32 | |
so when the film camera was invented, it was a very natural progression. | 0:35:32 | 0:35:37 | |
Bamforth had a real genius for slapstick, | 0:35:37 | 0:35:41 | |
he was at the cutting edge of whatever we make of it now. | 0:35:41 | 0:35:45 | |
You could say he invented British comedy on screen. | 0:35:45 | 0:35:51 | |
I'm told that Bamforth's movies worked best off-the-cuff, | 0:35:51 | 0:35:54 | |
he got an idea, then he got neighbours as actors and got cracking in parks around town. | 0:35:54 | 0:36:00 | |
If that is all there is to it, let's give it a go. | 0:36:00 | 0:36:04 | |
Chris Squire is going to help me make a Bamforth-inspired film. | 0:36:06 | 0:36:11 | |
-Now then, Chris. How you doing? -Hi. Good, thanks. | 0:36:11 | 0:36:15 | |
You've taught the art of creating the classic Bamforth movie. | 0:36:15 | 0:36:18 | |
We have, we went and looked at the archive footage | 0:36:18 | 0:36:21 | |
and worked out there are a few components. | 0:36:21 | 0:36:26 | |
-Which were? -Character-led comedies, simple situations, | 0:36:26 | 0:36:31 | |
often men dressed as women and a fight. | 0:36:31 | 0:36:35 | |
-What, a proper brawl at the finish? -Quite often. It was all novel and brand new. | 0:36:35 | 0:36:40 | |
They were inventing the language of cinematography. | 0:36:40 | 0:36:44 | |
OK, we've got our characters, got a story to tell and the scene is set. | 0:36:44 | 0:36:49 | |
Let's make a movie. | 0:36:49 | 0:36:50 | |
MUSIC | 0:36:50 | 0:36:54 | |
-That was great fun, Chris. honestly. Brilliant. -A bit of slapstick fun really. | 0:37:39 | 0:37:43 | |
That kind of thing is the inspiration for a lot of British comedy, | 0:37:43 | 0:37:47 | |
-the Carry On films, Benny Hill, Monty Python. Still going on. -You can see why. Thanks again. | 0:37:47 | 0:37:52 | |
Why settle for our second best when you can have the master? | 0:37:52 | 0:37:56 | |
Julia is on her way over because I have set up a screening for a Bamforth one-minute wonder | 0:37:56 | 0:38:00 | |
to appreciate Holmfirth's very own Mr Hollywood. | 0:38:00 | 0:38:03 | |
-Can I have one of these sweets now? -Go on then. -You are not going to wrestle me for them? | 0:38:03 | 0:38:08 | |
So, what became of Bamforth and his successful film business? | 0:38:08 | 0:38:11 | |
In 1902, after just four years in the game, he turned his back on the movies | 0:38:11 | 0:38:16 | |
to concentrate on postcards with a cheeky twist. | 0:38:16 | 0:38:21 | |
They were hugely popular at the time | 0:38:21 | 0:38:23 | |
and Holmfirth had to wait another 70 years for its comedy connection to be revived again | 0:38:23 | 0:38:30 | |
with Last Of The Summer Wine. | 0:38:30 | 0:38:33 | |
Who knows, if he had kept making films, | 0:38:33 | 0:38:35 | |
maybe these hills would be as famous as those in LA. | 0:38:35 | 0:38:39 | |
100 years ago, audiences would have flocked to the cinema to see Bamforth's masterpieces. | 0:38:39 | 0:38:44 | |
I've invited some local people along to celebrate the moviemaking tradition of their hometown. | 0:38:44 | 0:38:51 | |
But there's space for one more. | 0:38:51 | 0:38:53 | |
-Late again! Where have you been? -I have been making you these very special treats. | 0:38:53 | 0:38:57 | |
-Rhubarb and custard muffins, rhubarb scones. -Rhubarb? | 0:38:57 | 0:39:01 | |
