 Wildlife Film News
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Welcome to our newest full member! |
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Megan Wheeler – Researcher, Runner, Logger Trainee researcher, logger and runner looking to work in documentary TV and film. She says: "I am keen to work on projects that champion animal rights, highlight the effects of climate change and observe nature. By virtue of my Anthropology degree, I also have a keen interest not only in societies and cultures but in learning about individuals and the lives that they lead. I want to dedicate my career to meaningful and educational storytelling which explores important subjects. At this stage, I am looking for any junior role, although I am particularly interested in researcher roles." Talent Website: www.thetalentmanager.com/talent/166218/megan-wheeler Profile Page: Wildlife-film.com/-/MeganWheeler.htm |
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As a full member of the site, you get a listing in all appropriate sections, a profile page and priority on your news across the site, this newsletter and our social media accounts. To become a full member ... email membership@wildlife-film.com for an application form. For more info, visit: Wildlife-film.com/freelancers (currently just £30/year!) or Wildlife-film.com/companies (only £100/year!) Membership fees help to keep the site going too ... Your support is much needed and appreciated! |
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ELEVATING BIPOC PERSPECTIVES ON ENVIRONMENTAL ISSUES DC Environmental Film Festival provides additional support for emerging BIPOC filmmakers In an effort to reinforce the importance of supporting the creative and informative works of BIPOC creators, the Environmental Film Festival in the Nation’s Capital (DCEFF) has established the DCEFF Vantage Grant to provide pitch training and funding to emerging BIPOC filmmakers. This $12,500 grant will be awarded to a qualifying filmmaker to assist with a short film or first feature in any stage of production that addresses a timely environmental issue. The Vantage Grant responds to the need for representation in reflective works that are created by members of the very communities most impacted by environmental issues. DCEFF recognizes that racial inequities should be considered when addressing environmental issues such as climate change, food security, sustainability, etc. These issues impact underserved communities at a disproportionate scale, yet many films that highlight these topics are created by filmmakers who do not identify with communities most impacted. The Vantage Grant has become an extension of DCEFF’s commitment to expanding the storytelling pipeline, amplifying the voices and supporting the works of BIPOC creators. An open call for applications will be launched on December 12th, 2022 for eligible filmmakers or producers to submit their proposals. Finalists will receive extensive pitch training from Judith Helfand, co-creator of Chicken & Egg Pictures, filmmaker (A Healthy Baby Girl, Blue Vinyl, Cooked: Survival by Zip Code) and professor at the Columbia University School of Journalism. Judith Helfand will emcee the live pitch program on March 26, 2023. The DCEFF Vantage Grant will be the culminating award given to a winning pitch determined by an industry panel of environmental leaders and subject experts. The DCEFF Vantage Grant is made possible through the support of Prince Charitable Trusts. Applications can be submitted at dceff.org/grants. For more information, contact pitch@dceff.org. |
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Ireland Wildlife Film Festival 2022 Winners Announced! The fourth Ireland Wildlife Film Festival was held virtually from the 10-20th of December 2022. Many submissions came in from all around the globe, resulting in a great collection of films in three categories, Feature Film, Short Film and Student Short Film, and I was asked to be a judge for a fourth year running! The Ireland Wildlife Film Festival is the first of its kind in Ireland and seeks to bring stories of conservation and species preservation to the big screen while also striving to create a community of filmmakers and audience members who care deeply about environmental issues. Today we are witnessing habitat destruction and extinction at rates never before seen on our planet. Now, more than ever, it is of the utmost importance to advocate for the well being of the earth and our neighboring species. The winner for best Feature Film will receive 500 Euro and laurels. Twenty one films were selcted for screening during the virtual event: This year all of the spectacular wildlife and conservation films were free for all to watch from December 10-20th. See the official trailer:
