Life after Globe Trekker

Mar 19

Episode 6: Part 2

March 19, 2026
In Episode 6, Part 1, Ian and Justine pulled back the curtain on what it was really like to have "The Best Job in the World." Now, in Part 2, Ian & Justine are back to tell us what they've been up to since hosting Globe Trekker.

Ian, never one to stay still for long, went on to host a string of raucous, irreverent travel shows that felt tailor-made for his infectious energy. Between adventures he retreated to his studio in Norfolk, England, where a lifelong devotion to drawing, painting, sewing, and making has remained his quiet constant — a creative anchor through decades of wandering.

Justine embraced motherhood, raising her son while channeling her curiosity about the world into documentary filmmaking. Her films include Promises — an intimate portrait of Palestinian and Jewish children navigating life in Israel and the West Bank — earned an Academy Award nomination and won two Emmy Awards and continues to be the most widely used documentary film in classrooms and think tanks on the subject of the Palestinian-Israeli conflict.

And then, as life tends to do, the years filled up with everything in between — the extraordinary and the mundane, adventures and misadventures, setbacks, joy and the quieter weight of loss and change. In 2025 Ian and Justine reunited to launch Our Looney Planet. Yes, there is life after Globe Trekker. A lot of it.

CHAPTERS:
00:00 Intro
00:4 4 Seeds of Promises
04:32 Promises Made
16 :44 The kids meet
20:57 Promises Fulfilled
25:36 Justine’s Last Show: Venice
30:40 Ian’s Last Show: Istanbul to Vienna
34:00 Wrights of Passage: Ian’s later shows
39:16 Where The Magic Happens: Ian’s artwork
46:11 The Gallery Above: Ian’s exhibition
49:58 And Season 1 is done!

Listen on your favorite platform

Episode Cast & Crew

Hosts: Ian Wright and Justine Shapiro
Producer: Stephen Lennhoff
Editor: Gregory Scharpen
Sound Mix: Dan Olmsted at IMRSV Sound

This podcast was recorded at:
Kuku Studios, Berkeley, California USA
Haverhill Music Hub, Haverhill UK

Major Funding

Season 1 was made possible thanks to a grant from The Khosravi Family Trust and donors like you.

Our Loonies

Mrugesh Thaker
Joseph Tindle
Prateek Shrivastava
Rajeev
Mike Matera
John Miles
Nikhil Patel
Saurabh Chaudhary
Craig Richardson

Bhavika Gadhvi
Joe Guzman
Heather Munro
Robert Paul
Ignacio Gil
Abigail
Richard Logan
Era Orozco
James Wheaton
Melanie Rudzinski
Cliff Matheson
José Pizarro-Otero
Rob Furber

Season 1 Credits

With gratitude to those from Pilot Films and Television, UK who helped create Our Looney Planet

Ian Cross, founder of Pilot Productions and creator of the Lonely Planet / Globe Trekker TV series.

Deb Marrow Cox
Anne Bogart
Sarah Blinco
Sanyukta Shrestha
Helen Roberts
Richard Howard
Chris Hampson
Amanda Kramer
Ian Ritchie
Neville Farmer

Megan McCormick
Emma Cahusac
Angela Gourley
Rachael Heaton-Armstrong
Andy Margetson
Lucy Cooke
Bini Adams
David Tibballs
Saami Sabiti

Nick Robbins
Nigel Kinnings
Lynn Mitchell
Georgie Burrell
Neil Harvey
Simon Niblett
Ian sciacaluga
Rik Lander
Peter Boyd Maclean
Tim Knight

With gratitude

Rachel Mercy Simpson, Berkeley Community College
Interns: Seungjun Kim, Martin Mercy, Matan Ziv, Manny Cox

Betsy Rate, UC Berkeley School of Journalism
Interns: Negar Ajayebi, Alicia Chang, Zane Karram and Fuwad Ahamad

Rob Burchell, The Hall Media Facilities, UK

Honorbarre.com
Cardiowithcarah.com
The Center for Creative Exploration

Jeanette McDonald-Wright
Rie Aldous
Jackie Shroff
Tony & Chesney Mumford
Marvin and Mr. Monk
Paul Mourey & Karim Crippa
David Orelowitz & Lauren Heymann
Vicente Franco
Jim Capobianco

Lucy Kaplan
Mateo Evaristo Shapiro Bolado
y Carlos Bolado
Tony Cataldo
Carah Herring
Année Kim
Stephanie Mackley
Marcia and Paul Masse
Paul Zaentz
Chaz Blanc

Michael Wilson
Mick Erausquin
Elizabeth Gray
Catherine Girardeau
Jason Reinier
Roopa Ramamoorthi
Laura O'Brien Crisp
Guy Reingold
Esme Agilar
Sonia Mistry
Sherry Sly
Claudia Erzinger

With Gratitude To Those We’ve Lost

Jonathan Leffman, Sound Recordist
Stephen Luscombe, Composer
Paul Pierre Standifer, Fixer/Producer
Leslie Weiner, Producer
Roger Whitby, Sound Recordist
Nick Corey Wright, Director
Anthony Bourdain

This podcast was produced in Loving Memory of Phillippe Gualier.

For MATLANA

Executive Producer: Justine Shapiro
Series Producer & Director of Social Media & Community: Liliana Cortés
Senior Editor & Producer: Gregory Scharpen
Director & Producer: Stephen Lennhoff
Director of Audience Strategy & Partnerships: Bri Castellini

Website and Media Management: Sage Brucia
Title Animation - Zazie Capobianco, Aerial Contrivance Workshop
Bookkeeper: Craig Paull
Legal: Richard J. Lee Law Group and Madison Karsenty, DCP Law

