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Tommy Nagra talks about BBC raising £70m via the Big Night In, his love of Liverpool FC and Diversity in the BBC.

by Sam Sethi
April 29th 2020
00:39:14
Description

Sam Sethi talks with Tommy Nagra about the BBC Big Night In and how in less than three weeks it managed to put on a live show that raised £70m. 

We talk about how Tommy started in the BBC and... More

Hello, everyone on. Welcome to Sam Talks Technology, Your weekly guide about all things tech on business with Sam Sethi. Hello and welcome to another episode of sand talks technology. I've got one of my friends here today, but he also happens to be the director of content for BBC Children in need. He also happened to be part off the big night in Tommy Nagra. How are you? I'm very good, Sam. Nice to speak to you. On to you, sir. Now I just describe what you do. You've been at the BBC 25 years. But you had a wonderful evening the other night. Raised close on £17 million. What was the big night in like, How did you get involved in What were you doing as part of it? It's quite incredible, actually. Sound quite remarkable. What we managed to do particularly enduring lock down

. This is the coming together off. Not just beauty Children in need, a comic relief on the brilliant team that BBC studios. So it's an incredible collaboration between three different parts of the organization. First time we've ever worked together with Children in need. I'm sorry with comic relief. It waas a roller coaster. And to think what we managed to achieve in little just a little bit over three weeks. Three weeks? I mean, who came up with the Let's do this idea? Well, I think it came from a number of areas. I think we realized very quickly assume is locked down. Started that the BBC had a very important role to play, not just in terms off. It's public service remit in terms of bringing the nation together, but for BBC one in particular, which is very much about universality and actually bringing the country together. I think what we've seen over the last few weeks during locked down is really the BBC come into its own. I think, whether it be through the live lessons were doing for Children

who are stuck at home, whether it be through our new services on informing the public about what's actually happening. But actually what the big night in was about Sam was about actually cheering the country up like on actually at a time when it was absolutely necessary. Thio do that, but at the same time to bring the two BBC charities, Children in need and comic relief together to support the thousands of small charities we support on the front line. Who because of the situation, where in are finally incredibly hard to get the support that they do day in, day out to the people who most need it. So it was telling the stories off the projects that both comic relief and Children in need fund but also doing it in a way which also entertain the nation's. So part of it was about kind of reminding people why it was so important to do this, but also hopefully entertaining

them along the way now is Director of Content. Were you responsible for things like the Foo Fighters? Amazing, amazing track. Bringing back David Walliams Onda little Britain was that your responsibility wasn't just me, so I wouldn't take credit for all of it. I mean, we have brilliant people comic relief. So Richard Curtis, for example, and all that brilliant sketches, you know, he was able to open his contact book and ring ring them up. He knows people like David and fantastic I the radio one, the single, which was incredible. So radio on. We're doing this incredible single for their stay home live lounge on. I managed to convince network radio Toe all come together on the day they were already doing this brilliant singalong that they do on a Thursday where all the pop stations all get together. And we thought, actually, if ever there was a time for all of them to come together alongside us, alongside studios alongside comic relief, it was now so

that single was quite a quite incredible when I first heard it from a brilliant producer radio one called Chris Price, who Bean talking to Dave Groll about that quite special track on Do we managed to persuade them? Thio actually do it on our day, so to do it on the day of the big night in so across. Radio one Radio two. Ready a three ready of four or five live six music Asian Network. One extra. They put on a whole day of content telling stories off where the money would go, but also doing some quite special things. And radio one had this brilliant idea off. Doing a stay at Home Live Lounge, which I managed to persuade them, would be a really good idea if it also raise money for the big night in on it. It was a well done in super quick time. Everybody at home and it's quite a special song. I have to say it is. I mean, it was already one of my favorite songs, like for the acoustic version of the Foo Fighters, ever long. But