The Nominees and Finalists The Ireland Wildlife Film Festival would like to congratulate this year's winners: Best Feature Film Winner: The Wild Gardener
Wildlife cameraman Colin Stafford-Johnson returns home on a very personal project - to turn his old childhood garden into a haven for native wildlife. After 30 years of filming the world’s most iconic creatures, Colin heads back to Ireland and a garden he spent his childhood summers spraying and mowing into a perfect lawn. But now he wants to transform his old playground into a sanctuary for the native plants and animals now struggling to survive on these islands and inspire viewers to do the same. Finalists: Part of the Pack, directed by Isabelle Groc ahd Mike McKinlay. Best Short Film Winner: Takeaway A hand drawn tale inspired by the antics of the Bowerbird, that gives an insight into what really happens to all that single use plastic that we use and so recklessly discard. Finalists: Hatchets & Hope - The Killarney Mountain Meitheal, directed by Aoibheann O'Sullivan. Best Student Short Film Winner: Ghost Ponds In the farmland of England, a search and rescue mission is underway. A team is working to excavate land haunted by ghosts… but these are not ordinary ghosts… they are ghost ponds. Norfolk used to have a record number of ponds, but modern-day farming is burying England’s wetlands at an exponential rate. With a looming biodiversity crisis, a grassroots movement is reviving farmland ponds as an unexpected last hope to protect freshwater wildlife. Finalist: My Neighbour is a Bear, directed by Mattia Cialoni. Audience Choice Popular Vote Winner: Winner: Hatchets & Hope - The Killarney Mountain Meitheal
An inspiring film about camaraderie, commitment, and the astounding results a small group of passionate nature lovers have achieved. To learn more about the films please visit the following link: www.irelandwildlifefilmfestival.com/copy-of-2021-winners Visit: www.irelandwildlifefilmfestival.com Visit/Like facebook.com/irelandwildlifefilmfestival |
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NaturVision Film Festival Call for Entries The 22nd NaturVision Film Festival will once again celebrate environmental and nature films in Ludwigsburg from 20–23 July 2023. We hope your submissions will light up our exciting festival programme! It’s time to start submitting your films for a chance to win one of our renowned film awards! Films that were completed after 1 January 2022 can now be registered via our website: natur-vision.de/en/wettbewerb/call-for-entries The closing date for entries is 23 January 2023. For more information on the categories and regulations, visit natur-vision.de/en/wettbewerb We look forward to your submissions and are excited to see which ones arrive first! Best wishes, Ralph Thoms – Festival Director |
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Green Screen Call for Entry 2023 ENTRIES welcome now for the 17th edition of the GREEN SCREEN Wildlife Filmfestival Eckernförde! 42,000 € Prize money are waiting for the best wildlife films of the year. Submission deadline: March 15th, 2023! The submission fee will be 75 € per film (short films are for free, Newcomer are 30 €). There is an earlybird discount - 25 % off the total entry fees for film submissions completed before January 31st, 2023. "You still film on 35 mm? Your film doesn´t fit in? You have a new perspective of storytelling?" Then, this is for you: We are launching a brandnew category for the future festival editions and are embracing all films that are suprising in every way. We are very happy to announce the BEST INNOVATIVE FILM (sponsored by Stiftung Natur im Norden, endowment: 2,500 €)! Country Focus 2023: The Dutch Connection After the successful French Connection this year, the GREEN SCREEN Festival turns its attention to the Netherlands, the Dutch Connection, as the next country focus in 2023! After Arthur de Bruin took home the GREEN SCREEN Nature Film Award 2022 with his film "Waves beneath the Water" and we were able to welcome many Dutch professionals in Eckernförde, the choice for the Netherlands was obvious. We are looking forward to many Dutch films and Dutch co-productions! Visit: greenscreen-festival.de/en/professional/filmsubmission |
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AUCEF Classroom in the Wild 2023 Applications Open! Applications are now open for the 2022 Classroom in The Wild Spring Break, March 2023! This workshop is part of SOC's experiential learning initiative and is intended for participants to gain hands-on filmmaking experience in the wild. The focus of CitW is on learning skills in environmental and wildlife photography and filmmaking and on safety and survival skills while in potential harsh conditions. This year’s program will take place in Shenandoah Valley. Find out more and Apply today to secure your spot! Visit the website: www.environmentalfilm.org And the research site: www.cefimpactmedia.org |