Our Looney Planet is produced by MATLANA a 501(c)3 organization

MATLANA Board Members

Deirdre English
Jocelyn Leroux
Jena Resner
Justine Shapiro

0:00:01.445 - 0:00:05.840
[Justine VO] Welcome to part
two of our season finale.
0:00:05.840 - 0:00:09.920
In part one of our season finale,
we told you all about how we got the job
0:00:09.920 - 0:00:11.440
hosting Globe Trekker with
0:00:11.440 - 0:00:17.120
Ian's first shoot in Brazil
in 1994 and mine in Vietnam.
0:00:17.120 - 0:00:22.889
Now, in part two, we're going to tell you what
we've been up to since we hosted Globe Trekker.
0:00:24.160 - 0:00:26.720
Hi, I'm Ian.
I'm Justine.
0:00:26.720 - 0:00:30.880
Back in the '90s, we hosted Lonely Planet,
0:00:30.880 - 0:00:33.920
also known as Globe Trekker or Pilot Guides.
0:00:33.920 - 0:00:35.120
Now we're back.
0:00:35.120 - 0:00:40.720
Welcome to our Looney Planet with Ian and Justine.
0:00:40.720 - 0:00:42.792
Yeeha! Woohoo!
0:00:45.040 - 0:00:50.240
The first show was Vietnam.
That was in February 1994.
0:00:50.240 - 0:00:56.000
And at that point I was dating a producer for
0:00:56.960 - 0:01:02.160
a news channel and he said
keep your eye open for stories.
0:01:02.160 - 0:01:03.120
Maybe there's a story.
0:01:03.120 - 0:01:05.440
Cuz I was still interested
in making documentary films.
0:01:05.440 - 0:01:07.280
He said keep your eyes open.
0:01:07.280 - 0:01:14.960
So a few months later I did a shoot for a show
called Israel and the Palestinian territories.
0:01:14.960 - 0:01:16.800
Lonely Planet show. Israel and
0:01:16.800 - 0:01:19.840
Palestinian territories.
(overlapping) Oh ok.
0:01:19.840 - 0:01:21.760
And I had family living in Israel.
0:01:21.760 - 0:01:24.080
So I went a little early and
spent some time with them.
0:01:24.080 - 0:01:26.640
And this was this was 1994.
0:01:26.640 - 0:01:29.840
People were starting to talk
about the Oslo Accords and
0:01:29.840 - 0:01:32.240
you know "peace is coming to the Middle East."
0:01:32.240 - 0:01:36.480
And so I asked my cousins,
some of my Israeli cousins,
0:01:36.480 - 0:01:40.400
you know, what they thought of Palestinians.
0:01:40.400 - 0:01:45.680
And some of my cousins had never met
a Palestinian except for, you know,
0:01:45.680 - 0:01:50.480
the janitors who worked around and they
didn't have very nice things to say about them
0:01:50.480 - 0:01:53.520
even though they really had never
broken bread with a Palestinian
0:01:53.520 - 0:01:57.040
or knew them well but they
had very strong opinions.
0:01:57.040 - 0:02:01.680
And then during the Globe Trekker shoot or I
guess at that point it was called Lonely Planet.
0:02:01.680 - 0:02:06.880
During the Lonely Planet shoot, we
were up in on the beach in Herzliya
0:02:06.880 - 0:02:09.520
on the Mediterranean on the west side of Israel.
0:02:09.520 - 0:02:13.600
And a bus full of Palestinian
girls had come into the beach
0:02:13.600 - 0:02:17.440
that day from Hebron, which is in the West Bank.
0:02:17.440 - 0:02:24.160
And this was their first time inside, what
they call the green line, inside Israel.
0:02:24.160 - 0:02:26.240
And it was their first time at the beach.
0:02:26.240 - 0:02:29.840
And they were all wearing
these long black javalias.
0:02:29.840 - 0:02:35.840
And they were just like this beautiful
vision of young women there at the beach.
0:02:35.840 - 0:02:39.680
And I was talking with one of
them in sort of broken English.
0:02:39.680 - 0:02:44.400
We were having this lovely lovely
conversation, you know, my name,
0:02:44.400 - 0:02:50.080
your name, how many brothers, sisters, how many
brothers, sisters, where do you live? Hebron
0:02:50.080 - 0:02:54.000
Very broken, but a very
connected, lovely conversation.
0:02:54.000 - 0:02:58.080
And then at one point somebody walked past us
0:02:58.080 - 0:03:05.040
and she turned around and then she looked at me
and she said, "Is that a Jew? Is that my enemy?"
0:03:05.040 - 0:03:09.760
And she spit on the sand, you
know, and I was like, "Wow."
0:03:09.760 - 0:03:13.040
And then she said to me, "You know what religion?"
0:03:13.840 - 0:03:17.760
And I wasn't quite sure what to
say, so I didn't say anything.
0:03:17.760 - 0:03:22.720
And she said, "Oh, you can be Muslim. Allah
is one. You just believe Allah is one."
0:03:22.720 - 0:03:28.480
And I said, "You know, Fatima, I'm Jewish."
0:03:28.480 - 0:03:32.240
And she looked at me in a way no
one has ever looked at me before.
0:03:32.240 - 0:03:33.680
She'd never met a Jew.
0:03:33.680 - 0:03:36.320
She'd never had a conversation with a Jew.
(overlapping) Wow.
0:03:36.320 - 0:03:37.840
And she just went white.
0:03:37.840 - 0:03:39.680
Wow.
She couldn't speak.
0:03:40.400 - 0:03:42.160
She couldn't breathe.
0:03:42.160 - 0:03:46.640
And she literally backed away from me.
She was in shock.
0:03:46.640 - 0:03:49.360
And we'd been having this
really animated conversation.
0:03:49.360 - 0:03:52.320
And then it was like this, and she moved away.
0:03:52.320 - 0:03:56.640
And her teacher ran up to me and
she said, "I'm sorry. I'm so sorry."
0:03:57.520 - 0:04:01.920
"She doesn't mean to be rude. She
just, she's never met a Jew before."
0:04:01.920 - 0:04:03.920
You know, and I was like, "It's okay. It's okay."
0:04:03.920 - 0:04:07.840
So, I'm getting that from her and then I'm
hearing what I'm hearing from my cousins.
0:04:07.840 - 0:04:11.280
And I thought, you know, I'd
like to make a documentary film
0:04:11.280 - 0:04:15.040
about how Palestinian and Israeli children think,
0:04:15.040 - 0:04:19.120
you know, and then I approached a
friend of mine who I made the film with,
0:04:19.120 - 0:04:21.360
B.Z. Goldberg, who'd grown up in Israel,
0:04:21.360 - 0:04:23.840
and he'd worked a lot in the news side.
0:04:23.840 - 0:04:26.720
And so together we thought,
0:04:26.720 - 0:04:29.840
oh, let's make a little film about
Palestinian and Israeli children.
0:04:29.840 - 0:04:34.320
You know, maybe it'll take a year.
0:04:43.760 - 0:04:47.951
Bezy and I were filming
there on and off for 4 years.
0:04:58.800 - 0:05:03.040
"Promises" features seven
Palestinian and Israeli children.
0:05:09.680 - 0:05:15.274
Who live no more than 20 minutes
apart but in very different worlds.
0:05:22.458 - 0:05:28.015
We actually could have made a film about
12 Palestinian and Israeli children,
0:05:28.080 - 0:05:31.600
but we ended up in the edit having
to, you know, kind of focus.
0:05:31.600 - 0:05:35.114
And so we focus on these seven children.
0:05:43.520 - 0:05:45.280
When we started talking with them,
0:05:45.280 - 0:05:50.603
they were 8 and 9 years old and we were
talking with them until they were 12, 13.
0:06:06.320 - 0:06:08.320
And they grow up in the film
0:06:08.320 - 0:06:14.480
because we spent so much time with them because it
took so long to raise the money to make the film.
0:06:14.480 - 0:06:17.040
