YouSaid · the spoken record

Anne Wood

lines on the record: 54
first: 2011-10-02
most recent: 2011-10-02
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“The luxury well it would have to relate to gardening, but I thought well I could maybe improvise, you know, a garden. But what would be lovely to have as a project which I have to have is if I could make a floral legium of all the plants that might be growing. Let's hope there are some. So I'd need paper and pens and watercolours and anything that I can record the life of plants on the island.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I thought about this a lot, but then I thought, well, if you've got the Bible, the King James Version and the whole of Shakespeare, including the sonnets, really, you know, you don't want any more serious reading, and so I thought I'll go for guilty pleasure, and I discovered the romantic novels of Georgette Hare when I was twelve, and all through my life in times of stress and sickness and illnesson, everything else there had been a great resource and escape, so I thought my emotional escape will be cotillion by George Ed Hare.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“The final piece is Hugh Lorry's version of St. James Infirmary'cause I thought and thought and thought about, you know, which New Orleans type jazz would I have,'cause I do love it so much as it's so deeply emotional. And then I got so interested in the fact that there was he from Oxfordshire, able to play jazz piano and express this same emotion. And I really admire that. I'd love to have been able to play jazz piano, so I'd like that.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“No, no, it doesn't look anything like the night garden, but it's a very interesting garden in that it's got a little meadow and it's got a little bit of tiny bit of woodland with a stream going through it, and I love it. Oh,”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think the idea that I am personally wealthy is hugely exaggerated because the money is in the company, being used, so I don't have, I'm not saying that I'm poor or anything like that, but I don't have huge amounts of money. But what I have been able to do that I've loved doing, and my great indulgence is my garden, I've been able to make a garden from nothing. And I spend far too much money on it still, and I couldn't have done that. I would never have done that had I not had the success I've had.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, no, because I am very fortunate in that I am working with my son, and I don't do anything other than the creative bits now.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“A disc seven is from the imagined project by Herbie Hancock's I Love Jazz, but I chose this because fifteen percent of our company is owned by the Ragnall Foundation, which is dedicated to”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I do, I do enjoy making the money because it's very satisfying because Everyone treats you differently. You know, this whole idea that you can only make a contribution if you're rich is what seems to govern our society. It's just housings are.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I went on courses I had business advisors in, but what it comes down to, you know, is you have to learn when to compromise and also then you have to learn when not to compromise. I've always been very lucky in the what's driven me has been this need to connect with the imaginative life of children. I don't know where that comes from or why or whether it was just an escape from the rather limiting circumstances of my childhood in many ways. Perhaps it's that, but anyway, that I will fight for, and if I have to make money in order to go on making the programmes, then that's what I have to do.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, well it does sound hard where you put it. But what happened was and what changed children's television was when the video market opened up. When the video market happened, which coincided with Rosie and Jim. Two genre made money films and children's programs. So they started to make a great deal of money, and the company that I made Rosie and Jim for chose not to share any of that with us, and my whole northeastern soul rose up in protest and thought this is not fair”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it's very important for children's television that there is artistic recognition because it's so often not recognised as an artistic medium, and one always feels that they really are on behalf of everybody who works with you, because it's a collaborative process ours.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Um this is the Vivaldi Gloria There are moments in life I find when if you've got twilight in the garden and you've had a really good gardening day and you're looking across at something that's really lovely words cannot express what you feel and this for me expresses what you feel you know you feel there must be a god So this is for those moments”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“No, no, there is none of that. I don't live close enough to my grandchildren to be trooped around the playground or anything. All I can tell you is that I did an English adaptation of the Moomins years ago which our son showed to our granddaughter, and she said, Is this Disney Daddy? And he said, No, it's grandma, you know, well, I don't want to watch it then.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I think that's true. I mean there is an awful lot of anxiety being generated, which I think is a terrible thing. What I was talking about was just, you know, enjoying innocent fun, really, having a sing and playing round the garden. I don't like the name Baby Einstein, the idea that there's only one way for a child to be intellectually developed is anathema to me, so I hate that and I think it's, again, you know, making money out of people's anxieties, which is a shame.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I was a full-time mum, but I always worked. In order to keep earning my bread, I gave lectures at adult education institute in the evenings about children's literature, and we set up a children's book group, because I found when I had my first child that you got a lot of advice about this is how you bath a baby, this is how you do this, this is how you. Nobody ever said, do you ever sing to your baby? Or do you do finger rhymes, you know? So we started this little magazine called Books for Your Children, which I ran for thirty years actually, and that in turn led to an organization called a Federation of Children's Book Groups. So I did that for thirty years even after I'd started to work on television.