|
National Geographic Cameramen Who Dared
|
| 00:00:06 |
Behind every exciting |
| 00:00:10 |
Behind his camera he is unseen |
| 00:00:12 |
and forgotten |
| 00:00:13 |
but dangerously exposed |
| 00:00:19 |
animals the could |
| 00:00:30 |
cataclysms of nature |
| 00:00:44 |
tumultuous human combat |
| 00:00:45 |
pulling him |
| 00:00:47 |
to the epicenter |
| 00:00:50 |
Sometime with |
| 00:00:51 |
between himself |
| 00:00:54 |
other times separated |
| 00:00:56 |
by the flimsiest |
| 00:01:01 |
but always driven to |
| 00:01:03 |
to get out of the cage |
| 00:01:07 |
Stretching the limits, |
| 00:01:09 |
pioneering in places where |
| 00:01:12 |
stretching luck |
| 00:01:14 |
until limits are found |
| 00:02:19 |
The cameraman |
| 00:02:22 |
shooting a climb on |
| 00:02:27 |
Action. |
| 00:02:28 |
Just watch your left leg |
| 00:02:30 |
To do it right, |
| 00:02:32 |
as well or better |
| 00:02:35 |
Keep going. |
| 00:02:36 |
While the climber |
| 00:02:38 |
Breashears thinks about |
| 00:02:41 |
about camera position, |
| 00:02:43 |
focus and changing light. |
| 00:02:46 |
About storytelling, |
| 00:02:50 |
He thinks ahead and |
| 00:03:03 |
Breashears is one of |
| 00:03:04 |
mountaineering cameramen. |
| 00:03:06 |
He's been on six Mt. |
| 00:03:09 |
twice getting to |
| 00:03:12 |
The job is never over. |
| 00:03:13 |
You don't crawl into |
| 00:03:15 |
and just go to sleep. |
| 00:03:17 |
There's always some |
| 00:03:20 |
loading a magazine for |
| 00:03:23 |
being more prepared than the |
| 00:03:27 |
and also getting up earlier |
| 00:03:30 |
to be in position |
| 00:03:32 |
when they begin their ascent |
| 00:03:36 |
It doesn't matter |
| 00:03:38 |
it doesn't matter |
| 00:03:39 |
It doesn't matter |
| 00:03:41 |
you just do it. |
| 00:03:54 |
By the 1920s, |
| 00:03:55 |
cameraman were traveling |
| 00:03:58 |
to film wildlife |
| 00:04:01 |
and one of the most |
| 00:04:03 |
was Africa. |
| 00:04:06 |
Americans at home had never |
| 00:04:10 |
They were thrilled by them. |
| 00:04:13 |
This was the golden age of |
| 00:04:30 |
Carl Akeley |
| 00:04:32 |
as an extraordinary |
| 00:04:35 |
an American taxidermist |
| 00:04:37 |
to collect his own specimens. |
| 00:04:40 |
Trying to shoot a leopard, |
| 00:04:42 |
it counter-attacked, |
| 00:04:44 |
and he managed to kill it |
| 00:04:48 |
Akeley's insistence on |
| 00:04:51 |
for his taxidermy led him |
| 00:04:53 |
and his frustration in filming |
| 00:04:55 |
fast-moving African scenes |
| 00:04:59 |
a better camera for |
| 00:05:02 |
The distinctive |
| 00:05:05 |
revolutionized |
| 00:05:08 |
and was also used to film |
| 00:05:10 |
combat in World War I |
| 00:05:12 |
and Hollywood movies. |
| 00:05:16 |
In Africa Akeley joined |
| 00:05:19 |
with the celebrity |
| 00:05:21 |
Martin and Osa Johnson. |
| 00:05:24 |
As filmmaker the Johnsons |
| 00:05:27 |
in documentation |
| 00:05:29 |
than sensational entertainment. |
| 00:05:32 |
They raced about Africa |
| 00:05:35 |
seeking thrills and |
| 00:05:37 |
heightening their adventures |
| 00:05:40 |
film editing or staging, |
| 00:05:43 |
Occasionally lapsing |
| 00:05:45 |
seen today, seem like satire |
| 00:06:20 |
The Johnsons were |
| 00:06:22 |
Martin was an all-American guy |
| 00:06:26 |
who started out as a cook |
| 00:06:31 |
Osa was a singer who'd never |
| 00:06:34 |
until Martin carried her off |
| 00:06:35 |
to a life |
| 00:06:37 |
in the title |
| 00:06:39 |
'I Married Adventure'. |
| 00:06:56 |
In the water, crocodiles |
| 00:06:59 |
They would pounce upon |
| 00:07:00 |
victims of a capsized boat |
| 00:07:02 |
like a pack of wolves. |
| 00:07:04 |
If a person were to fall into |
| 00:07:06 |
he would not last one minute. |
| 00:07:17 |
We begin to feel uneasy lest |
| 00:07:21 |
and this surly monster does, |
| 00:07:35 |
For all their showmanship, |
| 00:07:36 |
the Johnsons are recognized |
| 00:07:38 |
intrepid and |
| 00:07:42 |
They developed film |