We kind of just had to keep going and keep going
0:06:17.040 - 0:06:21.840
and you know the kids were super
un-self-conscious when we were speaking with them.
0:06:21.840 - 0:06:23.920
They were so young 8, 9, 10.
0:06:24.640 - 0:06:30.400
People really weren't making documentaries...
like these days everyone's a filmmaker
0:06:30.400 - 0:06:35.920
but back then the only people with cameras were
sort of news journalists and actual filmmakers.
0:06:35.920 - 0:06:41.200
So the families just took us in.
We spent lots of time with them.
0:06:41.200 - 0:06:44.320
They didn't really even think
we would ever finish the film.
0:06:44.320 - 0:06:47.680
We just kept showing up year
after year after year after year.
0:06:47.680 - 0:06:52.880
So what was the premise of it?
Just getting them to meet or to talk about...?
0:06:52.880 - 0:06:56.400
I mean, I've seen it so I'm just guiding you into-
Yeah.
0:06:56.400 - 0:06:59.760
The film focuses on these seven children
0:06:59.760 - 0:07:01.440
and what their lives are like.
0:07:01.440 - 0:07:05.680
Where they live, where they wake up every morning.
0:07:05.680 - 0:07:07.600
What they have for breakfast.
0:07:07.600 - 0:07:10.560
What they think about the conflict.
0:07:10.560 - 0:07:14.836
What they think about in terms
of what's important to them.
0:07:24.080 - 0:07:29.120
But I understand them because they
were thrown out of here 50 years ago
0:07:29.120 - 0:07:36.691
and they feel very very small, very like hurt
because because they were thrown out that way.
0:08:20.240 - 0:08:24.960
So articulate at such a young age talking
about their feelings and conflict and that
0:08:24.960 - 0:08:28.000
You know, I was still rubbing me
back against a tree at that age
0:08:29.417 - 0:08:30.880
You know, amazing.
0:08:30.880 - 0:08:32.560
Well it's true.
0:08:32.560 - 0:08:39.280
It was really easy to find Palestinian kids
of any age who could speak to the politics
0:08:39.280 - 0:08:42.720
because they woke up thinking
about the checkpoint.
0:08:42.720 - 0:08:44.640
That was something they faced every day,
0:08:44.640 - 0:08:47.680
like going to school or what
their parents were dealing with.
0:08:47.680 - 0:08:52.400
So the restrictions for Palestinians was just sort
0:08:52.400 - 0:08:54.681
of in their face every day
and they could speak to it.
0:10:04.800 - 0:10:13.600
For a lot of the Israelis, particularly the kind
of, you know, Ashkenazi West Jerusalem Israelis,
0:10:13.600 - 0:10:18.480
They didn't, the kids weren't really
dealing with the conflict on a daily basis.
0:10:18.480 - 0:10:20.320
They weren't thinking about checkpoints.
0:10:20.320 - 0:10:25.280
They were thinking a bit about bus bombs
because there had been a bunch of bus bombs.
0:10:25.280 - 0:10:32.480
But it was quite difficult to find young Israelis
to be able to speak in a way about the conflict.
0:10:32.480 - 0:10:36.000
They could feel it, but they
couldn't put words to it.
0:10:36.000 - 0:10:42.240
But with Yarko and Daniel, I think in large
part because their parents are so switched on,
0:10:42.240 - 0:10:46.960
they were really able to give
voice to to their experience of,
0:10:46.960 - 0:10:51.967
you know, what it felt like getting on the bus in
the morning and being a little nervous about it.
0:11:27.920 - 0:11:32.320
They had feelings about the ultraorththodox
not serving in the military.
0:11:32.320 - 0:11:36.560
They knew that there were refugee camps.
They knew about Oslo.
0:11:36.560 - 0:11:39.600
They were curious.
They might not have known very much.
0:11:39.600 - 0:11:43.200
They were 9-10 years old. But
they were curious, you know.
0:11:43.200 - 0:11:47.110
That all comes over. It's extraordinary really.
0:12:28.800 - 0:12:32.640
One kid, he grows up in a
family, a Palestinian family
0:12:32.640 - 0:12:36.720
that are coffee merchants
in the old city, you know,
0:12:36.720 - 0:12:39.790
so he works sometimes in the coffee shop.
0:12:47.560 - 0:12:52.560
You know, so we get a sense of
their home life and their hobbies.
0:12:52.560 - 0:12:58.880
And Faraj, who was one of our Palestinian
kids from the Dheisheh refugee camp,
0:12:58.880 - 0:13:01.131
he was really into running and racing.
0:13:07.680 - 0:13:11.040
And Yarko and Daniel, who
are two of our Israeli kids,
0:13:11.040 - 0:13:16.720
they're twins from West Jerusalem,
they were also into racing.
0:13:16.720 - 0:13:20.240
And so B.Z. and I were
taking Polaroids of the kids.
0:13:20.240 - 0:13:23.360
So we had a little stack
of photographs of the kids.
0:13:23.360 - 0:13:26.080
And so you know, when we'd go to Faraj, we'd say,
0:13:26.080 - 0:13:31.600
"Oh, you know, Yarko and Daniel, the other
kids that were filming, they also race."
0:13:31.600 - 0:13:37.440
And Faraj really wanted to see the Polaroids of
Yarko and Daniel with their running shoes on.
0:13:38.240 - 0:13:40.080
But other kids weren't that interested.
0:13:40.080 - 0:13:43.120
You know, like Moshe, the kid
who lived in the settlement,
0:13:43.120 - 0:13:45.200
we'd tell him we were filming other kids.
0:13:45.200 - 0:13:48.133
He had no interest in knowing anything about them.
0:13:57.760 - 0:14:00.960
But Faraj was really
interested in Yarko and Daniel.
0:14:00.960 - 0:14:06.051
And Yarko and Daniel really wanted to see
the Polaroid of Faraj in his running shoes.
0:15:08.880 - 0:15:12.160
So they kind of expressed their own curiosity.
0:15:12.160 - 0:15:19.200
And then one day we were with Faraj
in his room in Dheisheh refugee camp
0:15:19.200 - 0:15:23.600
and we were just having a chat with
him about his running and he said,
0:15:23.600 - 0:15:27.360
"You know, I want to call Yarko and Daniel."
0:15:27.360 - 0:15:31.920
You have the number?
The telephone number?
0:15:31.920 - 0:15:32.420
Yeah.
0:15:32.420 - 0:15:36.329
I have the telephone number.
I talk with him now.
0:15:36.720 - 0:15:41.520
And we're filming and we were like,
"Oh my gosh, we didn't expect this to happen."
0:15:41.520 - 0:15:46.000
And you know, we basically slapped the
radio mic on the back of a cell phone
0:15:46.000 - 0:15:52.880
and hoped that Yarko or Daniel
would answer the phone, a landline.
0:15:52.880 - 0:15:57.920
And Daniel answered the landline
and so we could hear Daniel's voice.
0:15:57.920 - 0:16:00.400
Faraj is calling him for the first time.
0:16:00.400 - 0:16:03.840
Yo. Hello.
Hello. What?
0:16:03.840 - 0:16:07.360
Hi. How are you?
Good. Fine. And you?
0:16:07.360 - 0:16:08.480
I'm fine.
0:16:08.480 - 0:16:12.080
I hear you are running.
100 meter. Yes.
0:16:12.080 - 0:16:19.463
Yeah. We want to come to your
place. I come to your place.
0:16:21.760 - 0:16:26.347
I'll invite you to come to Dheisheh.
[on phone] Ok, Iagree.
0:16:26.982 - 0:16:30.240
And so they really kind of set up this meeting
0:16:30.240 - 0:16:34.720
and then in a way the polaroids
