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"Twitter, at its worst, is a megaphone for lunatics"

Rob Brydon on Steve Coogan, Hackgate and the perils of celebrity.

Your new autobiography, Small Man in a Book, ends just as you become successful. Why?
It was a good dramatic point to end, at the age of 35, at the British Comedy Awards, which I used to watch year in, year out. When I first became successful, I was surprised people talked about my struggle. Being on the inside looking out, I didn't see it that way. Now I see it - with the way I was scraping along and how much debt I was in, if I were looking at it from the outside, I'd say, "Maybe it's not for you."

Was there a moment when it all went right?
I made the decision to leave college and work in radio, which sent me off that road. I often wonder where I would be now, if I'd not done that.

You starred in The Trip with Steve Coogan. Who had the harder role?
I think Steve's is more attractive - it's more dramatic, more introspective. But lightness is underestimated, in my opinion.

Why did that show work so well?
The age thing was very important; we were 45, starting to feel the effects of middle age on our body. And the slow pace - Michael [Winterbottom, director] is remarkable. Of all the creative people I've known, he has least regard for his audience, in a good way: he just tells his story.

Have you seen Coogan's campaign on phone-hacking and the tabloids - and his attacks on the Daily Mail's editor, Paul Dacre?
Of course. And the Mail followed it up, with the most awful photo of Steve it is possible to find. I love the choosing of photographs in newspaper articles. It's laughable, but people eat it up.

Did you see him thundering on Newsnight?
I did. Whatever you think of Steve, and I'd be the first to say he's objectionable on many levels, he stands up for what he believes in. It's remarkable to watch someone like [the ex-News of the World executive] Paul McMullan, who said: “If we catch a few corporate wrongdoers then you're a price worth paying." Whoa! What, a few innocents get killed? No! "You're happy to walk down the red carpet . . . you should be happy to be hacked." It's like saying: "You were happy to get into the taxi driver's car; he took you to Deptford where you wanted to go - yes, he assaulted you along the way, but it's a bit rich for you to complain." And there was so much envy in his tone. If you envy that, go and do it, Paul McMullan! Go and be an actor.

But some celebrities do play the system.
That's something else. We're talking about artists or performers. The others are marketing people, publicists, showmen. What I've never understood about some sections of the press [is] how you live with yourself knowing what you're doing is going to wilfully upset . . . people with feelings and families. We're not talking about war criminals here.

Do you ever wish you took more serious roles?
Not especially. I don't take that view of the dramatic inherently having more worth than the comic. I made a conscious decision about four years ago that I was just going to do what I liked.

Why is there snobbery about comedy?
Those people can fuck off. Only this morning I read on Twitter -

You don't read your @s, do you?
No. I stopped looking myself up. At its best, Twitter is a lovely community. At its worst, it's a megaphone for lunatics.

Are you tempted to reply?
I don't think I've ever succumbed. It comes back to not viewing you as a human being. You're that bloke on the telly; you're advertising breakfast cereal. The assumption is that you've got money coming out of your arse.

In the book, you talk about how the nature of laughter has changed since the 1970s and become more self-aware. Why has it?
Now, there are 57 channels and nothing on. Then, there was a gratitude that came from [knowing] we haven't got much choice here. That has to change the relationship to some degree between audience and performer, it has to.

Who are your influences?
I'm wary of someone who says, "I don't have any influences." Bollocks, you're just too up your own arse to admit that. We don't want to bang on about me, but certainly I can see all mine when I'm on stage: Ronnie Corbett, Barry Humphries, Dudley Moore, Jackie Mason, Woody Allen. Sometimes I feel like a big fraud.

Was there a plan for your career?
I wanted to be funny and entertain. That word's got a bad rap. I listened to Michael McIntyre talking about the stick he gets. People say, "Oh, he just points things out." Well, all right, you go and point things out.

Is there anything you regret?
Good lord, yes. A million things.

Are we all doomed?
Yes, we're all going to die. As a father, I feel bad saying that, as you always want to put a good face on for your kids. But it was ever thus.

Defining Moments

1965 Born in Swansea
1985 Leaves Royal Welsh College of Music and Drama for a job at Radio Wales
1989 Moves to London. Becomes presenter of a home-shopping channel
2000 Co-writes Human Remains for BBC. Takes role of Keith in Marion and Geoff
2006 Marries second wife, Claire Holland
2007 Returns to South Wales as Uncle Bryn in the breakthrough Gavin and Stacey
2010 Stars in The Trip with Steve Coogan

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

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An English hero for the ages: Ian Botham at 60

Botham blends his sportsmanship and deep-seated passion for cricket with a lust for life.

Begging W H Auden’s pardon, it is possible both to honour and to value the vertical man, and in the case of Ian Botham, who turned 60 on 24 November, it is our bounden duty. No sportsman has given Britons so much to enjoy in the past half-century and no sportsman is loved more. Two decades after he retired from first-class cricket, his reputation as one of life’s champions remains unassailable.