-We're at the cinema. Where's the popcorn, the ice cream? -You are so ungrateful. | 0:39:01 | 0:39:05 | |
-What are we seeing? An action movie? -It is a classic, it's pretty funny as well and to be honest, | 0:39:05 | 0:39:10 | |
it's not exactly the Titanic, it doesn't last for ever. | 0:39:10 | 0:39:13 | |
Just over a minute to be precise but that's no excuse not to tuck into some treats. | 0:39:13 | 0:39:19 | |
Showing for one night only, the Countryfile premier of Boys Playing In The Snow. | 0:39:19 | 0:39:24 | |
Hand-picked rhubarb, picked by me a few hours ago. A couple more scones. | 0:39:24 | 0:39:29 | |
Try that. Sugar dip, go for it. | 0:39:29 | 0:39:33 | |
Wow, that is a burst of flavours, isn't it? | 0:39:33 | 0:39:36 | |
You won't believe how good rhubarb is for you. Lots of sugar. | 0:39:36 | 0:39:41 | |
Shall we put it on? | 0:39:41 | 0:39:43 | |
I'll clap my hands to see what happens. | 0:39:43 | 0:39:47 | |
-It's started. -Power! | 0:39:47 | 0:39:49 | |
Oh, he's down. I remember that at school. | 0:39:49 | 0:39:53 | |
It's a silent movie but that is more that can be said for us. | 0:39:53 | 0:39:57 | |
Come on, relent. You'd feel sorry for him now. | 0:39:57 | 0:40:00 | |
There's more children coming in now and the schoolmaster is going to have a go. | 0:40:00 | 0:40:07 | |
-He has just knocked him on the floor. -Look at the state of him! | 0:40:07 | 0:40:12 | |
Very good! | 0:40:12 | 0:40:14 | |
APPLAUSE | 0:40:14 | 0:40:16 | |
From Holmfirth to Howarth where we are exploring the natural beauty of the Yorkshire Moors. | 0:40:18 | 0:40:25 | |
A landscape which brought the very best in the Bronte sisters. | 0:40:25 | 0:40:30 | |
As much as the characters and the absorbing plotlines, | 0:40:30 | 0:40:33 | |
one of the things that all the Bronte's novels have in common is a strong sense of place. | 0:40:33 | 0:40:39 | |
They found inspiration in these bleak and breathtaking moors. | 0:40:39 | 0:40:44 | |
Nowhere more so than this ruin which is known as Top Withens, | 0:40:44 | 0:40:48 | |
but you and I know this spot as Wuthering Heights. | 0:40:48 | 0:40:54 | |
"'Is Wuthering Heights as pleasant a place as Thrushcross Grange?' | 0:40:54 | 0:40:58 | |
'he inquired, turning to take a last glance into the valley, | 0:40:58 | 0:41:01 | |
'whence a light mist mounted and formed a fleecy cloud on the skirts of the blue. | 0:41:01 | 0:41:06 | |
'"It's not so buried in trees," I replied, | 0:41:06 | 0:41:09 | |
'and it's not quite so large, but you can see the country beautifully all round, | 0:41:09 | 0:41:15 | |
'and the air is healthier for you, fresher and drier. | 0:41:15 | 0:41:18 | |
'You will, perhaps, think the building old and dark at first, | 0:41:18 | 0:41:22 | |
'though it is a respectable house, the next best in the neighbourhood.' | 0:41:22 | 0:41:27 | |
The land that fired the Brontes' imagination continues to inspire today. | 0:41:28 | 0:41:33 | |
Artist Ashley Jackson has spent much of his own life in a love affair with the Moors | 0:41:33 | 0:41:38 | |
which he calls his mistress. | 0:41:38 | 0:41:40 | |
I am interrupting one of their intimate moments together to find out more about the hold they have. | 0:41:40 | 0:41:45 | |
-Hello, Ashley. -Hi. -How are you doing? -Very well indeed. | 0:41:45 | 0:41:49 | |
This mistress of yours, is she a good one or a cruel one? | 0:41:49 | 0:41:54 | |