kind of, you know, greased the way.
0:16:34.720 - 0:16:40.480
And so then the third act of the film are
Yarko and Daniel, these two Israeli kids
0:16:40.480 - 0:16:44.462
going to the Dheisheh refugee camp and
meeting the Palestinian kids there.
0:17:32.080 - 0:17:33.350
Hi.
0:17:40.000 - 0:17:40.900
[introducing themselves]
0:17:47.888 - 0:17:49.892
And we didn't anticipate that.
0:17:49.892 - 0:17:53.600
You hadn't got a premise of, like,
at the end of this they're all going to meet up?
0:17:53.600 - 0:17:56.800
Wow, that's even more insane.
0:17:56.800 - 0:18:00.960
You know, when B.Z. and I first started
making Promises and trying to get money,
0:18:00.960 - 0:18:05.360
all the foundations and donors were saying, "Well,
you're going to bring the kids together, right?"
0:18:05.360 - 0:18:07.680
"We need to feel hope. We need to feel hope."
0:18:07.680 - 0:18:11.200
And so, initially, we thought, "Oh,
God, we got to bring the kids together."
0:18:11.200 - 0:18:14.240
But when we went there and we
spoke with parents and educators,
0:18:14.240 - 0:18:16.560
they were like, "The kids don't meet."
0:18:16.560 - 0:18:20.080
You know, if you bring them together, that's
a contrivance. It just doesn't happen.
0:18:20.080 - 0:18:22.160
And when it does, it's usually a well-funded
0:18:22.160 - 0:18:25.920
program or a program funded by
the Europeans or the Americans
0:18:25.920 - 0:18:28.160
that bring kids together, but
it's not really what happened.
0:18:28.160 - 0:18:30.845
So, we didn't actually expect that to happen at all.
0:18:30.845 - 0:18:32.880
(overlapping) Well that's why your
film's so genius because it happened.
0:18:32.880 - 0:18:38.160
And the kids, I don't know how the hell you got to
'em, it's almost like chosen, they're so brilliant.
0:18:38.160 - 0:18:41.840
They're so kids, you know, burping, fighting,
0:18:41.840 - 0:18:45.841
and they're just like just laughing
and taking the piss out of each other.
0:19:08.160 - 0:19:12.080
Just extraordinary.
Yes. Well, you know,
0:19:12.080 - 0:19:17.120
the scene where the two kids are burping,
0:19:17.120 - 0:19:20.720
You know, B.Z. and I would often think,
well, what are we going to do with the kids?
0:19:20.720 - 0:19:22.640
What are we going to do that's
going to we're going to film?
0:19:22.640 - 0:19:27.040
And I got a lot of inspiration
from also at the same time I
0:19:27.040 - 0:19:29.200
was presenting Lonely Planet
(overlapping) Oh wow, oh wow.
0:19:29.200 - 0:19:33.520
And I knew that, you know, if you just go
for a walkabout, things are going to happen.
0:19:33.520 - 0:19:39.520
So I said, "Well, let's just take the- let's just
go for a walk through the old city with Shlomo,"
0:19:39.520 - 0:19:42.640
Who was our Orthodox Jewish boy in the film.
0:19:42.640 - 0:19:44.800
He lived in the old city in the Jewish quarter.
0:19:44.800 - 0:19:48.480
And I was like, "Well, let's just go for a walk
with him and his sisters. Something will happen."
0:19:48.480 - 0:19:51.200
You know, it happens. You go for
a walk, something will happen.
0:19:51.200 - 0:19:55.840
And in fact, this whole
burping scene then played out.
0:19:55.840 - 0:19:59.760
Which was such a metaphor
for the politics of the time.
0:19:59.760 - 0:20:00.795
Yeah, yes.
0:20:00.795 - 0:20:02.240
(OS) Do you know him yet?
Nope.
0:20:02.240 - 0:20:04.782
(OS) You've never met each other before?
No.
0:20:06.395 - 0:20:10.000
(OS) But you're neighbors?
Something like that.
0:20:12.638 - 0:20:16.080
(OS) Do you know any Jews
who have Palestinian friends?
0:20:16.080 - 0:20:21.721
It's more like what- I know a
lot of fathers like have very...
0:20:23.920 - 0:20:28.480
nice communication between each
other, but kids almost never.
0:20:28.480 - 0:20:30.656
[Burp]
0:20:36.423 - 0:20:49.169
[Continues burping]
[Offscreen giggles]
0:20:57.920 - 0:21:00.480
And then what was it like when you finished it all
0:21:00.480 - 0:21:03.600
and the buzz around it and everything,
and getting it out?
0:21:03.600 - 0:21:09.120
I mean that's the drama in itself.
And then getting nominated. Wow.
0:21:09.120 - 0:21:12.960
Yeah. I mean when we were making
Promises I was supporting myself
0:21:12.960 - 0:21:16.000
with what we were getting from making Lonely
0:21:16.000 - 0:21:19.280
Planet/ Globe Trekker which as
you know wasn't all that much.
0:21:19.280 - 0:21:22.000
I mean, there were a couple of
really good years when Discovery
0:21:22.000 - 0:21:25.360
US was paying better than anyone had paid before,
0:21:25.360 - 0:21:26.800
but you know, we weren't making a lot,
0:21:26.800 - 0:21:30.800
but it it was enough to support
me so that I could make Promises.
0:21:30.800 - 0:21:33.760
And, you know, we didn't get into Sundance.
0:21:33.760 - 0:21:36.240
HBO didn't want it.
0:21:36.240 - 0:21:40.720
And we didn't think anyone was ever going
to see the film except for our donors.
0:21:40.720 - 0:21:43.440
We really didn't think the
film was going to be anything.
0:21:44.480 - 0:21:49.680
But it turned out that the film
was just... hit the zeitgeist.
0:21:49.680 - 0:21:55.040
People really loved the
film. It did incredibly well.
0:21:55.040 - 0:21:56.880
I think it's still the most
0:21:56.880 - 0:21:59.840
widely used film in classrooms
(overlapping?) Really? Wow!
0:21:59.840 - 0:22:01.920
-up through think tanks dealing with the
0:22:01.920 - 0:22:05.760
Palestinian-Israeli conflict
because it's a great story.
0:22:05.760 - 0:22:07.040
Yeah
It's,
0:22:07.040 - 0:22:14.160
you know, both Palestinians and
Muslims and Jews and Israelis,
0:22:14.160 - 0:22:19.440
they feel that the film is
a really fair representation
0:22:19.440 - 0:22:22.400
of the mindset of kids of that time.
0:22:22.400 - 0:22:25.920
The film also gives you a really
good sense of the geography,
0:22:25.920 - 0:22:31.200
so you can appreciate just how everyone
is just sort of living so close together.
0:22:31.200 - 0:22:33.280
And the film did really, really well.
0:22:33.280 - 0:22:40.240
I mean, B.Z. and I would have made some money
from it if our distributors hadn't gone bankrupt.
0:22:41.600 - 0:22:46.560
So the film, I'd like to say it had an impact.
0:22:46.560 - 0:22:54.880
I'm not sure it did given what's going on
in Gaza and the West Bank and and Israel
0:22:54.880 - 0:22:59.600
but it was an extraordinary experience.
0:22:59.600 - 0:23:03.840
It's got to be done, isn't it?
You know, you can't-
0:23:03.840 - 0:23:08.640
the consequences is this or its influence is this.
That's out of your control, isn't it?
0:23:08.640 - 0:23:11.600
All you can do is make something
and hope that that will have-
0:23:12.640 - 0:23:15.440
someone might have seen that
and it changed their lives.
0:23:15.440 - 0:23:17.840
You know, you might you'll never
know about it or something,
0:23:17.840 - 0:23:20.160
but you know, sometimes that's just the way it is.