| 00:07:45 |
overcame a vast array |
| 00:07:47 |
and personal hardships. |
| 00:07:51 |
Their movies, |
| 00:07:52 |
even with moments |
| 00:07:54 |
were remarkable achievements. |
| 00:07:59 |
It must have been |
| 00:08:01 |
with primitive cameras, |
| 00:08:03 |
Primitive transportation, |
| 00:08:04 |
and how they actually |
| 00:08:07 |
out of Africa at all, |
| 00:08:11 |
Wolfgang Bayer, |
| 00:08:14 |
in all sorts of conditions, |
| 00:08:17 |
Of all the animal |
| 00:08:20 |
I must say the primates |
| 00:08:22 |
are probably |
| 00:08:25 |
enjoyable ones |
| 00:08:26 |
They are so much like us. |
| 00:08:28 |
Like the orangutans: |
| 00:08:30 |
we had to climb 15ft. |
| 00:08:33 |
in order to go up |
| 00:08:36 |
Everything else before has |
| 00:08:39 |
We wanted to go back and we |
| 00:08:42 |
and we went up into the trees |
| 00:08:45 |
face to face with orangutans. |
| 00:08:48 |
then they came over and they |
| 00:08:51 |
They were right above us; |
| 00:08:54 |
I'm looking up there, |
| 00:08:56 |
You hang, |
| 00:08:58 |
and some orangutan decides |
| 00:09:00 |
All you can do is |
| 00:09:03 |
and hope he doesn't do it |
| 00:09:06 |
And we'll be hanging up |
| 00:09:09 |
which actually |
| 00:09:12 |
and we would tie the rope |
| 00:09:14 |
on a different tree, |
| 00:09:15 |
And we'll be filming up there |
| 00:09:16 |
And we looked down all |
| 00:09:18 |
there's an orangutan |
| 00:09:20 |
our rope on the very bottom, |
| 00:09:22 |
and it's not a very good |
| 00:09:23 |
We of course had to try to |
| 00:09:27 |
and then get down as fast as |
| 00:09:31 |
Looking through a camera |
| 00:09:34 |
that could be potentially |
| 00:09:36 |
It puts a barrier between you. |
| 00:09:38 |
It's almost like |
| 00:09:40 |
and you don't realize |
| 00:09:42 |
that danger could be |
| 00:09:50 |
I was filming and I got |
| 00:09:52 |
and I just was an innocent |
| 00:09:54 |
But a female came by at |
| 00:09:57 |
and she just grabbed |
| 00:10:00 |
And drew quite a lot of blood. |
| 00:10:03 |
The only weapon |
| 00:10:06 |
Which is a, you know, |
| 00:10:09 |
But in a case like this |
| 00:10:10 |
and started on hit the chimps |
| 00:10:13 |
over the head with my camera |
| 00:10:16 |
where I was supposed to be. |
| 00:10:19 |
Chasing animals over the years |
| 00:10:22 |
attacked and uh, |
| 00:10:26 |
cougars, leopards, jaguars, |
| 00:10:32 |
and of course numerous |
| 00:10:34 |
Lucking |
| 00:10:36 |
Nature and the animals give me |
| 00:10:39 |
what the hell, a few bites |
| 00:10:42 |
and a few injuries here and |
| 00:10:48 |
You go out on these films |
| 00:10:51 |
people who really |
| 00:10:54 |
and of course part of the fun |
| 00:10:57 |
how people handle trouble. |
| 00:11:00 |
Filming an Alaska's |
| 00:11:03 |
Jim Lipscomb came up against |
| 00:11:06 |
to action cameramen: |
| 00:11:08 |
things were too safe. |
| 00:11:11 |
The Yukon raftsmen navigated |
| 00:11:14 |
and Lipscomb was filming |
| 00:11:18 |
But then they came to |
| 00:11:21 |
and suddenly they were |
| 00:11:24 |
It was sort of a funny, |
| 00:11:28 |
the raft was swinging out, |
| 00:11:29 |
swinging out... |
| 00:11:31 |
I could line up the shore |
| 00:11:33 |
and I could see they weren't, |
| 00:11:34 |
they weren't gonna miss it. |
| 00:11:37 |
Looking pretty bad, boy. |
| 00:11:39 |
So I realized, oh boy, |
| 00:11:41 |
these guys are into it at last. |
| 00:11:43 |
They've really got themselves |
| 00:11:48 |
And then I thought, |
| 00:11:51 |
And the 10-ton raft stopped |
| 00:11:55 |
I think I've ever hard |
| 00:12:00 |
And we knew we had it |
| 00:12:03 |
with three cameras going. |
| 00:12:04 |
So it made a marvelous |
| 00:12:35 |
Jim Lipscomb has made films |
| 00:12:39 |
He says people are |
| 00:12:42 |
But it was the animals |
| 00:12:44 |
for "Polar Bear Alert" |
| 00:12:46 |
that taught him a |
| 00:12:49 |
It began with his own brave |
| 00:12:51 |