that, I have to say, was quite special. Yeah, it's amazing what you can achieve in a short space of time when you think about the fact that a swell as coming up with three hours of fantastic television bringing three different organizations together and then the cherry on the cake would be potentially a number one single. Although I'm feeling quite uncomfortable about knocking Captain Tom potentially Oh my God, you could be enemy number one in the country if you did that a little bit uncomfortable about that. But it is an incredible single, and I'm very grateful to act friends already there, one for making it work for us. So explain what it was like on the night. I mean, you've produced, and we'll talk about that as we go along in this interview programs for a number of years for the BBC and outside the BBC. But what was it like on the night? Producing a show like this? Where were you in context of show You at home or you in the studio. Where

were you? I was at home. I've been living in the world of Zoom. So we have a fantastic executive producer for you today. Only a handful of people were actually in this one show studio. I mean, Peter, the exact was actually in a corridor on the phone. I was on a zoo court. So I test my mini gallery in my lounge where I had my my computer, my two ipads my phone. I watched the rehearsals through Zoom on the screen. So I was watching the rehearsal throughout the day. I was listening to the content on radio on my smart speaker, flicking through all the stations, crying, Incredible day actually was like our own mini live bait felt like but Allfirst's from my little bunker at home. So we were all connected on the as the program went out, I was in the zoom set up into the gallery where we're feeding any comments or anything. The team that BBC studios were in the studio but only a handful of all socially physically distance from each

other. It was quite scary because it was live so anything could have gone wrong. But I think the key thing that we were keen to get right was the tone off the night because obviously there are a lot of fatalities were kind of you're kind of at the peak of Kobe, 19 on Just asking people for money at a time when time look quite hard is you've got to get that right So we didn't think long and hard. And I know Peter that the exact really, really did big, long and hard about the mix of items that we had on the show. And obviously we have stories from across comic relief and my pretty Children in need. What kind of this is where the money is going to go? We had a brilliant team who were coming up with all the sketches and all the fun stuff. We even managed to get a contribution from Prince William, which was all very kind of a top

secret. Most people didn't know until the day about for a couple of weeks, so I've been on the phone alongside pizza, negotiating what we could potentially do with them, which was incredible. But I think what was incredibly heartwarming onboard, really just reflecting on it over the weekend is just the generosity of everybody. Not just all the people who worked on the show, but actually the great British public who, despite the hard times put their hands in their pockets, have managed to raise £67 million and rising. And it's very humbling when you know where that money is going to go. So explain. Where does that money go? So most of us think we see comic relief, and we see the normal Children in need show. But most people, I don't know if they really understand where the money actually gets spent. Well, for Children in Me Way fund over 3000 projects across the UK on it can range from anything

from Children who are suffering suffering from anxiety, depression, isolation, bereavement, disability, bullying, whole range off things which actually during Cove in 19 have bean exacerbated because they've lost that day to day contact on the stage with comic relief recovery. Really For international charity, the Children need a very UK focus but they also do a lot in this space. So they fund the project. They do called called Fair Share, which is getting food on emergency essentials, a product that Children in need fund, which is getting white goods. And most people having a cooker on a washing machine on bedding and things like that. It's not a kind of it's not a normal for them. And when we had the floods, for example, in February, our Emergency Essentials program was key to getting very quickly money to people

who most needed it on. Obviously, Kobe, 19, has further accelerated the need out there. So it's really what the program did. Waas through entertainment and comedy and music, actually raised a significant amount of money, which is going to go to those projects now with the big night in having finished. What's next? Is there another Children in need planned for later in the year? Was that far too sooner You just recovering? Oh, no. Well, we've been planning it for some time, actually, when Kobe it happened. I mean, this happened three weeks ago, but we're already planning for the need which will happen in November. Okay, It will be our 40th anniversary at 40th birthday of Children in need. So 40 years of doing some incredible work support Children and young people. Who knows what the situation is going to be like, whether we do a similar show to what we've just achieved in, uh, in record breaking time

and breakneck speed or hopefully blockade is lifted and were able thio to do to do a very different type of show. So, yes, now the work continues on that we had a little bit of a pause to deliver the big night in, but yet allow thoughts. Now turn to our 40th and I our own appeal. Uh, in November. Brilliant. Well, I look forward to that. Now. I want to just go back in time a little bit on, just understand about how young Tommy got into all of this. I mean, where did it all start for you? So I had a rather naive So I I went to university and did all that kind of stuff and starting local radio. My first job was in daytime television, which was show called Good Morning and a Neck where we were producing three hours of live television every day, every morning. That was an incredible place to cut your teeth. You know, it was relentless. I mean, we've just done this one show a few weeks ago, which was incredible

