Something from the “old news is so exciting” file, but this BBC piece from 2010 in which then Top Gear presenter Richard Hammond interviews racing driver Stirling Moss about his crash on the track in 1962, and subsequent recovery from his serious brain injury, and how his crash and recovery compares to Hammond’s own in a jet-powered car, is quite fascinating.
A few interesting takeaways:
Moss was in a coma for a month, and one side of his body was paralyzed for some six months.
When he recovered, he tried racing on a track again, but decided to retire because all the split-second decisions he had previously made instantaneously he had to consciously think about.
Hammond’s own crash in 2006 was at 288mph, and even though he pulled the parachute release, it failed to deploy. He was in a medically-induced coma for two weeks.
Hammond did an interview in December just three months after the accident, and appeared on Top Gear in January some four months after, both times proclaiming himself completely recovered, but later Hammond looked back on those segments and said he clearly wasn’t fully recovered. Indeed, he said each year he would look back at the last, and realize that full recovery was a continuing process.
Both men said they reacted to what they thought were their impending deaths not with fear, but just wondering what would come next.
Bonus the First: Road To Success interviews Top Gear producer Jim Wiseman, who also produced the Hammond-Moss interview:
Bonus the Second: Road To Success interviews Top Gear writer Richard Porter:
70% of what Top Gear would become was already sketched out on pieces of paper Jeremy Clarkson brought to the initial meeting with Wilman (an old mate from school) to relaunch Top Gear.
They hated the show’s initial Sunday night BBC2 time-slot (which, weirdly, they had to scare off another car show from using), but it turned out to be a blessing in disguise.
Because nobody in BBC management was interested in cars, they were allowed essentially free reign to run the show how they wanted, and to experiment to see what worked and what didn’t.
They ended up doing things just because they were interested in them, not because they thought anyone else would be, but this eclectic approach ended up unlocking different audience segments that fueled their global growth.
They note that the trial-and-error approach was a huge key to their success, and that if they had aimed for global success from the first, they never would have achieved it.
One key was that voiceovers should undercut or counterpoint what was going on on-screen, such as “which went well” rather than “James has broken down again.”
They realized early on that failure was a lot more interesting than success. There was a road trip with cheap cars where all three had broken down, and their old school director asked if they should just stop shooting, but Clarkson went “No, keep shooting. This is what it’s about now.”
Clarkson’s background was in British tabloid journalism, so he likes to craft his segments ahead of time. By contrast, Hammond is a master of on-the-spot riffing and improvisation.
Amazon only did Clarkson’s Farm (and Hammond’s Workshop) as a way to lure them back into doing two more seasons of The Grand Tour. When they heard Clarkson wanted to make the show about farming, they were terrified it was going to be boring. Clarkson said “I don’t blame them.” But it turned out brilliantly because all of the figures in the show were such natural characters that they worked better than any casting call could.