She can make you cry at times. | 0:41:54 | 0:41:56 | |
The beautiful thing about it is that I've always had this feeling of mother nature in myself. | 0:41:56 | 0:42:03 | |
I've always said I would love to paint what mother nature has given me in her love letters. | 0:42:03 | 0:42:09 | |
All my life I've tried to capture and read mother nature's love letters. | 0:42:09 | 0:42:14 | |
-It is a life long love affair with this landscape. -It is, yes. | 0:42:14 | 0:42:17 | |
If I drop dead today, I am 72. I have lived it. | 0:42:17 | 0:42:19 | |
I am very fortunate because there's not many people who can earn a living, | 0:42:19 | 0:42:25 | |
bring two children up and wife for 50 years. | 0:42:25 | 0:42:29 | |
And it is something you love doing as well. | 0:42:29 | 0:42:32 | |
When you look at a scene like this | 0:42:32 | 0:42:34 | |
of Yorkshire, any high north Yorkshire or the Dales | 0:42:34 | 0:42:39 | |
when you get a scene like this, | 0:42:39 | 0:42:42 | |
it's very hard to paint nothing. | 0:42:42 | 0:42:46 | |
How can you do those contours without any verticals | 0:42:46 | 0:42:50 | |
-you have to make it lie down flat. -Right. | 0:42:50 | 0:42:53 | |
You have got to make it flat. | 0:42:53 | 0:42:55 | |
If it's not flat, it looks like a stone wall. | 0:42:55 | 0:42:59 | |
OK, I haven't got much of an eye. I am certainly not an artist but I would love to have a go. | 0:42:59 | 0:43:04 | |
-I'll give you a hand. -I've brought a couple of pencils. | 0:43:04 | 0:43:09 | |
You've been painting this place for 50 years. How do you stop it getting boring? | 0:43:09 | 0:43:14 | |
I have been married to my wife 50 years this year and it's never been boring. | 0:43:14 | 0:43:21 | |
-Really? -It has been up and down. -But not boring. -But not boring. | 0:43:21 | 0:43:25 | |
When you look at a scenery like this, the light changes every second. | 0:43:25 | 0:43:31 | |
When you come up here, | 0:43:31 | 0:43:34 | |
you do feel as though there is a controlling force. | 0:43:34 | 0:43:39 | |
It is either God or mother nature | 0:43:39 | 0:43:40 | |
and you can see yourself talk and think in your head. | 0:43:40 | 0:43:45 | |
You hear the grouse and the curlews | 0:43:45 | 0:43:49 | |
-and in the summer you've got the skylarks. -Lovely. | 0:43:49 | 0:43:52 | |
-It's so free and not many people come up, only the lover of the Moors. -Absolutely. | 0:43:52 | 0:43:59 | |
More than half a century after he first came up here, | 0:43:59 | 0:44:02 | |
Ashley's passion for this landscape remains undimmed. | 0:44:02 | 0:44:06 | |
He shared that love with some big names, Bill Clinton | 0:44:06 | 0:44:09 | |
and Tony Blair are among the famous figures | 0:44:09 | 0:44:12 | |
who own a slice of Ashley's Yorkshire. | 0:44:12 | 0:44:16 | |
And it's all thanks to some familiar figures. | 0:44:16 | 0:44:20 | |
Is there any inspiration that keeps you coming back to the moor? | 0:44:20 | 0:44:24 | |
Yes, the moor itself but the Brontes because when I was 16, | 0:44:24 | 0:44:28 | |
this is a sketchbook going back. | 0:44:28 | 0:44:30 | |
When I was 16, I wrote, | 0:44:30 | 0:44:32 | |
"I want to do with the brush what the Brontes did with a pen." | 0:44:32 | 0:44:36 | |
Wow! And you were 16! | 0:44:36 | 0:44:37 | |
So, that is a real sense of passion and inspiration. | 0:44:37 | 0:44:42 | |