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IWFF Submissions are Open, with festival theme: Fight or Flight The 46th IWFF's Call For Submissions is OPEN! The 2023 International Wildlife Film Festival is scheduled for April 22-27, 2023 - make a note! This year’s festival theme: Fight or Flight refers to the physiological reaction that occurs in response to a perceived harmful event, attack, or threat. In our 46th year, our festival theme celebrates stories illustrative of all that it takes to survive. Fight or flight actions exist on a spectrum and can refer to the action of flying toward safety, freezing, fleeing, or perhaps a collective reaction to fight for the survival of an animal, on a more abstract level. We look forward to sharing heartfelt stories reflective of the instinct to survive on our screens as well as behind the camera. This theme acts as a twelfth category within the IWFF juried program. Finalists in each category are screened at the festival. yet submissions are also selected to screen outside of the competition with a total of about 60 films included within the Festival. Festival selections are screened in Missoula at the Roxy Theater with ample support for filmmakers to join as guests. Find out more submission details on wildlifefilms.org. The last chance to submit is February 1, 2023 so get those roughs into picture-lock mode and ready for our screens come April. Find the IWFF on filmfreeway and add to your watchlist. |
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The 2022 Earthshot Prize Winners Announced Five winners. Five incredible stories. The 2022 Earthshot Prize Awards took place on Friday, December 2nd at the MGM Music Hall in Boston. In 1962, the ‘Moonshot’ was a challenge set by President John F. Kennedy to reach the seemingly impossible goal of landing a man on the moon within ten years. Inspired by this stunning achievement, Prince William established The Earthshot Prize to uncover and scale the innovative solutions that will repair our planet within the next ten years. We are therefore thrilled to be partnering with the John F. Kennedy Foundation to bring The Earthshot Prize to Boston, the birthplace of President Kennedy himself, to celebrate not only our 2022 Winners and Finalists but also the city’s own ongoing transformation towards sustainability. From a shortlist of fifteen finalists, five winners were announced at the Awards Ceremony – one for each Earthshot.
Watch The Awards Highlights:
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James Cameron to reveal never-seen-before underwater worlds in OceanXplorers series made with BBC Titanic director promises spectacular underwater scenes – and a conservation message – in OceanXplorers Disney show produced with BBC’s Natural History Unit Undersea explorers will reveal never-before-seen ocean worlds in an epic TV collaboration between the team behind The Blue Planet II and Titanic director James Cameron. Four years in the making and shot using the most advanced exploration and research vessel in the world, the BBC said OceanXplorers will receive its world premiere in 2023. The six-part series, made by the BBC’s world-famous Natural History Unit for Disney’s National Geographic network, pairs marine scientists with cutting-edge technology to “unlock the secrets hiding in our oceans.” Guided by Cameron, who dived down to the bottom of the Mariana Trench in the Pacific in a submersible in 2012, the series follows the maiden voyage of OceanXplorer, a specially-built ship equipped with marine research labs, submersible drones, robots and Hollywood-style film production facilities. Setting sail from the West Indies, the first mission for the on-board team of Nasa engineers and marine scientists is an examination of the hammerhead shark’s hunting behaviours and an attempt to explain why the endangered species is rapidly disappearing. |
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An open letter to James Cameron & Avatar crew by Ric O’Barry “I was hoping it was a mistake. “It wasn’t, but it was a brutal wake up call.” I watched the video of the Avatar: The Way of Water Tokyo Press Event several times – held on/around December 10 at the Maxell Aqua Park Shinagawa. I hope you will watch it, too. To watch this particular group of filmmakers, whom I greatly admire and respect, applaud captive dolphins performing tricks in a tiny pool absolutely floored me. I was hoping it was a mistake. It wasn’t, but it was a brutal wake up call.