insistence on getting |
| 00:12:54 |
When he decided |
| 00:12:56 |
as planned from the safety |
| 00:12:58 |
of a vehicle called |
| 00:13:00 |
his guide stared |
| 00:13:02 |
And so I said to the guide, |
| 00:13:03 |
"We're gonna have |
| 00:13:05 |
that tundra buggy |
| 00:13:08 |
And he said, |
| 00:13:09 |
Well, I can't let you |
| 00:13:11 |
if the polar bear is closer |
| 00:13:14 |
Because they're very |
| 00:13:16 |
You don't know what |
| 00:13:18 |
and they can get to |
| 00:13:19 |
and then look you over. |
| 00:13:20 |
And by the time they get |
| 00:13:22 |
you're gonna be dead. |
| 00:13:23 |
And I don't want any National |
| 00:13:25 |
dead in my tundra buggy. |
| 00:13:27 |
So we said, okay, |
| 00:13:32 |
Yes, please, |
| 00:13:34 |
lots. |
| 00:13:36 |
I didn't think when I got out |
| 00:13:38 |
that I was going to feel |
| 00:13:41 |
or that I was in any risk. |
| 00:13:43 |
And I thought I was going |
| 00:13:46 |
But then when that |
| 00:13:52 |
Something happened |
| 00:13:55 |
entirely different kind |
| 00:13:56 |
and I think it's |
| 00:13:57 |
I've ever identified it |
| 00:14:01 |
I felt fear. |
| 00:14:14 |
Oh, boy. |
| 00:14:16 |
Oh, boy. |
| 00:14:20 |
I was breathing hard and I |
| 00:14:22 |
because I wanted to hold |
| 00:14:25 |
The polar came right up |
| 00:14:28 |
He wanted to see |
| 00:14:39 |
And I felt what it must be, |
| 00:14:42 |
an atavistic fear I think, |
| 00:14:46 |
Inborn, and through centuries, |
| 00:14:49 |
through eons of evolution |
| 00:14:52 |
This is not the place to be! |
| 00:14:55 |
You gotta get out of here! |
| 00:14:57 |
This thing, this thing |
| 00:15:00 |
And I, I was just atremble |
| 00:15:06 |
That thing, |
| 00:15:09 |
that I was presumably safe. |
| 00:15:12 |
There's tremendous charge |
| 00:15:15 |
coming through to you. |
| 00:15:18 |
And you're, yeah, |
| 00:15:22 |
and to be experiencing it. |
| 00:15:24 |
I don't know |
| 00:15:26 |
because in retrospect after |
| 00:15:30 |
you think, well, |
| 00:15:31 |
I maybe just don't need |
| 00:15:34 |
I don't need that one again, |
| 00:15:39 |
In 1914 |
| 00:15:41 |
motion picture photography |
| 00:15:45 |
underwater. |
| 00:15:50 |
John Williamson, |
| 00:15:51 |
a cartoonist and photographer |
| 00:15:54 |
Had a showman's ingenuity and |
| 00:15:58 |
flexible steel tube designed |
| 00:16:03 |
Williamson climbed down |
| 00:16:05 |
Through the window |
| 00:16:07 |
chamber he called |
| 00:16:09 |
he took still photos in 1913 |
| 00:16:12 |
and, in the next year, |
| 00:16:13 |
the first moving pictures |
| 00:16:20 |
Only one year later, |
| 00:16:22 |
Williamson made |
| 00:16:24 |
movie produced underwater. |
| 00:16:27 |
These scenes |
| 00:16:28 |
Jules Verne's 20,000 Leagues |
| 00:16:36 |
Audiences were fascinated |
| 00:16:39 |
Others were fascinated by the |
| 00:16:41 |
"photosphere" itself. |
| 00:16:43 |
The eminent Alexander |
| 00:16:46 |
inventor of the telephone, |
| 00:16:47 |
visited in 1922 |
| 00:16:50 |
peering through |
| 00:16:54 |
Williamson emphasized |
| 00:16:56 |
and dryness |
| 00:16:58 |
his wife and baby daughter |
| 00:17:06 |
He filmed them gazing |
| 00:17:08 |
including divers hired to swim |
| 00:17:14 |
Shooting in the Bahamas, |
| 00:17:16 |
he lured sharks |
| 00:17:18 |
the sharks attracted by the |
| 00:17:21 |
dangled in the water |
| 00:17:27 |
What remained to be done, |
| 00:17:29 |
was filming by a cameraman |
| 00:17:34 |
An Austrian zoologist, |
| 00:17:37 |
was among the first to try |
| 00:17:40 |
and photography. |
| 00:17:41 |
Dr. Hass experimented |
| 00:17:44 |
and housings, |
| 00:17:46 |
some of which leaked |
| 00:17:50 |
But this was true pioneering: |
| 00:17:53 |
equipment was devised |
| 00:17:55 |
Mostly hand made, |
| 00:17:56 |
improvised with |
| 00:17:59 |
in diving technology |
| 00:18:00 |
and near-total ignorance |
| 00:18:08 |
How would sharks react to a |
| 00:18:12 |
The only way to find out |