0:23:20.160 - 0:23:24.320
As long as you're doing it and
getting it out there, good on you.
0:23:24.320 - 0:23:28.320
You should be well proud because that's
quite an extraordinary feat to do.
0:23:28.320 - 0:23:30.320
And that's a lot of work!
(overlapping) I think
0:23:30.320 - 0:23:34.400
probably one of the things I learned
0:23:34.400 - 0:23:39.120
making that which I think has been helpful
0:23:39.120 - 0:23:45.040
is that you can hold more than one opinion in
one hand and that we really just don't know.
0:23:45.040 - 0:23:49.760
And I do hear a lot of people
expounding their opinions.
0:23:49.760 - 0:23:53.200
And I guess when I meet with classrooms,
0:23:53.200 - 0:23:59.440
I always ask the students to start off by
repeating after me my three favorite words.
0:23:59.440 - 0:24:02.640
"I don't know. I don't know."
0:24:02.640 - 0:24:08.720
Because we really have a quick tongue
when it comes to what we think we know.
0:24:08.720 - 0:24:12.480
And things are just so gray area.
Things are so complicated.
0:24:12.480 - 0:24:16.480
And I think it's pretty disingenuous
to have a strong opinion
0:24:16.480 - 0:24:20.640
about what a person is like or a
race is like or a people are like
0:24:20.640 - 0:24:23.440
if you haven't sat down
and broken bread with them.
0:24:23.440 - 0:24:27.840
Cuz really when you do that you
realize, oh wow, this is complicated.
0:24:27.840 - 0:24:30.560
They're a lot more like me
than I thought they would be.
0:24:30.560 - 0:24:32.480
I'm a lot more like them.
0:24:32.480 - 0:24:39.520
So I learned a lot making Promises.
Yeah. Yeah. Wow.
0:24:41.760 - 0:24:45.789
Anyway, the film was nominated
for an Academy Award.
0:24:54.320 - 0:25:02.160
We won two Emmys and here they are.
[Ian bursts out laughing]
0:25:02.160 - 0:25:09.102
I like- "Well, they just they happen
to be down there where I keep them!"
0:25:09.102 - 0:25:09.120
"What a surprise!"
0:25:09.120 - 0:25:12.400
I keep them in my mom's garden
because they look nice, you know,
0:25:12.400 - 0:25:14.720
in the sun, so they're a bit dirty.
0:25:14.720 - 0:25:15.520
Yeah.
0:25:15.520 - 0:25:18.160
So, Promises came out in 2001.
0:25:18.160 - 0:25:21.760
I did a few more Lonely
Planet Globe Trekker shows.
0:25:21.760 - 0:25:28.560
And then I did my last
Globe Trekker shoot in 2004.
0:25:28.560 - 0:25:34.000
And my last Globe Trekker shoot was
Venice with Steven Lennhoff directing.
0:25:34.000 - 0:25:34.760
It was amazing.
0:25:34.760 - 0:25:39.520
[VO] With palaces, art and canals that
attract over 14 million visitors a year.
0:25:39.520 - 0:25:43.200
Its ancient name was La
Serenissima, the serene city.
0:25:43.200 - 0:25:46.377
But you and I know it as Venezia, Venice.
0:25:56.640 - 0:26:01.360
My show in Venice was just so much fun.
0:26:01.360 - 0:26:09.418
I mean, I got to work with my favorite
people and I knew it was my last show,
0:26:10.542 - 0:26:15.760
but also when I arrived in
Venice, the producer said to me,
0:26:15.760 - 0:26:21.240
"All right, Justine, well, we're here during the
Venice Biennale and the Venice Film Festival."
0:26:21.240 - 0:26:26.640
[VO] Every other year, Venice holds a huge
contemporary art exhibition called the Biennale.
0:26:26.640 - 0:26:28.960
It's meant to be provocative, shocking.
0:26:28.960 - 0:26:33.847
Whether you love it or hate it, it
will turn your idea of art upside down.
0:26:50.320 - 0:26:55.280
"And for the Venice Film Festival,
Ian Cross, Pilot Films..."
0:26:55.280 - 0:26:59.360
"He wants you on the red carpet
with a microphone talking to the
0:26:59.360 - 0:27:02.080
celebrities as they come out of the screening."
0:27:02.080 - 0:27:04.640
And I was like, that's not a Globe Trekker.
0:27:04.640 - 0:27:07.120
I think you're confusing
this with a different show.
0:27:07.120 - 0:27:10.640
I don't do that.
I'm not that person.
0:27:10.640 - 0:27:12.720
I'm like the slumpy backpacker.
0:27:12.720 - 0:27:15.520
You could ask them what's the
worst thing they've ever eaten.
0:27:15.520 - 0:27:20.751
Or did they have dysentery while they was
making the show, but that's it. Go on.
0:27:21.680 - 0:27:24.880
Yes. "So, Heath Ledger,
where'd you shit yourself?"
0:27:24.880 - 0:27:26.240
You know?
0:27:26.240 - 0:27:29.200
Tonight's the premiere of
the Hollywood film Casanova.
0:27:29.200 - 0:27:34.000
And the buzz is that the film was shot
mostly on location right here in Venice.
0:27:34.000 - 0:27:35.440
So, it's a big day for glitz.
0:27:35.440 - 0:27:38.960
There are a lot of big stars
here somewhere. Heath Ledger,
0:27:38.960 - 0:27:46.480
George Clooney, Harrison Ford, Sienna Miller.
0:27:46.480 - 0:27:49.440
Well, so there no cars in Venice, right?
So there no limousines.
0:27:49.440 - 0:27:54.160
So what you have are the water taxis that
pull up, let the stars off here, and then
0:27:54.160 - 0:28:00.254
they go through an underground tunnel here,
and they end up at the red carpet over there.
0:28:03.040 - 0:28:05.600
Oh, there's a star. There's a star.
0:28:05.600 - 0:28:07.840
Sienna Miller does look glamorous.
0:28:07.840 - 0:28:12.160
I think Russell Crowe could have
made a bit more of an effort.
0:28:12.160 - 0:28:16.504
And Heath Ledger looks like he's brought
his entire family over from the outback.
0:28:22.320 - 0:28:24.000
Who is it?
Jeremy.
0:28:24.000 - 0:28:31.040
Jeremy Irons. Can you see anything?
0:28:31.040 - 0:28:36.640
I just seen the back of Jeremy Irons' head and
I think, was Heath Ledger wearing sunglasses?
0:28:36.640 - 0:28:37.920
Yes. Sunglasses.
0:28:37.920 - 0:28:42.560
Sunglasses. Why do they wear sunglasses?
0:28:42.560 - 0:28:49.200
It's just a mob scene. It's risking your life
trying to get a view of one of these stars.
0:28:49.200 - 0:28:51.989
Potential hazardous stampede.
0:28:58.000 - 0:29:02.640
The stars are now leaving the
theater. The movie's over.
0:29:04.880 - 0:29:07.760
Kind of insane out here. It's pouring with rain.
0:29:07.760 - 0:29:13.360
There's lightning. There's thunder.
There's movie stars. There's paparazzi.
0:29:13.360 - 0:29:20.800
So, yeah, it was a Heath Ledger, Sienna Miller,
and Oliver Platt, who I'd gone to university with.
0:29:20.800 - 0:29:22.800
He was also in the film. Yeah.
0:29:22.800 - 0:29:24.615
He may not recognize me.
0:29:28.085 - 0:29:36.944
Olly, Olly, Olly, Olly.
Olly, Olly, Olly, Olly. It's Justine!
0:29:36.944 - 0:29:40.806
Oh hey Justine, how are you?
0:29:40.806 - 0:29:42.691
One second- Come on.
0:29:42.691 - 0:29:44.436
Hi, Ollie. Nice to see you.
Nice to see you.
0:29:44.436 - 0:29:47.129
It's so nice to see you too, Justine.
Yeah, I can't wait to see the film.
0:29:47.129 - 0:29:52.480
Take it easy.
Thank you. Bye.
0:29:56.160 - 0:30:00.160
And so it was my last episode and
I did get to see Oliver Platt,
0:30:00.160 - 0:30:03.040
Olly on the carpet.
Brilliant.
