TopGear - August 2015 PH

(National Geographic (Little) Kids) #1

hard brainstorming. It had to because, unlike,


say, Wife Swap or The Apprentice, the contents


of which were shaped by a disciplined format, we


would start each series with a blank sheet of pa-


per. We knew there would be cars and bad shirts


and a Stig, but beyond that...bugger all. Luckily,


there was enough brilliant brainpower around to


keep the new strands coming. It was Series Four,


I think, before we did our first big race (the DB 9


to Monaco), and it wasn’t until Series Eight that


we attempted our first Top Gear engineering


projects, with the amphibious cars.


If some ideas didn’t work out, we’d just ditch


them and move on. Top Gear Dog, for example.


Great idea at the time, but it either lay in a coma


or ran around being completely mental.


What I never had to worry about were the


words coming out of the presenters’ mouths. Any


producer would be blessed to have those three.


They would set off on a road trip—no script, just


a few bullet points in their heads—and riff away


like mates. At some point we gave them control


of the On/Off switch for their in-car cameras,


which was a mistake because, Christ, do they go


on, but so much of their drivelly banter was gold.


All of this high-end content came wrapped up


in a wonderful authenticity that, for me, was the


genuine expression of reality television. When in


Bolivia James said to Hammond, “You running


into the back of me stopped being funny three


series ago,” he meant it, and the viewers got


that. When Hammond was throwing up on that


sinking boat in the race to Oslo, he really was


throwing up because the daft sod had had a


skinful on the ferry the night before. When they


got hurt—Jeremy knackering his shin driving his


truck through a brick wall, James smacking his


head open in Syria—the blood and the pain were


for real. Obviously, there was one event when the


pain got a bit too real, an event that began with


Hammond walking into the office one day and


saying, “I’d like to go really effing fast this series,”


and ended with him on life support in a coma.


None of us will forget that day when the tire


on his jet car blew at 460 kph and he pitched over


into the world’s fastest-ever car crash. That boy


survived only because he is so tough. Who else


would be riding a dog sleigh to the North Pole six


months after he woke up in a brain injuries unit?


While Hammo was recovering, the accident


itself propelled this pokey little car show onto


the world stage, and for a while our audiences in


the UK alone were hitting eight million a week,


but soon the window shoppers moved on and we


settled down to life with the genuine followers.


On the subject of surviving, anyone who


works on any TV show constantly plays the


guessing game of how long the show itself will


last, when the numbers will start to drop, how


many series you will manage before the bosses


pull the plug. In 2002 , I estimated we’d be around


for five, then a year later I upped my guess to 10


series. In the end, we managed 22 , at which point


the viewing figures were still strong, and I’d given


up the guessing game because in TV terms, we


were now in uncharted waters.


Partly it was down to the genius of the pre-


senters, who were ideas men just as much as they


were gobs on sticks. Partly it was down to the


researchers and the producers who came up with


great thoughts and worked so hard their hourly


rate was probably the same as a Vietnamese child


laborer. Partly it was down to the arts and crafts


boys—the directors, the cameramen, the sound-


men, the editors, the graders, the dubbing mix-


ers. And partly it was down to all the backroom


mob: the mechanics, the runners, the coordina-


tors, the lot. Many brilliant people.


As I say, we set out to make a nice little show


for car dweebs and ended up somewhere else—


somewhere we never dreamed we’d be. And


because we never planned it, I don’t think we’ll


see the likes of it ever again.


TOP GEAR TV


‘ANY PRODUCER


WOULD BE BLESSED


TO HAVE THIS TRIO.


NO SCRIPT, JUST A


FEW BULLET POINTS’


THE £1,500
PORSCHES

JEREMY DRIVES
THE PEEL P50

CAR VS. TRAIN
TO MONACO

£10,000
SUPERCARS

RELIANT ROBIN
SPACE SHUTTLE

RELIANT ROBIN
TEST

TOP GEAR GOES
CARAVANNING

JAMES DRIVES UP
A VOLCANO

TOP GEAR
CAR DARTS

THE INFAMOUS
USA SPECIAL

TOP GEAR WINTER
OLYMPICS

RICHARD BEING
SICK ON A BOAT

AYGO VS. FOX
FOOTBALL

TOP GEAR
MOTORHOMES

AMPHIBIOUS
CARS PT1

90 TOP GEAR PHILIPPINES WWW.topgear.com.ph

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