| 00:18:16 |
In 1939 Dr. Hass filmed |
| 00:18:19 |
that enthralled audiences |
| 00:18:22 |
the imagination |
| 00:19:03 |
When Hass first went |
| 00:19:05 |
with his little wind-up |
| 00:19:07 |
millimeter camera |
| 00:19:10 |
you know, six, eight-foot, |
| 00:19:11 |
ten-foot sharks |
| 00:19:13 |
no one had ever done it before. |
| 00:19:16 |
So he was not only using |
| 00:19:20 |
and worried about the bends |
| 00:19:21 |
and an embolism, |
| 00:19:23 |
but he was also the first |
| 00:19:28 |
So today we know that most |
| 00:19:32 |
but those guys, |
| 00:19:34 |
Cousteau hadn't clue that |
| 00:19:38 |
Very bold first efforts. |
| 00:19:42 |
Al Giddings has shot countless |
| 00:19:45 |
and the underwater |
| 00:19:46 |
including James Bond movies |
| 00:19:50 |
Doing so, he's amassed a vast |
| 00:19:55 |
But he's best known for his |
| 00:19:58 |
Shooting them at first from |
| 00:20:01 |
later going outside the cage. |
| 00:20:23 |
The first time in the |
| 00:20:27 |
to the bottom of the cage, |
| 00:20:28 |
hands and knees and |
| 00:20:31 |
Because these 3,000-pound |
| 00:20:34 |
the bars and pushing |
| 00:20:37 |
Today, um, I know that if |
| 00:20:44 |
you're fairly aggressive, |
| 00:20:48 |
you can get out of the cage, |
| 00:20:51 |
And I have, and, |
| 00:20:56 |
thousand-pound |
| 00:21:00 |
The first time out of the cage |
| 00:21:01 |
was certainly |
| 00:21:05 |
And I went out |
| 00:21:07 |
and kept the cage at my back, |
| 00:21:09 |
and the first animal that came |
| 00:21:13 |
not totally convinced that |
| 00:21:16 |
But it worked, |
| 00:21:19 |
further and further |
| 00:21:21 |
And eventually, the last time |
| 00:21:23 |
I had five whites |
| 00:21:25 |
and I was thirty, |
| 00:21:27 |
with animals swimming |
| 00:21:31 |
You always have apprehension, |
| 00:21:33 |
but driven a bit by the hum of |
| 00:21:39 |
you take a calculated risk. |
| 00:21:48 |
Giddings has taken his chances |
| 00:21:50 |
not only with the ocean's |
| 00:21:53 |
but also with its |
| 00:21:56 |
Like the hypnotically |
| 00:21:58 |
but perilous waters beneath |
| 00:22:00 |
at the North and South poles. |
| 00:22:03 |
Diving the North Pole, |
| 00:22:05 |
and for that matter, |
| 00:22:08 |
I think represents |
| 00:22:10 |
that I've done anywhere |
| 00:22:12 |
Surface conditions north |
| 00:22:17 |
water temperature 28.5, |
| 00:22:20 |
a canopy of ice over your head |
| 00:22:22 |
in most cases, 8, 9 feet thick. |
| 00:22:26 |
Antarctic diving is very, very, |
| 00:22:29 |
tough on the people. |
| 00:22:30 |
You're still concerned |
| 00:22:32 |
You're still concerned about |
| 00:22:34 |
and making images but, again, |
| 00:22:36 |
You're going through a hole |
| 00:22:39 |
40 inches in diameter, |
| 00:22:40 |
and you've got |
| 00:22:41 |
And you're on the bottom |
| 00:22:43 |
and you've got, |
| 00:22:44 |
You're gonna run out of gas |
| 00:22:45 |
and you've gotta find |
| 00:22:52 |
If you are in trouble |
| 00:22:53 |
or you're confused |
| 00:22:56 |
that you wanna go deeper, |
| 00:22:59 |
if you surface under the ice |
| 00:23:00 |
and you're trying to see the exit point |
| 00:23:02 |
and you're just |
| 00:23:04 |
You can't see anything. |
| 00:23:05 |
So, you know, in most cases |
| 00:23:08 |
you're off to the surface. |
| 00:23:10 |
In this case if you have an |
| 00:23:12 |
to get a quick |
| 00:23:15 |
where the exit hole is and out. |
| 00:23:31 |
Arctic diving is also some |
| 00:23:35 |
that I've done. |
| 00:23:36 |
It's really a fairyland |
| 00:23:55 |
You have to be gutsy |
| 00:23:57 |
The best ones are driven. |
| 00:23:59 |
They want to excel. |
| 00:24:00 |
They want to come back |
| 00:24:02 |
no one's ever seen before. |
| 00:24:21 |
The camera goes to war! |
| 00:24:22 |
Each day it records |
| 00:24:24 |
and heroism of our troops |
| 00:24:26 |
But rarely do you see |
| 00:24:27 |
and the men behind it, |
| 00:24:28 |