. But doing a live show as your first big TV job really, really did kind of whipping into shape and then e suppose when I started Sam, I'd rather naive. No notion of, you know, I wanted to make television programs on producing Barrett documentaries. That kind of changed the world or made a difference. I was fortunate enough to be able t do just in my own little space and use the multicultural programs department. What we made program about all kinds of things that really made a difference, sometimes changing government policy and stuff. And that was the stuff that really fueled May. Actually, it feels like I've gone full circle. Actually, you know, Big, my in was almost like it feels like I've got in one full circle in terms of helping make content. That makes a difference. And that's why yeah, 25 years in and outside the BBC, I also spent five years working in the independent sector, which was an incredible experience as well. But I think at times like

this you realize why the BBC is so important and bring the nation together. We're not a Netflix. We're not on Amazon sometimes very easy to look at these cool, young brands who are way. Really. I don't think any of them have a charitable purpose like this. So when I started, actually, it was all about being a program maker. Work from documentaries are which shows I was some music shows. I travel the world. I've had an incredible I've been very blessed. I have to say in being able to do that had this particular job is very special because actually to television with the purpose is what I call it. It's not just about how many people have watched it, which was usually my metric. It's actually just it's about actually, how much money are we raising through our programs? So actually, while I'm not from the charity world, I'm learning about it. I'm less than two years in the job, but actually the combination of that

on the work I've done in across broadcasting across different channels, BBC channel for Nat Geo. Actually, this is bringing it all together. So would you say this, Jule, pinnacle of your career? I mean, I don't wanna write you off yet, Tommy, but have you climbed your Everest? This is very, very special. I'm very proud of lots of programs I've made, actually, Samuel? No, this being a Liverpool fan. But I made a documentary on Hillsborough on the justice. What happened then? That waas. That meant something very personal to me because I was because we're both avid livable founders. We'll talk about shortly. I was at Hillsborough. I was a student at the time. Really? I didn't realize that. Yeah, it was a He had a huge impact on me personally. Andi, making that documentary was a real highlight. Being That was incredible highlight because of all the different partners involved. But yeah, I have to know, but I hope there's more to come. I'm not past it here. I think

one of the things about working at Children in need on board why is so special? Amongst the other stuff that I've done is I had one of those birthdays for the big zero On the end, Andi had got to the stage where I've made lots of programs and have bean on that factory, and it is quite relentless. Hats not allow people who are on the coal face of turnaround programs every day. I've done a fair bit of that and I got to the stage where I was looking to do something quite different. So I was quite fortunate. When theon tune iti to join Children need is their director content came about because it felt like this was different. I'm also still learning. The charity sector is facing huge, huge precious, as is every other sector, including the BBC. So I think the next few years I'm going to be quite a different mountain to climb, shall I say? And I think what what we're seeing with locked down

is actually creativity like you've never seen before. You only need to go online and see what people are doing in their own homes. How people are thinking about different ideas of fundraise, e different ways of making television. I mean of the other incredible feat around the big My in was it was all done remotely so the carbon footprint. We're not traveling as much. We're not printing lots of paper. Uh, if you have said this to me six months ago, I would have said it's impossible, but we've done it. So I think this could be the start off very exciting period of creativity for all broadcasters and also how we tell our stories on digital channels on different platforms. I think that's the next big Manti, I think, and I think people have had to learn new skills. I mean, I come from a technical background and so this is not new to me. Been using Zoom for a number of years, but it's been wonderful watching friends who aren't technical adapting to this new way of working on. I would question whether they would go back to the normal, as