No mere cricketer is he, either. Botham is a philanthropist, having raised more than £12m for various charities, notably Leukaemia and Lymphoma Research. In December, 30 years after his first walk from John o’Groats to Land’s End, he will set off again, in South Africa, where England are on tour. And he really does walk, too, not amble. As somebody who accompanied him on one of his dozen walks said: “You can’t keep up with him. The man is a phenomenon.”

Of all postwar sportsmen, only Bobby Charlton and, at a pinch, Henry Cooper come close to matching Botham’s enduring popularity. But Charlton, a shy man who was scarred by the Munich plane crash of 1958 (and may never have recovered from its emotional effects), has never comfortably occupied a public stage; and Cooper, being a boxer, had a solitary role. Botham, by contrast, spoke for England. Whenever he picked up his bat, or had a ball in his hand, he left spectators in no doubt.

Others have also spoken for England. Bobby Moore and Martin Johnson, captains respectively of England’s World Cup-winning football and rugby teams, were great players but did not reach out to people as naturally as Botham. Nick Faldo, Lester Piggott, Sebastian Coe and, to bring us up to date, Lewis Hamilton have beaten the best in the world, but they lacked those qualities that Botham displayed so freely. That is not to mark them down. They were, and are, champions. But Botham was born under a different star.

It was John Arlott, the great cricket commentator, who first spotted his uniqueness. Covering a match at Taunton in 1974, he asked the young colt to carry his bags up the rickety staircase to the press box, where Arlott, wearing his oenophile’s hat, pulled out a bottle of red wine and invited Botham to drink. Forty years later Botham is a discriminating wine drinker – and maker. Along with his friend and fellow England great Bob Willis, and their Australian wine­making pal Geoff Merrill, he has put his name to a notable Shiraz, “BMW”.

Arlott, with his nose for talent and good company, saw something in the young Botham that Brian Close, his captain at Somerset, was beginning to bring out. Later, Mike Brearley, as England captain, drew out something even more remarkable. As Rodgers and Hammerstein wrote, you’ve got to be carefully taught. And Botham, a fine team man as well as a supreme individual performer, has never withheld praise from those who enabled him to find his voice.

If sport reveals character, then cricket is the game that reveals it most clearly. In no other sport is the individual performance rooted so firmly in a team context. Every over brings a contest of skill and intelligence between batsman and bowler but only a team can win the match. “A cricketer,” as Arlott said, “is showing you something of himself all the time.”

Cricket also reveals national character more than any other sport. Football may be the most popular game in the world but cricket, and cricketers, tell us far more about England and Englishness. It is instructive, in this regard, to hear what Philippe Auclair, a French journalist and author long resident in London, has to say about Botham: “He is essentially an 18th-century Englishman.” In one! It’s not difficult to sense a kinship with Tom Jones, Fielding’s embodiment of 18th-century life, who began his journey, as readers may recall, in Somerset.

A country boy who played for Worcestershire after leaving Somerset, and who lives by choice in North Yorkshire, Botham is an old-fashioned Englishman. Although nobody has yet found him listening to the parson’s sermon, he is conservative with a small and upper-case C, a robust monarchist, handy with rod and gun, and happiest with a beaker in front of him. He represents (though he would never claim to be a representative) all those people who understand instinctively what England means, not in a narrow way, but through something that is in the blood.

Above all, he will be remembered for ever as the hero of 1981. Even now it takes some believing that Botham bowled and batted with such striking success that the Australians, who were one up after two Tests, were crushed. Some of us who were actually at Headingley for the famous third Test – thousands who claim to have been there were not – recall the odds of 500-1 on an England victory going up on the electronic scoreboard that Saturday evening.

Botham made 149 not out as England, following on, beat the Aussies by 18 runs. For three hours the country seemed to stop. In the next Test, at Edgbaston, Botham took five wickets for one run as Australia fell under his spell. Then, at Old Trafford, on a dank Saturday afternoon, he played the most memorable innings of his life and one of the greatest innings ever played by an Englishman: 118 magnificent, joyful runs. Joy: that’s the word. Botham brought joy into people’s lives.

Yet it was the final Test at the Oval, which ended in a draw, that brought from him a performance no less remarkable than those from before. He bowled 89 overs in that match, flat out, continuing to run in when others withdrew with injury. That was the team man coming to the fore. Little wonder his comrades thought the world of him.

Modest, loyal, respectful to opponents, grateful to all who have lent him a hand, and supported throughout a turbulent life by Kath, his rock of a wife, and their three children, this is a cricketing hero to rank with W G Grace, Jack Hobbs, Wally Hammond and Fred Trueman. A feature in the lives of all who saw him, and a very English hero. 

This article first appeared in the 26 November 2015 issue of the New Statesman, Terror vs the State