who risk those same dangers |
| 00:24:30 |
to send back their stories |
| 00:24:31 |
This is "Cameramen At War", |
| 00:24:35 |
but with an admiring salute to |
| 00:24:39 |
In the last war |
| 00:24:41 |
60 yards from the German |
| 00:24:43 |
The man in the tin hat |
| 00:24:46 |
responsible for that |
| 00:24:48 |
The Birth of a Nation. |
| 00:24:49 |
The get-up may look |
| 00:24:51 |
but they thrill the audiences |
| 00:24:52 |
with the first shots |
| 00:24:55 |
In World War II, |
| 00:24:56 |
top filmmakers including |
| 00:25:00 |
William Wyler and Frank Capra |
| 00:25:05 |
working in Hollywood |
| 00:25:07 |
shot by military |
| 00:25:08 |
and civilian cameramen. |
| 00:25:10 |
Meet Jack Ramsen of Movietone. |
| 00:25:12 |
His assignment is a daylight |
| 00:25:15 |
His main care is his camera. |
| 00:25:17 |
It's carefully |
| 00:25:19 |
to the door |
| 00:25:21 |
It's covered with |
| 00:25:22 |
to prevent |
| 00:25:23 |
Every precaution is taken to |
| 00:25:25 |
insure you're seeing |
| 00:25:27 |
If the cameraman gets back. |
| 00:25:33 |
All set now except for his |
| 00:25:35 |
and heavy gloves |
| 00:25:36 |
in but necessary at these |
| 00:25:39 |
if he's to get pictures |
| 00:25:45 |
Caravan's Jim Wright in |
| 00:25:47 |
where the bomber leader |
| 00:25:49 |
over an Italian cove, |
| 00:25:50 |
pattern bombing it |
| 00:25:52 |
Wouldn't you think his fingers |
| 00:25:55 |
The pictures are steady |
| 00:26:05 |
The amphibious invasion |
| 00:26:08 |
of Tarawa in 1943, |
| 00:26:11 |
one of the bloodiest battles |
| 00:26:13 |
of the U.S. Marine Corps. |
| 00:26:15 |
A documentary film |
| 00:26:17 |
by Marine combat cameramen |
| 00:26:20 |
later won an Academy Award. |
| 00:26:33 |
This is the Army-Navy Screen |
| 00:26:36 |
where combat film |
| 00:26:38 |
Navy and Marine cameramen |
| 00:26:40 |
comes in from battlefronts |
| 00:26:43 |
The Marine staff sergeant |
| 00:26:45 |
22-year-old Norman Hatch |
| 00:26:50 |
Sgt. Hatch went in |
| 00:26:50 |
with the first wave |
| 00:26:54 |
armed with a pistol |
| 00:26:57 |
and brought back |
| 00:26:58 |
of the fighting at that island... |
| 00:27:05 |
you know that's the best |
| 00:27:07 |
I've ever seen. |
| 00:27:09 |
And when an Army man says |
| 00:27:11 |
he means it. |
| 00:27:13 |
Today, Norm Hatch has |
| 00:27:16 |
of hitting the beach at Tarawa |
| 00:27:18 |
with other Marine cameramen |
| 00:27:21 |
what a fierce battle |
| 00:27:23 |
They didn't know they'd have |
| 00:27:26 |
of seeing the enemy |
| 00:27:28 |
that both sides |
| 00:27:29 |
would be shown |
| 00:27:33 |
They didn't know that, |
| 00:27:35 |
combat photography |
| 00:27:37 |
to learn as they went along. |
| 00:27:40 |
When we went in on Tarawa, the |
| 00:27:43 |
had in the Marine Corps |
| 00:27:44 |
doing a war story on film |
| 00:27:48 |
and that was almost |
| 00:27:50 |
And so, consequently, |
| 00:27:53 |
it was sort of like |
| 00:27:58 |
everybody makes it up |
| 00:28:12 |
My thoughts were basically |
| 00:28:15 |
there and fight |
| 00:28:16 |
we had to go out there and do |
| 00:28:22 |
We had the exit covered with |
| 00:28:25 |
The Japs kept coming out |
| 00:28:26 |
trying to knock out |
| 00:28:28 |
There's one of them. |
| 00:28:33 |
That sniper's got a bead |
| 00:28:39 |
There's a squad of them! |
| 00:28:52 |
A lot of good guys from the |
| 00:28:56 |
I'm glad I got these pictures, |
| 00:28:58 |
because when you remember |
| 00:29:00 |
you've been fighting and |
| 00:29:02 |
And when you saw the flag go |
| 00:29:04 |
that flag stood for, you knew |
| 00:29:11 |
Vietnam a different war |
| 00:29:17 |
Cameraman Norman Lloyd, |
| 00:29:20 |
filmed and recorded |
| 00:29:22 |
when Bravo Company moved |
| 00:29:23 |
into a large Communist bunker |
| 00:29:26 |
six miles north of |
| 00:29:29 |
The main enemy fore |
| 00:29:31 |
but a rear guard element |
| 00:29:34 |
to slow down |
| 00:29:47 |
Norman Lloyd, from Australia, |
