Armando Ianucci - extended interview

A longer version of this week's NS interview

How was it, being nominated for an Oscar?
It was nice. Everyone gets together and it's a bit chaotic. And you end up squashing Meryl Streep's toe.

How did your film, In the Loop, fare in the US?
It seemed to go well. You know, packed cinemas, people laughing, people going back to see it again. I couldn't believe it.

Do Americans get British comedy?
There's a familiarity with it - I met people in the US who knew The League of Gentlemen and Peep Show. In LA, as I was going through customs with my Oscars certificate, the customs guy went: "Hey, you been at the Oscars?" I said, "Yeah," and he said, "What was the film?" I said, "In the Loop." And he said: "I saw that! Aw, funny film. I'm a screenwriter."

Which US comedies do you like?
The best ones are things like The Daily Show, which is very sharp.

Does comedy provide the best political analysis?
A lot of Americans get their journalism from The Daily Show. But then, Jon Stewart does a journalistic service, underneath the comedy. Going through hours of senators' speeches to find the inconsistencies and the contradictions is an act of journalism.

Has journalism lost the patience for that?
We've stopped thinking, "Shall we look at the last four months and see if there's been a pattern?" Everything has to be fresh -- there's a need to fill blog space, Twitter and podcasts. I suppose the internet has given us more outlets for stuff to be in the public domain. And once something is in the public domain, respectable journalists feel they can then report it as fact. But no one's verifying this public domain.

Do you feel a responsibility, as a comedian, to examine the bigger picture?
I slightly resent that that's what we have to do -- it should be someone else's job. With In the Loop, I felt an objective analysis hadn't happened before the invasion [of Iraq]. Then, after the fact, quite respectable newspapers were apologising for getting it wrong.

What makes comedians good political analysts?
Comedy is all about exaggeration and distortion and so on, but you're trained to look for inconsistencies and absurdities. Politicians are now trained to not say anything, in case it's used against them.

Which absurdities have you noticed recently?
I watched Andrew Rawnsley talking about his book, and John Prescott was having a go at him for claiming there was bullying going on. I was thinking,"You punched a guy!" It just felt silly.

Is it still possible to take politicians seriously?
I don't know. I often think we expect too much of our politicians. Think how mad the job of prime minister is. We expect them to run defence, hospitals, schools, the cabinet, the party, 24 hours a day. We don't like it if they sound incoherent or look tired. We don't want them to claim for anything on expenses, we don't like them getting <itals>any<end itals> money, we hate it when they go on holiday. Actually, we're being absurd. There is no way you can operate in that world, with that level of expectation, without failing.

Do we treat them unfairly?
Barack Obama's an interesting example. He took a month and a half to decide what to do about Afghanistan, and got really criticised. I just thought, "No, hang on, he's being criticised for thinking." Because obviously the gut reaction that George Bush used really worked.

How do you feel about David Cameron?
I think he's sub-Blair, really. Tony Blair manipulated the media, but he had two or three core beliefs. There was a sort of passion there I could understand. I don't know what Cameron's beliefs are, other than: "I'd like to win the next election, please." And: "I'd like to do it the way Blair did it."

What about the Tories more generally?
Beyond one or two who appear human, the army of old Tory orcs is still there, complaining about the public on trains. It worries me: what they plan to do with the BBC, their connection with the Murdoch agenda, that their chancellor would be someone who doesn't really have much experience.

Do you think of yourself as a satirist?
Satire, for me, is a black-and-white programme with Dudley Moore in it. As a kid, that's what I really liked. Monty Python, Not the Nine O'Clock News. I loved satirists like Swift and Dickens. My favourite comedies are ones like The Great Dictator, or Doctor Strangelove, which take on serious subjects. I'm happy for people to say, "You're a satirist." I just hate the idea of it as a profession, as if you're hauled in for your satirical take on stuff.

Are you tired of making comedy about politics?
The next thing I want to do is quite childish and slapsticky -- lots of falling over. It's not going to be people being hit by frying pans, but it's not set in the political world, and the people in it experience physical pain in a number of increasingly amusing ways.

How do you feel about the way the BBC is run?
They need to give more responsibility back to producers, to think about taking risks. Viewers don't want comedy to be overly cautious. I think they can tell when something's a bit bland or whether it's pulling its punches.

Do you vote?

Is there anything you regret?
I regret not taking a year out. Touring, travelling around, getting a job, doing something completely different. I spent about ten years being totally conventional as a result.

Is there a plan?
No, there's never been a plan. Most things just evolved.

Are we all doomed?
No, I'm still an optimist, really.

Sophie Elmhirst is features editor of the New Statesman

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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