From 72 years old to 16 and I've still got that passion and love. | 0:44:42 | 0:44:46 | |
-And there are those two trees just there. -Top Withers. | 0:44:46 | 0:44:50 | |
-It is only a doodle, I have got a long way to go. -What do you think? | 0:44:50 | 0:44:54 | |
I think that's lovely and it is a part of you. | 0:44:54 | 0:44:56 | |
-You have got a moment of your life down on paper. -That's true. | 0:44:56 | 0:45:00 | |
It is a snapshot of being here with you which is a great romantic for me. | 0:45:00 | 0:45:04 | |
-With the Yorkshire Moors. -She is a good mistress. -She is. | 0:45:04 | 0:45:08 | |
Later, I'll be attending an epic unveiling of Ashley's work, | 0:45:08 | 0:45:14 | |
one that will bring him closer to the Brontes than he's ever been before. | 0:45:14 | 0:45:19 | |
And I will be trying to find a way to bring together the art, music | 0:45:19 | 0:45:22 | |
and literature that has been inspired by the Moors. | 0:45:22 | 0:45:26 | |
From the hills above Howarth, I've been looking back at how the British countryside | 0:45:35 | 0:45:39 | |
has inspired generations of artists, writers and musicians. | 0:45:39 | 0:45:43 | |
I'm heading back to the Bronte Parsonage | 0:45:43 | 0:45:46 | |
for what I am promised will be a spectacular finale to my day on the moors. | 0:45:46 | 0:45:50 | |
But first, there's just time to find out what happened when John | 0:45:50 | 0:45:54 | |
followed in the footsteps of another of our favourite authors, Thomas Hardy. | 0:45:54 | 0:45:59 | |
Dorset is a patchwork of green fields, | 0:46:00 | 0:46:04 | |
small farms and winding lanes much as it was in Hardy's day. | 0:46:04 | 0:46:08 | |
There are no motorways and though far fewer people work the land than did in Hardy's time, | 0:46:08 | 0:46:15 | |
if you're very lucky, you might just catch a glimpse of the world that he would have known. | 0:46:15 | 0:46:21 | |
This would have been part of it. | 0:46:21 | 0:46:23 | |
This is a shepherd's hut, a mobile hut which a shepherd would stay in for much of the year | 0:46:23 | 0:46:27 | |
as he moved from field to field tending his flock. | 0:46:27 | 0:46:33 | |
A hut like this features in a famous scene in Far From The Madding Crowd, | 0:46:33 | 0:46:38 | |
the book that made Hardy's name. | 0:46:38 | 0:46:41 | |
'How long he remained unconscious, Gabriel never knew. | 0:46:41 | 0:46:46 | |
'His dog was howling, his head was aching fearfully. | 0:46:46 | 0:46:49 | |
'Somebody was pulling him about, hands were loosening his neckerchief.' | 0:46:49 | 0:46:54 | |
That passage describes the rescue of Gabriel Oak from a blazing shepherd's hut. | 0:46:54 | 0:46:59 | |
But his would have looked quite a bit different from the one I'm in. | 0:46:59 | 0:47:04 | |
It would have had a rough bed to sleep on, a stove for warmth. | 0:47:04 | 0:47:08 | |
This one has been restored. Gabriel's would have been much more basic | 0:47:08 | 0:47:12 | |
This doesn't have a cage for lambs to sleep in. | 0:47:12 | 0:47:17 | |
Shepherds continued to use these huts long after Hardy's time. | 0:47:17 | 0:47:21 | |
-Eileen, your dad had one of these, didn't he? -Yes. | 0:47:21 | 0:47:23 | |
-What era are we talking about? -In the '20s, when he left school. | 0:47:23 | 0:47:29 | |
-That's him there is it? -Yes. -Was he always a shepherd then? -Yes, always. | 0:47:29 | 0:47:33 | |