some people call it, because I don't think there will be a normal if being new, normal. You know this space because you've lived and breathed it for 40 years. But the interesting thing throughout this whole process is the technology has always been there, Zoom. It's new for a lot of people, but it's always be there. The tech has always been there. It's just that now people are forced to use it on their seeing what the potential is on. I think that's unlocking a huge amount of creativity which, if it's channeled properly, can create a huge a new world of content, which is we get audiences, places, ways that I call Covert the Great Accelerator. I try and look for silver linings and for the people in my world we've been banging the drum, saying, Why go to an office? Why are we commuting? Why we doing excess travel, all these sorts of things on. Hopefully people will think there will be a rush Post Cove in when officially were allowed to go back toe work, whatever that means. But I think people

will start to question Well, hang on a minute. I'm stood next Thio Fred on my left and Joe on my right and I don't know which ones infectious or not infectious. I don't know if that's gonna be a rush back toe workers. Some people might think, I think you're absolutely right. I mean, I'm just thinking about what we managed to achieve on the big man, and I'm not so sure we could have turned this around so quickly and effectively. It sounds bizarre as I say this. If we hadn't had locked out because what we were able to do was actually how very quick, focused conversations over Zoom that you wouldn't be able tohave in what we normally do for annual appeal and forever I live in Ultra comes just on board. I am forever on a train to London, having face to face meetings, trying to convince people to do things for us. On a lot of my role is about influencing and persuading on getting people to work together on actually what technologies

enabled us to do. Sam is to do that in a very much more efficient way, actually. And I just thought of that I'm talking to you that actually I'm not I think if we had tried to do this in the world, pre Covic, shall I say I think it actually could have been a lot harder than what it one of the things you said to me earlier was you were slightly responsible for bringing Sanjeev Bhaskar to the airwaves. How did that come about? Because he's one of my heroes, by the way. So I'm gonna put it out there. Sanjay's Yes, Sanjay's eso What way? Back in the day when I work in data. I also worked in there. What was in the multicultural programs department? Andi Yes, Sanchez, one of I saw Sandy believe it or not, with a musician you might know called Living Saw me. And they were They were. They were like they were dubbed the Asian More common wise. I saw him at the Watering Art Center way back in the early nineties. I thought these guys were talented and I am. I auditioned Sanjeev and yeah, I'm

kind of partly responsible for giving his first TV break, although I can't take credit for the two miles at number four Stukes. I remember him telling me when he was driving his that scene, how we had this idea about an Asian family in their homes who would interview big, high profile celebrities. This was way back in the early nineties, and I remember saying Santa, you never get that way. Sanchez Sand has gone on to He's gone on to great things, and he's incredibly talented and funny and thoughtful individual. But yeah, he's one of one of my early protegees, and we still keep in touch and stuff, and he's been very supportive even though a big links the three of us, my say links. The three of us have no link to Sanjeev adult. But one of the things that links the three of us is we're all Liverpool fans now. You explain sadly, that you were at Hillsborough. Explain thio me on everyone who's listening. Why

you a Liverpool fan? You've got a theory about why possibly ations or people of cholera? Liverpool fans e am. I think Liverpool and football is my outside of work is my really kind of passion. Yeah, just for those who can't see your run, Tommy, it's covered with ugly shirt. Liverpool memorabilia all over it. Yeah, I am. I am a super fan, as people would put it on. Partly it's it's really interesting. Ah, lot of British Asians on black minority ethnic people off my age didn't support their local teams and I was brought up. Born and brought up in in Birmingham. On by the local teams were West Bromwich Albion and Aston Villa and Burning City. But actually I had a theory about this something. My dad wasn't a football fan. He thought it was a horrible sport full of racist hooligans on there. For those of you who might have grown up in the seventies, there was certainly an element to that. Hey