The clapping really got to me. It wasn’t just James Cameron. Everyone clapped. Everyone was amused and entertained: Jon Landau, Zoe Saldaña, Sam Worthington, Sigourney Weaver, and Stephen Lang. Apparently a good time was had by all. Taiji dolphin slaughter, fueled by captive dolphin sales, goes on... And at the same time, the Taiji dolphin slaughter — and related captures — rage on in Taiji, opposed by too few. These are very intelligent people watching the live dolphin show. They are world travelers. Educated. Some are vegan. At least some of these filmmakers have probably seen The Cove movie, which won the Academy Award for Best Documentary Feature in 2010. Watching this video of the Avatar: The Way of Water press event left me feeling completely hopeless. It made me question everything we have been doing. Still does. Our work at Dolphin Project is very specific: it’s all about the dolphin captivity issue. That’s our issue. We don’t profess to be saving the entire planet, or even the seven seas and the rainforest. We don’t have goals of the highest abstraction. We are focused on the dolphin captivity issue like a laser beam – educating and enlightening so people can make educated choices about which forms of “entertainment” they choose to support. Have I wasted the last 52 years of my life? Now I’m wondering if I’ve wasted the last fifty-two years of my life doing this? After all, if we can’t even get through to this select group of well-educated filmmakers, maybe we’re wasting our time trying to educate ordinary people in hopes they will think twice before buying a ticket from the dolphin abusement park industry? At 83, I don’t want to spend my time wasting my time. I have been forced to rethink everything, now that I know we’re not even getting through to people whom I truly believed were already onboard: the producers, director and cast of the Avatar movies – blockbuster films about saving the environment, which includes dolphins. Perhaps the film’s very title – Avatar: The Way of Water – is the silver lining in all this. For isn’t the way of water both gentle and strong, with water making up 90% of our blood plasma? Perhaps too, it is within our biological make-up to understand that water, and what depends on it, is sacred and a birthright amongst all creatures, including dolphins and other whales. Inviting Cameron et al to Taiji I am hereby formally inviting James Cameron, Jon Landau, Zoe Saldaña, Sam Worthington, Sigourney Weaver, and Stephen Lang to join me and our team in Taiji, Japan. Yes, I’ll be going back and am formally asking the Avatar team to join me for just a few days. I’d like to personally show them where the dolphins that entertained them so well most likely came from. I’d like to show them exactly how dolphins are captured in Japan. I’d like to show them that trainers who purport to care for dolphins work alongside those who brutally slaughter dolphins. Would they ever applaud another dolphin show? I’m sure, once they witness this first-hand, they will never applaud another dolphin show again. Please share this letter far and wide, and help educate on the cruelty of dolphin captivity! From: animals24-7.org/2022/12/15/an-open-letter-to-james-cameron-avatar-crew-by-ric-obarry |
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Alan Lacy – FILMING WOLVES IN ARIZONA! 11 Years... It took 11 years for me to finally film Mexican wolves in the wild! I first started working on "Gray Area: Wolves of the Southwest" back in 2011, with a crazy idea to go out and make a documentary to help raise awareness for Mexican wolves. In all the years filming (5 years of filming, and 2 years of post production and editing), never once did we get a chance to film them naturally in the wild doing their thing. We saw them once chasing elk across a short meadow, but by the time we got the vehicle stopped, they had disappeared into the woods. Every other time we saw them was with biologists who were putting radio collars on during the year end population count. We even were surrounded by their howls once when we went to film the pup count sequence in the film. So as you can imagine, it's been a bucket list item for me to get back out and find them in the wild. This past summer, I finally was successful. They never approached very close, but remained about 400-500 yards away, but still it was pretty amazing!
THE FILM I PRODUCED ON WOLVES: In 2017 I released a film I produced on the Mexican gray wolf called "Gray Area: Wolves of the Southwest" that won over 15 awards, including Best Feature Film, and Best Documentary Feature and has screened around the world. You can watch it here: vimeo.com/ondemand/grayareathefilm A BIG ANNOUNCEMENT!! I have been working hard on a brand new project for the past several months - starting a nonprofit wildlife filmmaking organization! I am excited to announce that it is finally happening! It's been a years long process in the making, but dreams do come true! The organization is going to be called Reel Earth Films, and our mission is to inspire people to fall in love with nature through dynamic and compelling films. We applied for tax-exempt status back in October and are now just waiting on our 501(c)3 designation letter from the IRS! If you'd like to learn more about Reel Earth Films, feel free to check out who we are here: www.reelearthfilms.org |