| 00:29:51 |
a kangaroo hunter, |
| 00:29:55 |
He went to Vietnam on his own, |
| 00:29:57 |
replaced a CBS cameraman |
| 00:30:00 |
and stayed four years. |
| 00:30:02 |
He won two Emmys and made |
| 00:30:05 |
for courage verging |
| 00:30:08 |
General Westmoreland was |
| 00:30:12 |
and there was a firebase |
| 00:30:16 |
and, uh, and I really wanted |
| 00:30:19 |
It was, but it was, they were |
| 00:30:22 |
and I wanted to get in and I, |
| 00:30:24 |
I walked up to him and I said, |
| 00:30:26 |
"General, I want to get |
| 00:30:29 |
And I said the name of the |
| 00:30:32 |
and then he said |
| 00:30:33 |
"son, you don't want |
| 00:30:36 |
Then I say "Yes, I do, sir" |
| 00:30:38 |
He said, "No you don't". |
| 00:30:42 |
And that firebase |
| 00:30:44 |
uh, you know, |
| 00:30:47 |
but, uh, but I really, |
| 00:30:49 |
I really wanted to |
| 00:30:53 |
uh, I went as high |
| 00:31:01 |
There was a lot of competition |
| 00:31:05 |
for "bang, bang" footage. |
| 00:31:06 |
It was very important to get |
| 00:31:09 |
It was action, |
| 00:31:13 |
The pressure coming |
| 00:31:15 |
there was a lot of pressure |
| 00:31:17 |
On correspondent, uh, on crews, |
| 00:31:20 |
if someone wasn't getting |
| 00:31:23 |
and, and, and |
| 00:31:26 |
where uh, where people would, |
| 00:31:28 |
would so silly things because |
| 00:31:31 |
And they'd go out, |
| 00:31:32 |
and this definitely happened, |
| 00:31:35 |
and other people were killed |
| 00:31:36 |
with them because of |
| 00:31:38 |
Norman Lloyd's countryman, |
| 00:31:41 |
reported and filmed combat |
| 00:31:45 |
He was a legend |
| 00:31:48 |
a master at covering combat. |
| 00:31:53 |
I would always try |
| 00:31:55 |
because that's where |
| 00:31:58 |
You can't get the spontaneity |
| 00:32:02 |
You can't get it |
| 00:32:05 |
the soldiers trying to get it |
| 00:32:09 |
you don't see the faces, |
| 00:32:11 |
The expressions on their faces. |
| 00:32:12 |
You don't see the compassion |
| 00:32:16 |
for their wounded comrades or |
| 00:32:21 |
I wanted to show |
| 00:32:23 |
and the only way to show them |
| 00:32:26 |
The real front life. |
| 00:32:43 |
And the idea is for |
| 00:32:46 |
to get the film |
| 00:32:47 |
no matter what happens. |
| 00:32:52 |
When Saigon fell, |
| 00:32:55 |
filming the panicked attempt |
| 00:32:57 |
to escape |
| 00:32:59 |
when the North Vietnamese |
| 00:33:02 |
Most camera crews departed |
| 00:33:04 |
from the U.S. Embassy |
| 00:33:06 |
helicopters that were |
| 00:33:08 |
to make room |
| 00:33:10 |
on aircraft |
| 00:33:17 |
Neil Davis chose not to escape. |
| 00:33:20 |
He stayed behind, |
| 00:33:22 |
and making some of |
| 00:33:25 |
of the Vietnam war. |
| 00:33:27 |
I didn't believe that there |
| 00:33:30 |
I survived |
| 00:33:31 |
of the Communist occupation, |
| 00:33:33 |
Where it's always very dicey, |
| 00:33:36 |
and fighting immediately. |
| 00:33:40 |
Most people had left |
| 00:33:42 |
The civilian population |
| 00:33:43 |
and waited. |
| 00:33:45 |
I decided the presidential |
| 00:33:48 |
And I went there alone |
| 00:33:52 |
And, I thought, I wasn't gonna |
| 00:33:56 |
I had a moment's hesitation as |
| 00:34:00 |
and the tank column |
| 00:34:02 |
because they fired |
| 00:34:04 |
to let people know |
| 00:34:06 |
I think, |
| 00:34:24 |
And a man with |
| 00:34:27 |
screaming in Vietnamese, |
| 00:34:30 |
Then I kept filming, |
| 00:34:31 |
and I rehearsed my bit before, |
| 00:34:37 |
"Welcome to Saigon, comrade. |
| 00:34:39 |
I've been waiting |
| 00:34:42 |
And I had qualms about that; |
| 00:34:43 |
I had it all right. |
| 00:34:44 |
And he said, "You're American". |
| 00:34:46 |
I said, "No, I'm not, |
| 00:34:48 |
I'm an Australian |
| 00:34:51 |
So he hesitated, and then |
| 00:34:54 |
and surrendering from the |
| 00:34:56 |
then dismissed me and ran past. |
| 00:34:59 |
And I was able to |
| 00:35:02 |
In 1985 |
| 00:35:03 |
Neil Davis was shooting a coup |