was always into cricket. It was really funny because a lot of my friends, you know, foot all teams have passed on from generation to generation. So you follow the team of your father and I never really had that. My dad was the first generation immigrant. I was came here first generation immigrant. He loved cricket. You loved all those things. I thought cricket was boring. Tonto football still do. Yeah, my window on the world was actually matching the day. Same on I remember seeing Bill Shankly being interviewed on the careers were just used out of the screen. I thought, Who is this guy? How he spoke in our language, which waas understandable. He was a man of the people, and he just had this incredible charisma at the time. The three big teams Sam well, Liverpool, Leeds and Manchester United kind off. But they were the three big clubs, and I think a lot of black and Asian kids that was their window into the world of football because they didn't have a past down from their parents. So that

was my Liverpool on that red kit and Bill Shankly speaking so passionately about the power of football and plus the fact that Liverpool winning everything and as a kid you kind of want to associate yourself with seems like they're winning on. So that was it. I was hooked on that alongside my other love, which is music and being a Beatles fan. My dad did like the Beatles. So you like you like you also love the Beatles on that? Those two influences, actually, for a boy in Birmingham, I had it, you know, as I was growing up was like, What do you look for fun? And it was kind of actually the love for Liverpool since then, and I used to go still go home games and my son, now who's gonna turn 18, is also a passionate Liverpool fan because his dad is. That's what you said. You grew up in the seventies around West Bram. They have the three degrees at the time. Did that never appeal? Thio? My first every game I ever went to Waas I remember it vividly. West

from 1979 Kenny Dalglish scored a goal through Tony Gardens Lakes. I still remember because I was right behind the goal and that's it. I was actually in the West Bromwich Albion it for that first game. Yeah, and after that, actually, what they used to do with the four forms in those days Waas they would open up the turn starts at half time. So actually, my first games were watching, so I've still got my second club. If you like, I was probably terrible. So I would ride my chopper up to the ground at halftime, wait for the doors to open on, watch West Bromwich Albion on watch those three degrees. So I actually watched Justus much west from my childhood when I was a kid is a big legal forms as I've grown older, Yeah, Liverpool of kind of being my kind of you know, my number one team going up West Bromwich Albion for my fix and football were their team. And they were, uh, incredible. Those three players eso for those who don't know the three degrees Laurie Cunningham, Brendon Batson and Silver Regis

. Yeah, it was a brilliant book about the three of them and actually what those guys do for football. I'm not just football. Actually, society on some of the abuse that I witnessed them having from opposing fans. It's the reminder of where we once were. Andi, it's horrible, went to see the spectrum racism raring its ugly head again in pockets. But I remember in the seventies I must have been 12 13 year old hearing grown men shout Racist abuse, which was vitriol, was quite a quite a scar, actually, Um, thankfully, those days of governor, I go with my son to the football. We don't experience any of that at Anfield. You get occasions of it sometimes, but it's nothing like it. Waas in the dark days of the seventies and early eighties, for sure, remember, Listen toe Howard Gayle being interviewed about being the first black player and what it was like

in those days and into some degree for a long while, Liverpool was the team off people of color who supported it. Everton didn't really have a colored following. It was very much the Reds were on the blues, weren't we had Johnny Barnes, who was majestic, who led us. It's interesting to see how both him and, to a degree, how Gale broke ground for Liverpool. I think they did, and but I'd say that the three degrees West Bromwich Albion in almost 10 years before that, we're doing that. And actually, the fact that it was more than one, it was three of them all fantastic players. And here's the irony. It was Ron Atkinson who was the manager. Ron Atkinson lost his career for his racist commentary. Do you think he was a racist? Currently? One action. See, I don't think people would have realized they were being racist. I think there is

a lack off cultural understanding off people who, Clifford. I think in those days it was exacerbated. Ron Atkinson was a football manager. He wanted the best players possible to win them trophies. They just happen to be black. I don't think he understood the significance off that, because there are people of a different generation who just don't see. They just don't see it. He saw that was fantastic players who happened to be black, which is the right thing to do. Yeah, it's about they were. They were just brilliant in their own right. I think racism comes in very different shapes and forms, from the vitriol of the abuse that you hear on physical violence to something much more subtle sometimes which people don't really understand, which is racism just the same. But it's much more unconscious and it's subtle, and it's manifests in very different ways. What Ron Atkinson did was unforgivable on hearing that was actually knowing what he had achieved