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Everything you want to know about the BBC's Wild Isles There's a lot to look forward to in 2023 - but one thing we are especially excited about is the forthcoming BBC documentary Wild Isles, presented by David Attenborough, which focuses on Britain's spectacular wildlife. Here is everything to know about the series so far. Obviously, at BBC Countryfile Magazine, we love Britain's wildlife and landscapes, diverse habitats and natural wonders. So the news that Sir David Attenborough, at the grand age of 96, will be presenting a bold new documentary series focused on the wild jewels of Britain has left us giddy with excitement. From magnificent white-tailed eagles swooping over wind-swept seas, to butterflies in battle, Wild Isles promises a wild feast for the senses. Here's everything there is to know about the series so far - and we will update details as we find out more... What is Wild Isles? Read more: digitalspy.com/tv/a42081461/david-attenborough-bbc-earth-experience-tickets Wild Isles, made by Silverback, is an ambitious BBC documentary series filmed in Britain over the past three years, focusing on the wealth of wildlife and habitat to be found on our isles. The programme uses cutting-edge filming techniques to capture extraordinary footage of Britain's nature in the raw, from ancient oak woodlands and rare hay meadows to seabird breeding colonies and precious chalk streams. How many episodes of Wild Isles are there? There are five episodes in total - an introductory episode about British wildlife, and one each focused on Britain's four key habitat types: woodland, grassland, marine and freshwater. Which species will appear? Some of the spectacular species set to feature are magnificent white-tailed eagles, powerful killer whales, blue fin tuna gathering off the coast of Cornwall, wild horses battling for access to females in Cambridgeshire; gulls stealing fish from puffins off Northumberland; black grouse and hen harriers courting in the Cairngorms; red deer stags rutting in a wild corner of Ireland; mayfly hatching on a river in Wiltshire; foxes hunting rabbits at night; and even a bee riding a broomstick in Dorset. When is Wild Isles on? The series will broadcast in spring, likely March, although details are yet to be confirmed. Read more: countryfile.com/news/wild-isles-david-attenborough |
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Bison reintroduction for rewilding – Rewildling Britain Bison are amazing eco-engineers, which boost biodiversity through behaviours like dust bathing, trampling, debarking and seed dispersal. Learn how bison are shaping the landscape and engaging people with nature at Wilder Blean, Kent – one of our Rewilding Network members – where they've been reintroduced as free roaming animals for the first time in 6,000 years. Filmed and edited by Timur Bekir. Bison, camera trap and aerial footage by Donovan Wright and Kent Wildlife Trust and Wildwood Trust.
Visit: kent.wildwoodtrust.org/conservation/wilder-blean & kentwildlifetrust.org.uk/wilderblean |
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Opinion: Why the world needs African wildlife filmmakers – Paula Kahumbu I am an African living in Nairobi, Kenya, who makes films about my continent’s wildlife. But as a species, wildlife filmmakers from Africa are rarer than mountain gorillas. This needs to change. We can literally count Africa’s prominent Black wildlife film makers on one hand – Kenya’s Faith Musembi, Manu Akatsa, and Jahawi Bertolli, and the Congo Republic’s Vianet Djeguet. To understand why there are so few, we need to remember our recent history. When the colonial powers invaded Africa, they seized control of the continent’s wildlife along with its other natural resources. Colonial settlers saw African wildlife as “big game” and the continent’s first protected natural areas were game reserves, “pristine” natural areas created by expelling local communities for the benefit of white hunters. After almost all African countries achieved independence in the latter half of the 20th century, descendants of colonialists remained in charge, in alliance with Western-based international conservation organizations. Game reserves were renamed national parks and, gradually, big game hunting gave way to wildlife tourism, where animals were “shot” with cameras instead of guns. But African wildlife was still there for White people’s enjoyment. Benefits from wildlife, and access to protected areas for local people were very limited. The idea that these locals could have an interest in preserving wildlife for its own sake was rarely considered. This may have unwittingly caused the prevailing perception that Africans aren’t interested in wildlife. Africans like me who tried to get involved in wildlife conservation were made to feel out of place. Fellow Africans told me it was backward for a modern educated African to go to the bush and asked if I thought I was White – since of course, wildlife conservation was a romantic career choice for a foreigner. My applications to join White-led field research projects were rejected. When I was first interviewed by a