| 00:35:07 |
a tame event compared |
| 00:35:09 |
he'd survived so many times. |
| 00:35:15 |
But on this day, |
| 00:35:15 |
an exploding tank shell |
| 00:35:19 |
His camera, |
| 00:35:22 |
was still rolling |
| 00:35:25 |
But he was dead, |
| 00:35:26 |
and his soundman died |
| 00:35:34 |
Neil Davis was a guy |
| 00:35:39 |
And it was just a shame. |
| 00:35:43 |
but if it had of been |
| 00:35:48 |
uh, you know, |
| 00:35:51 |
I'm sure, instead |
| 00:35:56 |
you know, that meant nothing. |
| 00:36:01 |
After you see |
| 00:36:04 |
after you see |
| 00:36:06 |
after you see |
| 00:36:09 |
you go a little insane, |
| 00:36:11 |
and I used to drink |
| 00:36:15 |
I thought of suicide a lot, |
| 00:36:22 |
uh, the, uh, the only, |
| 00:36:25 |
the only reason that I, |
| 00:36:29 |
didn't, uh, do it, was uh, |
| 00:36:35 |
I really didn't want |
| 00:36:44 |
If I had the opportunity |
| 00:36:49 |
I would do it |
| 00:36:51 |
because I know what effect it |
| 00:36:55 |
It's taken years for me to, |
| 00:37:00 |
But, uh, but I'd do it again |
| 00:37:05 |
have got to see what war is, |
| 00:37:09 |
and, and, what means, |
| 00:37:15 |
Mount Everest a symbol |
| 00:37:20 |
irresistible challenge. |
| 00:37:23 |
Its grandeur has always |
| 00:37:27 |
but Everest is also a killer. |
| 00:37:30 |
Over 80 climbers |
| 00:37:33 |
Many more have come down |
| 00:37:37 |
The summit was |
| 00:37:40 |
and then by |
| 00:37:42 |
before an American team |
| 00:37:50 |
This team 19 men |
| 00:37:55 |
to reach the summit |
| 00:37:58 |
To create a documentary |
| 00:38:00 |
become the first National |
| 00:38:07 |
The climbers were punished by |
| 00:38:12 |
Temperatures 20 below zero, |
| 00:38:14 |
winds blowing at more than |
| 00:38:18 |
The altitude and cold induced |
| 00:38:22 |
Climbing was hard labor. |
| 00:38:24 |
Thinking was hard, |
| 00:38:28 |
even remembering the camera, |
| 00:38:32 |
And then things got worse. |
| 00:38:35 |
The expedition's professional |
| 00:38:39 |
was stricken with |
| 00:38:42 |
His climb was over, |
| 00:38:44 |
but lying in his tent |
| 00:38:47 |
in mountain cinematography |
| 00:38:49 |
who now got the job |
| 00:38:53 |
Lute Jerstad, |
| 00:38:54 |
who till then had never worked |
| 00:38:59 |
So we thought he was gonna die, |
| 00:38:59 |
and he thought |
| 00:39:01 |
So Doody got out scraps |
| 00:39:04 |
and got Barry Corbet and I by |
| 00:39:08 |
I think it was 18 |
| 00:39:11 |
and was teaching us how to |
| 00:39:14 |
So we'd take these little |
| 00:39:16 |
and we'd go outside and shoot |
| 00:39:19 |
and tell him what we did |
| 00:39:23 |
On May 1st |
| 00:39:25 |
and the Sherpa Gombu |
| 00:39:28 |
planting an American flag but |
| 00:39:34 |
Lute Jerstad, |
| 00:39:36 |
and his climbing partner, |
| 00:39:38 |
professional still |
| 00:39:40 |
were still a long way |
| 00:39:43 |
Climbing is scarcely the word |
| 00:39:46 |
They're barely creeping. |
| 00:39:48 |
Five breaths to a step |
| 00:39:52 |
Then more steps. More breaths. |
| 00:39:57 |
Bodies aching. Minds numb. |
| 00:40:03 |
Even with the flow of oxygen |
| 00:40:06 |
They can barely move |
| 00:40:09 |
But still they do move. |
| 00:40:13 |
You become so single-minded, |
| 00:40:15 |
the rest of the world |
| 00:40:17 |
Nothing, |
| 00:40:19 |
I am going to get |
| 00:40:23 |
So you just keep putting one |
| 00:40:26 |
and breathing as well |
| 00:40:27 |
and trying to stay as warm |
| 00:40:30 |
On the morning of May 22nd |
| 00:40:37 |
as alone as two |
| 00:40:40 |
on the face |
| 00:40:48 |
And then, before them is |
| 00:40:54 |
and bring tears to the eyes. |
| 00:40:57 |
After three weeks |
| 00:40:59 |
Jim Whitaker's maypole |
| 00:41:03 |
with Old Glory streaming |
| 00:41:11 |
These are the first moving |
| 00:41:14 |
from the summit of Everest. |
| 00:41:34 |
Lute Jerstad has his |
| 00:41:36 |
on the head of his ice axe. |
| 00:41:37 |
And the blur at the bottom |