in his career, all undone by if that very offensive, thoughtless comment, which revealed so much more about the man than we knew. It's the underlying races and they always had within him. Now you joined the BBC. What back in the eighties, would you say, Oh, stop it. Stop putting John No. Early 97 19 nineties. Actually, I started when I was a student. I worked at Radio Sheffield, where I was a student, which is why I was in a Sheffield student during Hillsborough. Andi, suddenly local radio actually distinct doing kind of audience research as well on the weekends where I worth a bob on, then joining the BBC in 1992 almost a zealous a runner in daytime television, Andi answering phones and making cups of tea on then coming up with ideas for Good Morning, Alan Neck. So yeah, early 1992. So, talking of racism, what was it like in the BBC when you joined? Clearly? Now there is a more diverse

front of house, both women on people of color. I'll turn on the news. When When I was a kid growing up, it was white male. Only then it became some females. Angela Rippon. And now you're seeing BBC Question time. One of its flag shows being hosted by a woman. Emily made lists in the interview with Prince Andrew being lorded. Is the BBC naturally diverse now, or is it still a challenge? I think in all organizations there is still work to do. I think the beauty has made huge strides. I have to say, from when I first started, you are seeing both on and off screen, and I think it z its's. It has to, because it's not just a moral thing, actually, where a universally funded license fee paying organization, everybody pays the same amount and one of the beauties of the BBC and one of its main aims and why I'm so drawn to it as an organization is it's there for everybody. Andi

, as the population is changing on as we have more diversity on it z not just ethnic diversity. It's about class, for me, always has Bean. I think we've got a huge amount still to do, but we made huge strides when I started. I cut my teeth. I will started off in daytime TV and working on live television, but actually where I really learned waas. The BBC had a multicultural programs department where I kind of progress my career from a researcher to a producer, to a director to a serious producer on, then eventually heading up that unit in Birmingham Pebble Mill, which was a magical place on bond. It's where I made mistakes. That's where I made really proud of some programs who made. But probably I made some stuff that I wouldn't put on again, but it was It was a great nursery slope on. I think we don't have those specialist units anymore because actually, it's not just about having a multicultural programs departments about actually seeding

diversity across the whole organization, and it's a big organization, so we've got a fantastic head of creative diversity, June Sarpong who joined us last year on huge strides are being made in terms of making sure that the organization reflects the audience that we serve. So that wasn't always there in the early nineties, it was quite optimistic. I think it felt so now. It feels both on and off screen that we are absolutely reflecting our audiences in our output across all of them. Yeah, the first program that ever addressed how I felt was goodness gracious May that the comedy in that was sharp. It was witty, and it did cross over. But being a nation Brit, it really did touch on the points off my childhood, the classic. I'm going for an English or the dad who says everything is made in India. Those moments were just got comic goal for me. I have to say it's

the power of story. We all want to see stories that reflect us. That's what you connect with. And I remember growing up cranky when if you swore a in Asian or first on screen, it's the classic kind of come down. Everyone come down and watch because there's a black and brown exactly on. It was an exciting thing but you kind of look, we're on screen. So I think hearing our stories and what good is graciously you did, which is a seminal program, definitely was, actually bring our stories into the mainstream, not just into our little homes and for us to talk about but actually into the mainstream, where the broader population could also see that actually can be funny and clever and witty on. That's why that was such a seminal piece of television, for sure. I think you're seeing that now promises Siri's what people like Anita Rani and they're in on country file in one share. Uh, what may be doing a man Lima Bean and add array with Citizen Khan, these air or people who had the platform of the BBC to do something very creative