British film crew, my interview was cut at the editing stage and replaced by one with a blue-eyed British conservationist. It was my PhD project, but they said his English was better. (Anyone who knows me will attest that I speak perfect English!) Africa was the setting for some of the most iconic – and profitable – films about wildlife, which played a huge role in the growth of the wildlife conservation movement in the West. But these films, with their White-faced presenters, were made by Western-owned production companies for Western audiences. Most Africans never even got to see them. It was little wonder that there is the idea that Africans aren’t interested in wildlife because we created a self-fulfilling prophecy. It took me years to convince leading wildlife film production companies to waive their prohibitively expensive licensing fees so these films could be shown on free-to-air TV in Kenya. They were hugely popular. But in their feedback, viewers asked: Why are all the protagonists in these films White? Where are our people? That’s when I decided it was not enough to make Western-made wildlife films available to African audiences; what Africa needed was to see themselves and their view points in the films. We urgently needed wildlife films made by Africans, about Africans and for Africans. Read more: edition.cnn.com/2022/12/22/opinions/paula-kahumbu-africa-wildlife-filmmakers-c2e-spc-intl/index.html |
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RIP Mammalz It is with a heavy heart that we announce the closure of Mammalz. This has been a very difficult decision. We have held on as long as we possibly can trying in every way to secure the necessary capital to forge a path forward for us, but we simply have no resources left to keep trying. Effective immediately, all operations have ceased, and Mammalz, PBC is in the process of dissolving. Mammalz has been a boot strap operation from the beginning operating on a minimal investment (just over $300,000), the remainder being largely self funded. Despite every possible effort, we simply could not attract a large enough investment to give us the runway to begin generating revenue. 4 years since we started this journey, Mammalz is insolvent, with zero money in the bank, zero assets, and unfortunately nothing to distribute as we close the business. There are many reasons that I can pinpoint that stood in the way of our success.
That leaves us where we are today. We started Mammalz with the mission to create opportunity for new generations of natural world storytellers. It was an idea that sought to bring new voices to the mix with fresh global perspectives, telling stories about the natural world in cutting edge ways with new technology. In many respects, Mammalz is an idea ahead of its time. I do believe live streaming will one day become a thriving creative outlet for the nature community. Which brings me to
I realize this is not good news that I am delivering. I am fully cognizant that any investments in Mammalz did not succeed and for that I am deeply sorry. I exhausted every angle to make it work, but just could not get us there. I am still a fierce believer in our mission and am immensely proud of the work we did. I will forever be grateful for the team we assembled, the strong community bond we forged, and the many creators, colleagues and friends who came together to give it our best shot. In the end, I want to thank you for your belief in Mammalz. Without your investment, we would not have even had a fighting chance. If you have any questions, please feel free to contact me at rob@mammalz.com. I will be keeping my Mammalz email open through the process of closing the business. Thank you to all you supported us, invested in us, created with us, and believed in us. We will always be the Mammalz family. Rob
Rob Whitehair |
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2023 will be among HOTTEST ever – Climate Adam 2023 has barely begun, but thanks to global warming, climate scientists are already predicting it will be one of the hottest years ever recorded. But how can we already know the effects of climate change this year, and what role with the natural cycle of El Niño play?
Support ClimateAdam on patreon: patreon.com/climateadam Follow: twitter.com/ClimateAdam, facebook.com/ClimateAdam & instagram.com/climate_adam |
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‘We need to be braver’: young naturalists on the world beyond Cop15 Birdwatchers Mya, Arjun and Kabir have grown up seeing the effects of wildlife decline. They talk about what inspires them, their hopes for future action and how everyone can connect with the nature on their doorstep Watch Mya and Arjun in Skyward, a Guardian Documentaries film. More than 300 young people from around the world are gathering in Montreal for a two-day youth summit ahead of the Cop15 UN biodiversity conference. Here, three young naturalists in the UK tell the Guardian about their favourite wildlife experiences, as well as their hopes – and concerns – for Cop15 and beyond. Mya and Arjun, who feature in a new Guardian documentary, Skyward, which follows the daily life of the two young birdwatchers, and Kabir, another young naturalist from the UK, are fascinated by the