0:30:03.040 - 0:30:08.320
Venice is the most beautiful city I've ever been
to and there's so many amazing things to see.
0:30:08.320 - 0:30:12.000
It's tempting to treat it like
some kind of Italian Disneyland.
0:30:12.000 - 0:30:15.840
But unlike Disneyland, Venice would be
here whether we tourists were here or not.
0:30:15.840 - 0:30:19.680
But if you get off the beaten
track, spend time with the locals,
0:30:19.680 - 0:30:22.960
wander the back streets,
get lost in the alleyways,
0:30:22.960 - 0:30:25.680
that's where you experience the magic of Venice.
0:30:25.680 - 0:30:29.713
It's a sensation you'd never
get from a picture postcard.
0:30:35.920 - 0:30:41.440
Ian, when did you do your last
show? What was your last show?
0:30:43.600 - 0:30:49.120
I got assembled to Vienna.
0:30:49.120 - 0:30:51.166
That was mine.
0:31:15.360 - 0:31:21.840
I have no idea what's going on.
All I know is that I look good in the bed sheet.
0:31:21.840 - 0:31:27.600
Let me tell you, it was one of the best
craics that I've had on a Lonely Planet.
0:31:27.600 - 0:31:32.760
I'm heading to a place called
the pudding shop, yeah?
0:31:32.760 - 0:31:39.200
Ooo, baby. Yeah. Make some room. I like that.
0:31:39.200 - 0:31:42.721
Make some room.
Ding dong.
0:31:57.676 - 0:32:05.583
[singing, with Ian clearly
not knowing the language]
0:32:07.440 - 0:32:12.880
It was just such a good time and
the countries were brilliant.
0:32:12.880 - 0:32:17.600
[VO] You can't come all this
way to this coastline without
0:32:17.600 - 0:32:21.357
taking a dip into the tantalizing Adriatic Sea.
0:32:34.800 - 0:32:38.960
As a grand finale and the little
swan song, the last one ever.
0:32:38.960 - 0:32:42.290
That was just brilliant.
And it's a really good program!
0:32:44.000 - 0:32:47.040
Well, I have to say it's a sad day for me cuz
0:32:47.040 - 0:32:51.360
this is the last Globe Trekker
in the Round The World series.
0:32:51.360 - 0:32:54.320
And I think I can speak for
me, the rest of the crew,
0:32:54.320 - 0:32:58.000
and all the presenters that what
a phenomenal trip it's been.
0:32:58.000 - 0:33:02.400
I mean, come on. You're going around the
world, meeting the most incredible people,
0:33:02.400 - 0:33:07.680
doing the most amazing things, and seeing some
of the most beautiful landscape on the planet.
0:33:07.680 - 0:33:09.840
I mean, it doesn't get better than that.
0:33:09.840 - 0:33:11.680
I just hope that like this wheel,
0:33:11.680 - 0:33:16.160
it just keeps continuously going
round and round and never stops.
0:33:16.160 - 0:33:19.200
Because if it did stop, do
you know what? I'd have to
0:33:19.200 - 0:33:24.799
look for like a proper job. Oh, no. No, thank you.
0:33:32.960 - 0:33:37.120
You know, Ian, you were so popular
when you were making the show.
0:33:37.120 - 0:33:41.200
I mean, when you left Globe
Trekker, you must have been asked
0:33:41.200 - 0:33:46.640
by every single television company in
the world to do travel shows for them.
0:33:46.640 - 0:33:50.400
Not really. No, when I when I
did the last show, then yeah,
0:33:50.400 - 0:33:55.120
I did some more stuff, a lot of some
other stuff with Discovery Channel.
0:33:55.120 - 0:33:59.734
So, I did America the Wright
Way, as in, Ian Wright.
0:34:01.200 - 0:34:05.040
There's so many different ways
to explore this crazy planet.
0:34:05.040 - 0:34:08.640
You can do it the easy way or
you can do it the hard way.
0:34:08.640 - 0:34:12.400
Or you can do it the Wright way.
Yeah. You tell them, girl.
0:34:12.400 - 0:34:16.400
Yeah. Yeah. Yeah. But remember
whose show it is, yeah?
0:34:16.400 - 0:34:17.751
Don't ever upstage me, yeah?
0:34:17.751 - 0:34:21.280
It's my show. Yeah. It's my-
(overlapping) Don't make my dog attack you!
0:34:21.280 - 0:34:22.720
Me me me me me me.
(overlapping, to dog)Get him.
0:34:22.720 - 0:34:25.520
Call him off!
Down, Tyson! Down, Tyson!
0:34:26.560 - 0:34:30.560
It licked me in the mouth! Oh, I feel sick.
0:34:30.560 - 0:34:32.880
Good girl.
0:34:35.920 - 0:34:46.645
I did Out of Bounds which was six countries that
America deemed as "off the grid" like Syria.
0:34:47.280 - 0:34:49.040
Got to watch myself here, yeah?
0:34:49.040 - 0:34:54.320
Cuz I'm in Syria which is "axis
of evil," one of the countries.
0:34:54.320 - 0:34:56.880
Don't know if going to get
out without any trouble.
0:34:56.880 - 0:34:59.600
As you can see it gets really dangerous here
0:34:59.600 - 0:35:02.480
especially at the seaside cuz
she splashed me a minute ago.
0:35:02.480 - 0:35:06.720
She splashed me and like there was a crab
there and it got me right in the toe.
0:35:06.720 - 0:35:08.960
So you got to be careful if you come to Syria.
0:35:08.960 - 0:35:11.680
Out of Bounds in Syria!
0:35:12.320 - 0:35:13.760
Siberia....
0:35:13.760 - 0:35:16.880
This is serious Tuvan wrestling, yeah.
0:35:16.880 - 0:35:23.920
And if you want to see more of this then switch
on to Ian Wright Out of Bounds in Siberia.
0:35:23.920 - 0:35:25.120
Yeah.
0:35:25.120 - 0:35:28.320
Oh, you touched me. Who touched my trous-?
0:35:28.320 - 0:35:30.400
Someone touched me... down there.
0:35:30.960 - 0:35:32.880
Okinawa was one of them as well.
0:35:32.880 - 0:35:38.000
I'm Ian Wright and you can watch me in
my new show Ian Wright Out of Bounds.
0:35:38.000 - 0:35:40.240
Yeah? Only on Travel Channel.
0:35:40.240 - 0:35:43.520
The thing is if you don't watch I'm
going to set my dog on you, yeah?
0:35:43.520 - 0:35:50.080
Go on Tyson. Go on Tyson. Not
me, Tyson. Not me. Not me, them!
0:35:50.080 - 0:35:52.200
So that that was good. Venezuela...
0:35:52.200 - 0:35:58.800
[chanting] Out of Bounds. Out of
Bounds. Out of Bounds. Out of Bounds.
0:35:58.800 - 0:36:02.400
Right. I'm Ian Wright, in the middle of Venezuela.
0:36:02.400 - 0:36:08.000
Election week and there's a new candidate in town.
0:36:08.000 - 0:36:14.320
Ian Wright! Vote for Ian Wright! Out of Bounds!
0:36:14.320 - 0:36:17.550
That was great. Cuba as well. Oh man, Cuba.
0:36:31.600 - 0:36:34.480
Then I did another thing
called... Invite Mr. Wright,
0:36:34.480 - 0:36:37.120
which was Southeast Asia money.
0:36:37.120 - 0:36:41.440
In the second series of Invite
Mr. Wright, I'm going to Vietnam.
0:36:41.440 - 0:36:45.840
I'm going to Australia. I'm going
to be saving turtles in Indonesia,
0:36:45.840 - 0:36:51.600
playing football in Okinawa in Japan,
and wrestling with monks in India.
0:36:51.600 - 0:36:54.560
Yeah!!
0:37:15.200 - 0:37:20.000
And I remember seeing, we did a lot of stuff
in China actually that was really good.
0:37:20.000 - 0:37:21.987
Oh, I love China.
0:37:22.329 - 0:37:26.720
Here in Harbin, which is northeast China.
0:37:26.720 - 0:37:28.560
The Russian corner.
0:37:28.560 - 0:37:35.901
And as they say here, it's the coldest place on
Earth, but the people with the warmest hearts!
0:37:35.901 - 0:37:37.963