. But we really interesting as we head into the digital world that we're in now, actually seeing the kind of democratization off content on of people who have access to those platforms to do funny stuff, to do, thoughtful stuff, to do stuff that makes you think so. I think we are in the golden Age. Ah, broadcasting right that despite what many people think, question you touched on earlier, and I wanted to go back. Thio was the government pride to Cove. It was comfortably anti BBC because of the awkward questions Oh, Andrew Neil was trying to pose to Boris Johnson on. I'm sure President Cummings was not very happy about their reaction, but you mentioned that the BBC isn't Netflix. It's not prime. It's not any of those other mainstream. Where do you see the BBC in 10 years? Do you hope that we will still be a tax license funded

organization? Would you think it will have to go commercial and change? That's a very big question, Sam, for people who are farm or important than me in the organization to answer. What I can say is the BBC, particularly in the last month, has shown its true value. Yes, people want to come together, and there's no better place until broadcasting for it to do that. Netflix is brilliant. I've got my Netflix subscription. I got my hands on from the prescription that I've got. My BT, all of them are fantastic in their own right. But actually, at times like this, I think the BBC not just for what it does for audiences in the UK but as a global brand, one which has the highest values on journalistically, is holding truth to power is something that I think will remain a big focus. And I'm not just saying this because I am working for the BBC, but

the reason why I stayed in the BBC. I did leave for a number of years and that was incredible. But the reason the BBC is so special it is because it is genuinely making a difference on I think Children need is just one example the BBC not just what it does on air, but what it does, the difference it makes in the UK off air. You know, I don't see the lunch and then Netflix or Amazon e think people will regret if we lose the BBC. It's a bit like people have realized the value of the NHS in this time, and if we lose the BBC, we will never get it back. And other countries look at us on what we have. It is a trusted source, you know. Fox News is not trusted. There's many other political TV stations in Russia that are not world trusted but the World Service people will turn to it the BBC americal or if I need to find the news and know what's going on, I don't turn on sky

. I don't turn on the TV. I tend to the BBC on it still has that gold standard of trust. I think I'm just like every other organization. The BBC has to adapt with the changing world, and it is. I mean, if you think about things like the I player, it's incredible invention, which the BBC came up with. We weren't actually the first, but actually the way that that has been pulled together and you Seymour arm or on I player on its people are watching television differently than they used to. So I think there is very much a place for the BBC still retaining its called public service element of informing, educating and entertaining. But using these new platforms to actually drive new innovation. The airplane is just one example on BBC Sounds, which only launched last year an incredible treasure trove of content. I think there is still a desire for audiences to have some curated content. I'm not off the kind

of school which says Television is dead just like when television came along. Ah, lot of people thought radio instead. That was the end of radio. Far from it. I think there's room for your Amazons and your Netflix is and a lot of those channels. But the BBC remains a trusted key part of fabric of the UK, and I think we would be fools to kind of let that go, especially with its worldwide reputation and the impact that we're seeing every day across, whether it be radio, television online. Yes, there is a license fee, but look what you're getting for your license for you. You're getting all of those channels the I player, Children's radio stations, local stations, which have come into their own over the last few weeks to I don't think competitors can even think about putting on our service that that's so much. No, I agree. Tommy Negra, Thank you so much

for your time. It's been a fascinating conversation. I look forward to Children in need in November. Good luck with that. Where can people go if they want to still donate for the big night in? Yes, So the website, the big night in big lighting, so w w w dot BBC dot co dot UK slash big night in There is still a chance to win some of the amazing prizes and to donate on. Obviously, we're also now thinking actual really need for November on a while. Details are on the Children in Need website, which is BBC dot co UK slash Children in need. So you'll find everything you need on that Tommy. Just leave him to say you'll never walk alone unless you Thank you, Sam YouTube. Thank you, Sam. That show was amazing. Don't forget to visit sand talks dot technology to discover Mawr Great shows. See you next week. Same time, same place

Tommy Nagra talks about BBC raising £70m via the Big Night In, his love of Liverpool FC and Diversity in the BBC.
Tommy Nagra talks about BBC raising £70m via the Big Night In, his love of Liverpool FC and Diversity in the BBC.
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