| 00:41:50 |
Now a blast of wind strikes. |
| 00:41:51 |
The earth quakes: |
| 00:41:55 |
then steadies himself. |
| 00:41:57 |
He completes his panorama. |
| 00:42:00 |
They have won their victory. |
| 00:42:02 |
They're filled with a great |
| 00:42:07 |
We probably spent 45 minutes |
| 00:42:11 |
and all that was taken up |
| 00:42:13 |
And filming that long, |
| 00:42:15 |
certainly you pay |
| 00:42:17 |
And Barry's price was |
| 00:42:19 |
both little fingers |
| 00:42:21 |
And then in the |
| 00:42:23 |
as a result of that, |
| 00:42:24 |
he lost all 10 of his toes and, |
| 00:42:25 |
And part of his foot bone |
| 00:42:29 |
And we finally |
| 00:42:31 |
sometime at the end of July. |
| 00:42:32 |
I guess, that year to get |
| 00:42:36 |
And part of this was to go |
| 00:42:38 |
and they were gonna |
| 00:42:40 |
And I walked into this room |
| 00:42:42 |
attention to it |
| 00:42:43 |
and looking at the great |
| 00:42:46 |
and all of a sudden on the |
| 00:42:50 |
and I started to cry. |
| 00:42:51 |
I couldn't believe |
| 00:42:53 |
And then I remembered |
| 00:42:55 |
But I couldn't, |
| 00:42:57 |
looked like until I saw that, |
| 00:42:58 |
and it's because of |
| 00:43:01 |
you know, get this job done, |
| 00:43:04 |
and then you can turn |
| 00:43:07 |
Twenty years later |
| 00:43:07 |
David Breashears reached |
| 00:43:10 |
a television picture to |
| 00:43:13 |
for broadcast |
| 00:43:13 |
a week later |
| 00:43:17 |
Twenty-five years later 1988 |
| 00:43:21 |
were seen live on TV |
| 00:43:27 |
Thus the dream |
| 00:43:28 |
of Capt. John Noel |
| 00:43:32 |
Captain Noel who carried |
| 00:43:35 |
Everest in the unsuccessful |
| 00:43:38 |
of the early 1920s. |
| 00:43:41 |
His film continues to amaze |
| 00:43:45 |
not only for its clarity |
| 00:43:47 |
but also his pioneering ordeal. |
| 00:43:51 |
He lugged heavy equipment. |
| 00:43:53 |
He developed the film himself, |
| 00:43:55 |
on the spot, |
| 00:43:58 |
filtering glacier water, |
| 00:43:59 |
burning yak dung to provide |
| 00:44:08 |
He worked on his own, |
| 00:44:09 |
getting little cooperation |
| 00:44:11 |
who resented his presence, |
| 00:44:13 |
regarding his camera as |
| 00:44:16 |
on the purity |
| 00:44:25 |
And yet his film preserved |
| 00:44:29 |
and made a legend |
| 00:44:32 |
climbers George Mallory |
| 00:44:36 |
to within 600 feet |
| 00:44:38 |
before disappearing forever, |
| 00:44:41 |
Noel and the others watching |
| 00:44:44 |
then waiting anxiously as a |
| 00:44:46 |
by N.E. Odell went up. |
| 00:44:49 |
Crossed blankets in the snow |
| 00:44:52 |
to those below that |
| 00:44:55 |
for Mallory and Irvine |
| 00:44:58 |
a signal first seen through |
| 00:45:04 |
The emotion of |
| 00:45:07 |
is still keenly felt |
| 00:45:10 |
Hi is 98 years old. |
| 00:45:13 |
The top of the North Col |
| 00:45:17 |
and Odell, |
| 00:45:20 |
and determined after two days |
| 00:45:22 |
and two nights |
| 00:45:27 |
just lost, he went |
| 00:45:31 |
and he found these pieces of |
| 00:45:34 |
and he came back and he gave |
| 00:45:39 |
We had no wireless telephone |
| 00:45:40 |
in those days; |
| 00:45:43 |
He put a signal out |
| 00:45:47 |
And the photograph I got, |
| 00:45:48 |
the best photograph |
| 00:45:51 |
was a circle made by the, |
| 00:45:54 |
at one-and-a-half-miles range |
| 00:45:59 |
and showing the men |
| 00:46:03 |
And people asked me, |
| 00:46:05 |
I couldn't tell; |
| 00:46:10 |
I couldn't tell them, |
| 00:46:15 |
The crossed blankets meant |
| 00:46:21 |
That is clearly shown. |
| 00:46:27 |
Almost 30 years passed before |
| 00:46:31 |
almost 40 years till |
| 00:46:33 |
Lute Jerstad fulfilled |
| 00:46:36 |
of moving pictures |
| 00:46:39 |
Captain Noel, filming a heroic |
| 00:46:43 |
was one of the first |
| 00:46:45 |
As the era of the action film |
| 00:46:49 |
he embodied explore |
| 00:46:52 |
and made lasting |
| 00:46:54 |
to the tradition of cameramen |
