Quotes of All Topics . Occasions . Authors
I've always been scared of advertising folk. I've met them at parties and I've been to their offices and I've always found them intimidatingly cool. At one company I visited, they held their meetings in a caravan that had somehow been installed in the place, a rather more exotic place to gather than the typical BBC glass box.
When I was growing up, my dad wore a lot of browns and greens - darker colours, autumnal colours. When I was on the BBC news trainee scheme, around the turn of the millennium, we had someone come in and talk to us about what you wear on television, and I was told that khakis, greens and browns went very well with my skin tone.
It's very different doing a food show in America and doing one in Britain. I did a 20-part series for the BBC series called 'Eating With the Enemy.' The budget for all 20 episodes was probably the budget for a single episode of 'Top Chef.' It's the difference between making a home movie in your backyard and going to Hollywood.
In 1941, the BBC was setting up local, low-powered transmitters that were switched off if there was an air raid so they couldn't be used by German planes to navigate. As a 'youth in training,' my job was to switch the transmitter on in the mornings and off at night, and to check that it, and the feeder land lines, were working.
The Amazon lot are perfectly reasonable, level-headed people who just want to make TV programmes. I don't think they are the enemy of the BBC or the other way round. It's not a war; these things can coexist. We can have Amazon and Netflix and the BBC and BT Sport, and people can make choices. That's what modern life is all about.
My father was a little frightening - a huge man, six foot four - and he looked like God. He was always a visitor, as far as I was concerned, because my parents separated when I was nine. We only became friends when he was old and began to shrink. During the war, he was a BBC war correspondent and did some extraordinary broadcasts.
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
When I was 20, I wrote a film on spec and sent it to the BBC. They wrote back, 'Usually, when we reject submissions, we like to offer some encouragement, but in your case, we don't see any point in you continuing.' I took it as encouragement anyway, thinking that only people who write terrible things are capable of writing great things.
Professionally, I was at Bristol Old Vic Theatre School and did lots of things there, and then I won the BBC Carlton Hobbs Award, so I did some BBC Radio drama work, which is a lovely way to start out because you work with lots of great people, and you're working all the time, so you're learning rather than sitting around and waitressing.
I went to L.A., and I was on two different studio movies at Fox and Sony, but they were never made in the end. When the second one wasn't happening, I ended up doing an episode of 'Who Do You Think You Are?' for the BBC, and went on a roots trip from England to Kenya, India, and pre-partition India in Pakistan, where my family originally came from.