(crowd yelling "Yeah yeah yeah!")
0:37:44.560 - 0:37:48.640
Never again! My body's gone all numb!
0:37:48.640 - 0:37:52.800
So, I did a few little things like that and
then it just sort of petered out really.
0:37:52.800 - 0:37:55.760
And the thing is I never had
an agent so I was never...
0:37:55.760 - 0:37:58.800
I rid the the wave and
0:37:59.520 - 0:38:02.880
it sort of fizzled out which I knew it
would do and I was like I can't complain.
0:38:02.880 - 0:38:08.000
I've had 25 years of this insanity
and just enjoying every minute of it.
0:38:08.000 - 0:38:12.720
Was there any part of you that wanted to get an
agent and kind of pursue it in a professional?
0:38:12.720 - 0:38:13.760
No, not at all.
0:38:13.760 - 0:38:17.680
Because I just, I found it
sometimes quite hard anyway.
0:38:17.680 - 0:38:22.000
The pressure of it, being away from
family and all that was too much.
0:38:22.000 - 0:38:24.720
If you've got an agent, obviously their job is to
0:38:24.720 - 0:38:28.240
get you as much work and to
go away as much as possible.
0:38:28.240 - 0:38:29.760
That was never happening.
0:38:29.760 - 0:38:30.960
By the end of it, I was like,
0:38:30.960 - 0:38:34.160
I'm never going away for more
than two weeks ever in my life
0:38:34.160 - 0:38:38.720
Because it's too damaging or it can
be damaging and it's dangerous
0:38:38.720 - 0:38:40.640
You know, because it's a travel thing.
0:38:40.640 - 0:38:43.840
Oh yeah, like, it's dangerous
and it's hard on relationships.
0:38:43.840 - 0:38:46.880
God, you got to be tough as hell to be hard,
0:38:47.440 - 0:38:50.880
to be left behind doing all the things
while I'm gallivanting, you know,
0:38:50.880 - 0:38:55.902
like the wife's doing all, bringing up two kids
and you know, I'm gallivanting around the world.
0:38:55.902 - 0:39:00.338
(mocking himself) "Oh, it's tough. I'm so
tired. I'm going to sleep in a hammock."
0:39:01.120 - 0:39:06.160
So Ian, I know like you didn't really
pursue having an on camera career,
0:39:06.160 - 0:39:09.600
but thank God you didn't keep going into the whole
0:39:09.600 - 0:39:15.198
television world because otherwise we
wouldn't have your artwork in our world.
0:39:20.720 - 0:39:24.735
All the various mediums you work
in, your fabric house stuff,
0:39:29.218 - 0:39:30.656
the fish,
0:39:36.960 - 0:39:38.080
your oil paintings.
0:39:51.440 - 0:39:54.880
Your coins,
0:39:54.880 - 0:40:00.610
you work in so many mediums and
your line drawings are so beautiful.
0:40:03.920 - 0:40:09.440
I mean I was- I wasn't expecting to be totally
0:40:09.440 - 0:40:13.040
blown away but I am totally
blown away by your work.
0:40:13.040 - 0:40:16.960
I mean you are a seriously trained artist.
0:40:16.960 - 0:40:18.400
Yeah, thank you.
0:40:18.400 - 0:40:22.560
The mad thing is that, because
like I said when at college I-
0:40:22.560 - 0:40:25.600
You sort of train yourself
because you just draw draw draw.
0:40:25.600 - 0:40:27.840
I remember going to to one of the tutors- "how
0:40:27.840 - 0:40:30.080
do I get into college? What
are they going to look for?"
0:40:30.080 - 0:40:36.480
And he said to me, "If you from now to when
your interview is, if you did a drawing..."
0:40:36.480 - 0:40:37.680
-which was a year away-
0:40:37.680 - 0:40:42.000
"if you did a drawing every
single day, you'd get in."
0:40:42.000 - 0:40:44.640
And I was like, "Wow, is it that simple?"
0:40:44.640 - 0:40:49.600
And I'm thinking, and okay, and
I didn't, but I still got in.
0:40:49.600 - 0:40:54.240
But the the ethos was work,
work, work, work. Draw draw.
0:40:54.240 - 0:40:56.880
Do you have lots of sketchbooks from your travels?
0:40:56.880 - 0:41:02.896
I've got a whole pile of sketchbooks which are
just glorious, of all the travels that I did.
0:41:10.080 - 0:41:14.160
I always like to do a little
sketch to remind me of the journey.
0:41:14.160 - 0:41:18.080
This one I'm going to put in the
long distance traveling series.
0:41:18.080 - 0:41:22.880
It's going to be called Greyhound Bus.
0:41:22.880 - 0:41:28.720
Got the rivets and.. lovely, that.
0:41:28.720 - 0:41:34.160
Every country I look at it and I'm like my god,
you're transported like not like a photograph.
0:41:34.160 - 0:41:39.360
Half your sort of physical being's on that
page and you're taken back to it like that
0:41:39.360 - 0:41:47.077
in a different realm as a photograph, and it's
like wow all these little bits in the sketchbooks
0:42:07.040 - 0:42:11.600
Did you ever take- did you ever find
yourself taking sketches that you had
0:42:11.600 - 0:42:17.440
done during your travels and turning them
into an oil painting or something else?
0:42:17.440 - 0:42:20.800
Not really. It was just all
ideas and images of stuff.
0:42:20.800 - 0:42:24.720
It's like I got absolutely
obsessed with icebergs and
0:42:24.720 - 0:42:27.200
anything above the Arctic Circle cuz that's my bag
0:42:27.200 - 0:42:34.174
and I just love it and just went for that for
about four years of just obsessive, dark...
0:42:55.440 - 0:42:57.600
It's just takes you in a different world.
0:42:57.600 - 0:43:02.080
You're just like, you know, life can be boring.
0:43:02.080 - 0:43:05.040
But if you've always, and
you always will in your life,
0:43:05.040 - 0:43:08.400
have something to do when there's
a second, right, I can do that.
0:43:08.400 - 0:43:10.640
I can do that. I don't need a big space to do it.
0:43:10.640 - 0:43:13.120
I don't need anybody. I can do it myself.
0:43:13.120 - 0:43:15.520
And you just get on with it. That's
why I can't play video games,
0:43:15.520 - 0:43:17.120
I think, cuz they're boring as hell.
0:43:17.120 - 0:43:21.360
I'd rather be in my little corner
whittling away doing some painting or,
0:43:21.360 - 0:43:23.520
you know, creating, whatever it is.
0:43:23.520 - 0:43:28.160
Creating something with your hands. It's
just one of the best things in the world.
0:43:28.160 - 0:43:32.160
Cup of tea. Have your cup of tea.
0:43:32.160 - 0:43:39.680
This is my studio. This is where I
do my magic- where the magic begins.
0:43:39.680 - 0:43:43.360
But it's got everything that I need in here.
0:43:54.480 - 0:43:56.995
[murmuring, indistinct]
0:44:15.360 - 0:44:19.200
What are your subjects now?
What are your, like, oil painting subjects?
0:44:19.200 - 0:44:25.440
Oil painting subjects... I've done the mixed
media thing using gold leaf and oils and stuff.
0:44:25.440 - 0:44:27.520
The last thing I did was a big turtle.
0:44:27.520 - 0:44:31.120
That's my turtle.
0:44:31.120 - 0:44:36.400
And it's like lacquered with layers
and layers of paint on the back.
0:44:36.400 - 0:44:39.120
Just layers so you get the water effect.
0:44:39.120 - 0:44:42.480
And then all this is with gold leaf.
0:44:42.480 - 0:44:45.520
When I was doing the Globe Trekker,
0:44:45.520 - 0:44:49.559
everything was inspired by traveling,
cuz that's where this one comes from.