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, in the barrage, yes. I mean, if I hadn't been able to do this, I have this real need to do this work, you know, and he knows that, and he respects that.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“While he has been wonderful about it, we had at that time got two children in further education and I had to work and he trusted me to do it. I mean, I think he must always have believed in me, but I'm also very stubborn, so it might have broken up if I don't know. But either way we did it.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Um no, we don't look at each other than you could have thought because I'm it's just at home we're at home and it's hard work and he's a Yorkshireman you know one should be warned about marrying Yorkshireman so he's still the same he still worries about money it hasn't really changed him and I think that's why we still love each other”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, well, this is for my lovely husband. fifty three years ago or more we used to listen to Buddy Holly and this song is just as true today as it was then and there is a really romantic thing to say but it's true”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, they did, I think, probably I would do things that were perhaps not the easiest. But you see, what you have to remember is that was the sixties. Unconventionality and all of that in the sixties was encouraged. So we had fun in the sixties.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I'd like to think so, I mean when Teletubby hit the headlines many of my old pupils wrote to me, and one girl wrote and said, you know, you changed my brother's life he learned to love books, so I suppose I had one success. I'd like to think there were more than one.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I did go and teach and I enjoyed it very much, because I really love. I really love recognising if I can, I mean that sounds totally pompous, but if you see a potential in a child, and you can in some way encourage it to come out, it's a lovely thing to do.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Um, I think that I probably did want to become a teacher, but there weren't really any other option offered up to me, because university One was very aware that socially it was a different world and it would cost more money to stay there longer and I didn't feel that I was perhaps strong enough to go in myself”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, yes, there was that. I mean, I love mamma deeply, but you know my poor mother, you know, she'd had five pregnancies and lost children, and she ended up with me. It must be quite hard for her. I think she sensed I would leave home.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“We all worked hard, the capacity to work hard I think is built into the north eastern psyche, but yes I did I was terribly conscientious but I actually became very interested in studying my mother was a bit horrified and she'd say to my father things I don't know where she gets her ideas from you go from books woman from books he was bookish and very proud of the fact that I did well but my mother it was a bafflement reality”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Now one of the things that did happen when I was at grammar school in the forties the Arts Council was just getting underway again, you know, it's hard to remember that it was late forties after the war, and they sent an opera group and it really was, I think, forcing us in a piano. And they came and performed Cozy Fanti at Spenimore Town Hall, and it was the most eye opening experience for me I had never imagined anything like this”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“So you were only reading at school. But when I went to grammar school, of course, then you could read. Then it was a world opened up.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“There was the Bible, there were magazines, the magazines my grandmother read, there were things like John Bull, Pitch Post that my father got, but the one that was no range of novels or, you know, they hadn't, you know, we didn't have a complete set of Dickens or anything, which somehow just did. And there was no library locally.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“At grammar school the boys were always favoured the school I went to it was a mixed grammar school and so there was still a degree in the nineteen forties fifties of chauvinism up there Sunday calf lives no.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“There was a lack of aspiration, and I think to an extent this still is, because it is a very depressed area, and my parents themselves had been so disappointed in life. I mean, they were wonderfully joyous people, but they had had many, many disappointments in their lives, and they had accepted that there was no possibilities beyond for them. And they were”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't know, you see, the trouble is when you grew up as a woman in the northeast, I was always aware that there was a conflict between what I felt I ought to be able to do and what was considered possible for me to do.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“We lived in a very poor community, nobody had any money. Nobody had any money. The first time I became really aware of it was when I went to the grammar school, and everyone else could go on the trip to France and I could earn. And I suddenly thought ah, now there's a difference.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, oh I remember that absolutely tell me. Well, because we used to have the shed in the backyard to play in and when he came back we couldn't have it anymore Yes, and I wrote a letter of complaint, which became a family exhibit, I remember”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, the one thing that we had in our village was a Methodist chapel which was just across the road from where we lived, and my father was a Methodist preacher, so the chapel was where I went, and that was a sort of social point of our village. So if you've been brought up like that, you still remember the hymns, but I thought this would capture the atmosphere, really, of the chapel going days.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I wasn't cosetted because of my grandmother, and also because I was very lucky in the community where I grew up, everybody played outside, and the entire community looked after all the children. So if you strayed too far at the end of the street, somebody would come out and say, you get back down home. Shouldn't be here, and you used to go. So I took my chance along with everybody else's child outside and did all kinds of things that I'd blench if I thought my grandchildren would do.