This is a wonderful photo of your father on the steps. | 0:47:33 | 0:47:37 | |
That would be in the '50s. | 0:47:37 | 0:47:39 | |
-That is exactly the same design as this one, isn't it? -Yes. | 0:47:39 | 0:47:43 | |
-At lambing time? -Yes. The stove would be lit | 0:47:43 | 0:47:47 | |
and he would sometimes stay there, depending on the situation. | 0:47:47 | 0:47:52 | |
Lambs were nearly dead and he would bring them in and revive them around the fire. | 0:47:52 | 0:47:58 | |
As soon as they started running about, he would have a little pen outside | 0:47:58 | 0:48:03 | |
for them to come out and then bring them back in the evenings. | 0:48:03 | 0:48:06 | |
We had lambs at home running about the kitchen. | 0:48:06 | 0:48:09 | |
It is just one of those things that sepherd did in those days if the lambs were poorly. | 0:48:09 | 0:48:14 | |
The old ways of shepherding gradually went into decline and with them, went the shepherd's hut. | 0:48:14 | 0:48:21 | |
But all is not lost. | 0:48:21 | 0:48:23 | |
Here in this workshop in south Dorset, | 0:48:23 | 0:48:26 | |
these icons of Hardy's era are getting a new lease of life. | 0:48:26 | 0:48:32 | |
Richard Lee and Jane Denison are in the business of bringing them back to use. | 0:48:32 | 0:48:37 | |
It must be quite hard to find old huts these days. | 0:48:37 | 0:48:41 | |
Yes, it is becoming harder and harder because 10 years ago, | 0:48:41 | 0:48:44 | |
people didn't really see their worth but now they do. They're harder to get hold of. | 0:48:44 | 0:48:49 | |
Richard copied the designs of these old huts in his workshop | 0:48:49 | 0:48:53 | |
but then came the chance discovery of a blueprint from a century ago. | 0:48:53 | 0:48:57 | |
-What was your reaction when you came across this? -We couldn't believe it. | 0:48:57 | 0:49:01 | |
It is great to see particular when they called it a portable house which is a shepherd's hut. | 0:49:01 | 0:49:06 | |
As well as restoring them, you actually build them, as well. This must be useful. | 0:49:06 | 0:49:12 | |
We do. It is great to see the way we do our ironwork, | 0:49:12 | 0:49:17 | |
the proportions of it, the length, the width, | 0:49:17 | 0:49:20 | |
the height of the top of the roof is all how we do our new build huts. | 0:49:20 | 0:49:24 | |
These new huts are the ultimate in chic sheds. | 0:49:24 | 0:49:27 | |
Built for leisure and pleasure, this one is even getting a sauna. | 0:49:27 | 0:49:32 | |
All a far cry from the harsh realities facing those shepherds long ago. | 0:49:32 | 0:49:38 | |
We know something of their lives thanks to a remarkable find | 0:49:38 | 0:49:42 | |
in one of the huts brought in for restoration. | 0:49:42 | 0:49:45 | |
Just look over here, the shepherds were writing on the walls | 0:49:45 | 0:49:49 | |
and this dates back to the end of the 19th century. | 0:49:49 | 0:49:53 | |
We've got dated graffiti that the shepherds would have written. | 0:49:53 | 0:49:59 | |
"February 19th, 1903. New boots." | 0:49:59 | 0:50:04 | |
As well, here we have got, "Cold enough to kill the devil." | 0:50:04 | 0:50:08 | |
Here's a drawing. He's drawn a shepherd and his dog. | 0:50:08 | 0:50:13 | |
There is a lovely one of a cart horse here | 0:50:13 | 0:50:17 | |
with all accurate hay and collar and the harness pad. | 0:50:17 | 0:50:22 | |
The traces were all there. | 0:50:22 | 0:50:23 | |