natural world but are also alarmed at its decline. ‘My big dream is to be a wildlife presenter’ Mya Bambrick, 20, a student at Bournemouth University I got into nature when I was eight years old through watching Springwatch. I grew up in an urban area in Crawley, West Sussex, so I wasn’t exposed to wildlife as much as those in rural areas and my family isn’t interested in it. I hassled my mum to take me to a local nature reserve called Warnham. I sat in a hide and the kingfishers really captured my interest – you see them only fleetingly, so it’s always extra special. For the first five years I was just interested in birds, but then in lockdown I had so much time I got into everything, especially insects and plants. I realised there was much more nature closer to my home than I thought; even along the roads there are wild flowers on the verges. I started identifying them and showing friends and family. I put up a camera trap and saw badgers, roe deer and foxes. ‘I record birds, knowing I might not see them again’ Arjun Dutta, 19, a student at the University of Cambridge I was seven when I first became interested in wildlife. My mum had got fed up with me talking about dinosaurs and football, so she dragged me out to do the RSPB’s Big Garden Birdwatch. I remember seeing a green woodpecker, and that got me hooked. My main focus is recording bird sounds. During lockdown, I was still living in London. The city was quieter and I was able to get good recordings, especially that first spring – so many birds were singing. I’ve since got a bit addicted to recording as much as I can: I’ve recorded 158 species of birds in the UK. My favourite is one I made of swifts, because they’re my favourite bird. We had some really nice evenings in 2020, just sitting in the garden listening to swifts screeching above after they’d successfully bred. I recorded them every night. For me, a screaming swift is the sound of the summer. Watch:
‘To get into wildlife, the best thing is to start locally’ Kabir Kaul, 17, studying for A-levels in London I was about three when I saw my grandma watching Planet Earth. I was fascinated to see so many beautiful animals from around the world. I later realised amazing wildlife also lived on my doorstep, for example, red kites flying over my house every day. Ruislip Lido reservoir is my favourite wildlife spot in the capital. It is a large lake surrounded by scrub and heathland, which is quite rare in London. Hundreds of ducks migrate there for winter, including shoveler and pochard ducks. They migrate from the Arctic and Scandinavia to feed. Whinchats, redstarts and tree pipits were all spotted at the lido during lockdown. They were always there, but when lockdown came people had the time to visit and really look for them. They were hidden well in the scrubland. Read more: theguardian.com/environment/2022/dec/05/we-need-to-be-braver-young-naturalists-on-world-beyond-cop15-aoe & Skyward: theguardian.com/environment/ng-interactive/2022/dec/05/skyward-birdwatching-is-belonging-for-two-teenage-conservationists |
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ABC announces Your Planet Short Docs The ABC is pleased to announce the eleven selected projects for the Your Planet Short Docs initiative. The ABC has partnered with Doc Society and State and Territory funding agencies – Screenwest, VicScreen, Screen Tasmania, Screen Queensland and Screen Territory – to offer early career filmmakers an opportunity to create a short documentary focussing on climate and environmental solutions. The result is that these next generation film makers have delivered a diverse and thought-provoking catalogue of documentaries that shine a light on people and communities designing and acting for a positive future. From wildlife defenders to waste warriors, from valleys to reefs and powerful stories from First Nations filmmakers. These stories will transport the audience across Australia and showcase solutions to some of the challenges facing our environment. Richard Huddleston, Acting Head of Factual and Culture said: “I am delighted to be partnering with the Doc Society, our screen agencies and Sydney Film Festival for this ambitious initiative. Helping such a passionate group craft their stories on this important issue is exciting for everyone involved and demonstrates the ABC’s ongoing commitment to supporting Australia’s emerging documentary filmmakers.” As part of the initiative, the filmmakers were provided with production funding and are being guided through a mentorship program with the ABC Factual and Culture team and Doc Society to support their creative journey while making the films. Hollie Fifer, Director of Australian Programs, Doc Society said: “We are proud to be a partner for this initiative that is creating a wave of solution driven climate and environmental documentaries from across Australia. Over the course of the program, each film team will have access to ABC’s and Doc Society’s mentors and support to elevate and realise their creative ambitions that will move us all closer to a climate just and biodiverse future.” The Sydney Film Festival has agreed to review the eleven films with the intention of programming the slate of documentaries for the 2023 Sydney Film Festival. The films will form part of the ABC’s significant climate and environment content for 2023 which will also include a new season of War on Waste, Ningaloo Nyinggulu, The Platypus Guardian and Dolphins: Is Our Love Too Deep. Read more: about.abc.net.au/press-releases/abc-announces-your-planet-short-docs |