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Nobody ever spoke about it. I learned about it later. It was always there unspoken in a way, but I was in my teens before I really understood.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, but there would have been brothers, but I'm afraid they died when they were babies, and my poor mother was I mean again it wasn't an uncommon thing.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“It was a relatively happy world. I mean, I grew up with my grandmother, my mother worked in a munitions factory, and my father was in the Royal Marine, so and I was an only child, by accident rather than design, and I grew up very close to my grandmother, who had had a very difficult life in that her husband died down the pit and she was left with six children and one still to be born and she had to bring those children up without any support, so she was quite strict with me and we used to have some quite fun times, but she was lovely. I kind of had a twenties childhood in the way that I was brought up rather than a thirties child, perhaps.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Prominent part It could be. I mean I wasn't aware of that but yes it might be certainly in the night garden was influenced by it for sure.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well the pits were working there was very little in the way of entertainment apart from what happened in the house lots of singing around the piano and everything happened. My earliest memories are the blackout and everything being rather dark. I've always had a great love of gardens and flowers and all the things that have colour. So I suppose I've always yearned for colour, maybe that's deep in my sagi, my house is full of colour That's true”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I was born ninety seven in Spenimore in County Durham, and we moved then to a place called Tudor Colliery, which, when I was very little, which is just outside.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“All well, dance with a dolly is a very rare piece because my mother, who was not very articulate, my father was the great talker in the family, but my mother was the one who would be silly occasionally. It's hard for me to remember because she developed multiple sclerosis in later life, but when I was little she would sing this song to me, and her whole body would shake with it, and we would have a lot of fun, and I do this with my grandchildren now, so it's very special to me.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, this may be true, but this may be because the parent has the opportunity not to talk to the child because of the fact that they can put the television on, but that is not to say that television per se is the problem. The whole circumstance of parenthood and family life has changed from twenty five years ago. You know, people aren't there as much mothers work because they have to. I'm not saying mothers shouldn't work, heavens, I've worked. But I think to say that and to say, well, then television must be the problem is far too facile an answer.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I think television is really important for children who don't have anything else, because through television we can give them so much if we make the kinds of programmes that encourage that imaginative connection. I don't think you can ever say It's not the television that does it it's the circumstances in which the child is growing up But what's so easy to make television escape which people want to do its easy way out”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“While Andrew the writer has a degree in speech sciences anyway, so he understood about emergent speech, and also a lot of people really overlooked the fact that children are thinking from the minute they're born, you know, they're thinking before they can articulate what they are thinking. I once had the experience of an American commissioning editor saying to me, but how will the children know what to do if no one tells them? And I thought I will never be able to sell you a program because if you think like that, you know, if you don't trust that a child has instinctive responses to the world that are to be encouraged and developed from the inside, you won't ever understand what I'm trying to do here, so I had to give up on that lady.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“We leave our little DV camera on top of the television, and obviously with the permission of the parents, and it's all very properly done. And is this in their voice? In their homes. Right. It's not a focus group, you know, because most people say, oh, it's a focus. No, no, it is not. There's all the difference between a response and an answer. It's a question of observing what holds attention and”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, when I'm watching I've made a great many programmes for children and we have at Ragdollar Children's Response Unit so that we're in touch with watching children watch. It's very easy to do that these days.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“I know that I can watch what we've shot and instinctively edit like a three year old so it's an editing capacity, I think, rather than knowing what they want.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I love poor Robeson's songs because in our household Paul Robeson was a great socialist hero, but I prefer to listen to Willard White now because I feel the backgrounds to the old Robeson recordings are a bit sentimental and one shouldn't sentimentalise a great man like four ropes and so I want to listen to Willard White singing one of Paul Ropeson's songs Lazy Bones I've always had to work and my children always say that I always have to have a project and I thought if I listen to lazy bones perhaps I'll calm down a bit.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source
“For me, you see, I believe that what matters is the child's imaginative development. The heart of a child is in their feelings and their imaginative capacity to make connections, and that's where true education comes from. It's the making connections. And stories connect. Stories connect. So stories for me have always been I've just been passionately interested in stories and I think children find stories exciting wherever and however they encounter them.”
2011-10-02 · Desert Island Discs · Anne Wood · IDENTIFIED FROM THE TRANSCRIPT · source