Most of the writing is around here so you can imagine them | 0:50:23 | 0:50:27 | |
being in their beds, a bit bored and scribbling on the walls. | 0:50:27 | 0:50:32 | |
"March 2nd, 1903, rough and wet." | 0:50:35 | 0:50:41 | |
"Snow, the first of the snow and hail storms." | 0:50:43 | 0:50:47 | |
"March 1903. 1st March stormy, 2nd wet, 3rd fine, 4th stormy..." | 0:50:50 | 0:50:55 | |
Simple words capturing the everyday life of shepherds in the time of Thomas Hardy. | 0:50:55 | 0:51:03 | |
Back on the moors above Howarth, darkness is now upon us. | 0:51:09 | 0:51:13 | |
Before I go, I'm heading back into the village for our very own musical finale. | 0:51:13 | 0:51:21 | |
How do you bring together the creativity of generations | 0:51:21 | 0:51:24 | |
that have been inspired by the land around Howarth? | 0:51:24 | 0:51:26 | |
You can start with these guys, Howarth Brass Band. | 0:51:26 | 0:51:29 | |
In particular, their musical director, David. How are you doing? | 0:51:29 | 0:51:33 | |
Tell me a bit of the history of the band. | 0:51:33 | 0:51:35 | |
The band's been in existence since 1854. | 0:51:35 | 0:51:40 | |
Handel Parker, who was a conductor of the band, also born in 1854 | 0:51:40 | 0:51:45 | |
was around at the time of the Brontes. | 0:51:45 | 0:51:47 | |
The piece of music we're going to play was written by him, it is called Deep Harmony. | 0:51:47 | 0:51:53 | |
It's been played by many Yorkshire brass bands. | 0:51:53 | 0:51:57 | |
I look forward to hearing this piece. | 0:51:57 | 0:51:59 | |
Are you going to take it away? Thanks very much. | 0:51:59 | 0:52:02 | |
BRASS BAND PLAYS | 0:52:04 | 0:52:07 | |
But there's one thing missing, that eternal presence | 0:52:26 | 0:52:29 | |
that lies at the heart of these generations of artistic inspiration, | 0:52:29 | 0:52:33 | |
the land itself this time by Ashley Jackson in a way that even you have never seen it before. | 0:52:33 | 0:52:39 | |
-Are you ready? -Yes. -Let's see it. | 0:52:39 | 0:52:43 | |
-Wow! -You are at the front of their house. | 0:52:45 | 0:52:49 | |
-That brings tears to your eyes. To my eyes it does. -It sure does. -Wonderful. | 0:52:49 | 0:52:54 | |
We have put one of Ashley's paintings, Top Withens, onto the Bronte parsonage. | 0:52:54 | 0:53:00 | |
The scene that inspired Wuthering Heights, has returned to the place | 0:53:00 | 0:53:05 | |
where Heathcliff was really born. | 0:53:05 | 0:53:07 | |
Isn't it beautiful? | 0:53:07 | 0:53:09 | |
Yeah, to be associated with the Brontes, Yorkshire, my mistress. | 0:53:09 | 0:53:14 | |
-She's come well, hasn't she? -Hasn't she ever! | 0:53:14 | 0:53:16 | |
Howarth and the moors that surround it | 0:53:16 | 0:53:20 | |
may well be best known for their connection with the Brontes | 0:53:20 | 0:53:23 | |
but more than 150 years on, they continue to inspire | 0:53:23 | 0:53:27 | |
not just writers, but artists and musicians too. | 0:53:27 | 0:53:32 | |
Together they make a fitting tribute to the power of rural life to inspire. | 0:53:32 | 0:53:38 | |
Next week, Adam will be in the Cotswolds on his farm | 0:53:38 | 0:53:41 | |
to bring in the New Year and looking at how horses and dogs | 0:53:41 | 0:53:44 | |
contribute to country life. | 0:53:44 | 0:53:46 | |
See you then. | 0:53:46 | 0:53:47 | |
Subtitles by Red Bee Media Ltd | 0:54:20 | 0:54:22 |