0:44:57.476 - 0:45:00.801
And they're just such beautiful, graceful things.
0:45:03.440 - 0:45:06.880
And I love the patterns. So
you can see all the patterns.
0:45:06.880 - 0:45:11.440
So, what I decide to do is
whatever shows that off the best.
0:45:11.440 - 0:45:16.130
And so, I'm like, "Oh, yeah, gold leaf.
That would just be perfect for this."
0:45:30.400 - 0:45:34.480
Thing is you can work on it forever, but
there comes a point when you got to stop
0:45:34.480 - 0:45:38.160
because you're close to it,
because you know every inch of it,
0:45:38.160 - 0:45:41.120
you'll be like "oh god oh there's a
bit there oh there's a bit there."
0:45:41.120 - 0:45:44.640
There comes a point you just gotta
say that's it, not doing anymore.
0:46:05.680 - 0:46:12.880
At an exhibition recently in Suffolk in Linton
Gallery, The Gallery Above, which is delightful.
0:46:17.600 - 0:46:21.360
And this is The Gallery Above. This
is where all the magic happens.
0:46:21.360 - 0:46:23.440
This is Rose. She owns it.
0:46:23.440 - 0:46:25.520
Hi.
Keep everyone on a tight leash.
0:46:25.520 - 0:46:27.360
Hi and welcome.
0:46:27.360 - 0:46:30.720
I'm just going to show and take
the camera and show all the work.
0:46:30.720 - 0:46:35.360
All right, cheers, Rose.
0:46:35.360 - 0:46:38.160
And here we are. This is the actual gallery area.
0:46:38.160 - 0:46:43.120
The Gallery Above as it's called.
And it's just a beautiful space.
0:46:43.120 - 0:46:45.360
This is also where I had my exhibition.
0:46:45.360 - 0:46:49.680
So I had the whole of the
gallery, which was great.
0:46:49.680 - 0:46:56.240
So 40 years of all my paintings, all my cloth
work, all my little sculptures all in here.
0:46:56.240 - 0:46:59.920
And it was brilliant. And it's
the first time ever that I've
0:46:59.920 - 0:47:04.160
had all my artwork together in one building.
0:47:04.160 - 0:47:05.200
've never had that before.
0:47:05.200 - 0:47:09.760
Usually have little bits here, little bits
there, but everything was mine, 40 years.
0:47:09.760 - 0:47:12.960
And I was just looking at and I was like, "Wow."
0:47:12.960 - 0:47:18.400
Just first looking at patterns,
looking at the stuff and going,
0:47:18.400 - 0:47:26.240
"God, that's where I got obsessed with doing sort
of dark, you know, ice pictures with old ships."
0:47:26.240 - 0:47:28.240
And then I was like, "I've got to stop that."
0:47:28.240 - 0:47:35.680
And then I did two huge colorful pictures
just to get away from the dark, the darkness.
0:47:35.680 - 0:47:40.320
And then down there I had all my cloth
pictures where I got obsessed by doing cloth.
0:47:40.320 - 0:47:44.800
So all the- it showed me a
pattern of absolute obsessiveness.
0:47:44.800 - 0:47:49.200
It was just something that I had a bee in my
bonnet that I had to do and just followed through.
0:47:49.200 - 0:47:50.720
Most of the stuff people have never seen.
0:47:50.720 - 0:47:55.384
They're just up in the, you know,
in my lockup back at the house.
0:48:22.080 - 0:48:28.880
Oh, bugger. Those bits are
coming out. These come out.
0:48:28.880 - 0:48:32.240
Well, it's all right cuz like
I say, if the artist dies,
0:48:32.240 - 0:48:36.080
then all the pictures are more expensive there.
0:48:36.080 - 0:48:41.200
So, if I fall down the these stairs, then Rosie...
0:48:41.200 - 0:48:45.509
(louder)Rosie, you can get
loads of money out of me, yea?
0:48:45.509 - 0:48:49.200
[Rosie OS] Yeah, I'll rush around
immediately changing the prices.
0:48:49.200 - 0:48:54.560
Yeah. Yeah!
0:48:56.080 - 0:48:58.162
I'm glad I did that.
0:49:03.440 - 0:49:06.320
Like I said at the beginning, it's
the only thing I ever wanted to do
0:49:06.320 - 0:49:09.120
or had any ambition do, as
long as I keep the art up.
0:49:09.120 - 0:49:14.400
And everything that I did in that gallery,
apart from a couple of tapestries,
0:49:14.400 - 0:49:18.400
Every single painting, and that's the
nuttiest thing of it, not one of them
0:49:18.400 - 0:49:22.320
that I did thinking I'm going to put that
in an art exhibition or try and sell it.
0:49:22.320 - 0:49:24.160
It's just because I had to do it.
0:49:24.160 - 0:49:29.440
What you just said earlier is that,
it's in you. All that's in you.
0:49:29.440 - 0:49:31.200
And with your work, you bring it out.
0:49:31.200 - 0:49:36.400
And I think right now so many people are
really focused on what's external to them.
0:49:36.400 - 0:49:41.360
And they don't realize how much
beauty and possibility is inside.
0:49:41.360 - 0:49:44.068
You know, there's so much juice in there.
0:49:44.068 - 0:49:48.000
Well, yeah, we've all got it. Everyone's got it.
We've all got it. Yeah.
0:49:48.000 - 0:49:49.520
And I'm like, bombshell!
0:49:49.520 - 0:49:53.040
Love you, babe.
By everybody!
0:49:53.040 - 0:49:55.600
Such good time with you.
Yay!
0:49:55.600 - 0:50:04.560
[VO] And with that, season 1 has come to an end.
If you haven't watched all six episodes in our
0:50:04.560 - 0:50:10.720
web series, I'm giving you an extension on your
homework, and you'll see we hang out with Megan,
0:50:10.720 - 0:50:16.000
we talk with Chef Bobby Chinn, we talk to
Liz in Cuba, we talk about hitchhiking,
0:50:16.000 - 0:50:20.560
we visit volcanoes, then we tell you how
we got the job and what we've done since
0:50:20.560 - 0:50:28.240
we got the job. We'll see you soon at
season 2, and subscribe loads of times.
0:50:28.240 - 0:50:36.320
You've been listening to season 1, episode 6, part
two. Ian and Justine Life After Globe Trekker,
0:50:36.320 - 0:50:43.040
hosts Ian Wright and Justine Shapiro, producer
Steven Lennhoff, editor Gregory Scharpen, sound
0:50:43.040 - 0:50:49.440
mix Dan Olmstead at Immersive Sound. This podcast
was recorded at Cuckoo Studios in Berkeley,
0:50:49.440 - 0:50:56.800
California, USA, and at Haverhill Music Hub in
Haverhill, UK. Season 1 was made possible thanks
0:50:56.800 - 0:51:04.160
to a grant from the Khosravi family trust and from
donations from many of you. I, Justine Shapiro,
0:51:04.160 - 0:51:10.560
am the executive producer, and Lili Cortés is our
series producer and director of social media and
0:51:10.560 - 0:51:16.640
community. Gregory Scharpen is our senior editor
and producer. Steven Lennhoff directs and produces
0:51:16.640 - 0:51:22.960
the podcasts and Bri Castellini is our director
of audience strategy and partnerships. Our editor
0:51:22.960 - 0:51:28.640
is Thomas Lorne. Our website and media is
managed by Sage Brucia and our bookkeeper
0:51:28.640 - 0:51:36.160
is Craig Paull. Our Looney Planet is produced
by MatLana, a 501c3 nonprofit organization.
0:51:36.160 - 0:51:41.680
And there's going to be more that if you can
handle anymore, there'll be more. Don't worry
0:51:41.680 - 0:51:52.160
about that. We ain't going nowhere. That's
good. That's good. That's good. That's good.

Sage Brucia