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Bug wrangler Alan Henderson reveals tricks of the trade for making nature documentaries Meet Alan Henderson, the 'bug wrangler' behind many of David Attenborough's natural history documentaries. Lurking among coarse grass on a sandy flat, a wolf spider watches patiently, stalking its prey. An unsuspecting cricket has just entered the arachnid's strike zone. The spider launches a lightning-quick attack but misses its mark; the insect leaps away to live another day. This life and death invertebrate interaction hasn't played out on a wild savannah plain, instead it's on a set in a far north Queensland studio; captured on ultra-high-definition video. Alan Henderson is behind the camera with its super-long lens and he dressed the large table with sand, grass and branches to mimic the spider's natural habitat. He says it's a little-known trick-of-the-trade when working with insects on high-end nature documentaries; a revelation which receives a mixed response from lovers of the genre. "Most people wouldn't be aware that a lot of the smaller wildlife are shot in situations like this," Mr Henderson said. "We've had various reactions; most people are fascinated … some people say, 'It's kind of destroyed it for me' or [that] it's fake. "It's not impossible to film invertebrates in the wild but it's quite difficult because of their size ... [and] we're not faking behaviours on set." A bug wrangler's life It was hardly a straightforward path, but Mr Henderson has managed to turn his childhood fascination with insects into a career. Among his more unconventional job descriptions is that of 'bug wrangler'. "My role is to make sure that the animal is feeling comfortable, that it's behaving completely naturally and it's oblivious to everything around it," he said.
Read more: abc.net.au/news/2022-12-19/bug-wrangler-explains-how-to-make-nature-documentaries/101718322 |
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“A rollercoaster ride”: behind the scenes of Docsville’s “Rainbow Warrior” Throughout his long career in doc filmmaking, producer Lawrence Elman has always looked for something unexpected in a new project that can grab his attention, and it was the unique narrative approach of Rainbow Warrior, a new feature documentary that was recently taken to market by Fremantle, that convinced him to board the production. When filmmaker Edward McGurn presented his pitch about a documentary covering the 1985 sinking of the Greenpeace ship Rainbow Warrior by French intelligence agents off the coast of New Zealand, Elman and Docsville Studios were immediately interested. McGurn wanted to structure the film like a thriller, but not like an action-packed James Bond story, Elman says — rather, it was to be more in the vein of The Pink Panther and its bumbling “hero,” Inspector Clouseau. “There’s a ridiculous nature to what the French spies did in New Zealand — one, by underestimating the country they were perpetrating their mission in; and, two, by the way that they went about it,” Elman says in an interview with Realscreen. “I hadn’t seen anything like it before. For me, the energy of the film is such that you’re on a rollercoaster ride, which doesn’t stop until you go ‘Oh, s—t, this is really serious.'” McGurn says that his background in narrative script development informed his approach to the documentary, which recounts the story almost entirely through the participants’ testimony. “Everybody who’s in the movie has a direct tie to the story, and I think that’s what makes this movie feel a bit more narrative, as we’re jumping across different people’s points of view as we weave this story together,” McGurn says. “It’s not a story that really stops and says, ‘Let’s talk about big concepts in an abstract way.'” Read more: realscreen.com/2022/12/07/a-rollercoaster-ride-behind-the-scenes-of-docsvilles-rainbow-warrior |
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PBS sets “Before the Ice” doc on ancient DNA discovery for ‘Nova’ PBS science strand ‘Nova’ is digging into a recent groundbreaking discovery in ancient DNA science with an upcoming one-hour doc. Currently in production and scheduled for an early 2024 premiere on PBS, Before the Ice (w/t) follows on from the cover article in the Dec. 7 issue of Nature, which reports on the recovery and sequencing of more than 100 plant and animal genera contained in sediment from northern Greenland that date back at least two million years, nearly one million years older than any previously discovered DNA sample. The filmmakers have had access to the scientific team behind the discovery, led by paleogeneticist Eske Willerslev (pictured), for nearly three years. The doc will use the genetic information from the find to create a detailed picture of the lush Arctic forest ecosystem that existed on Greenland’s northern coast before glaciers advanced at the onset of the Ice Age. “Our breakthrough with two-million-year-old DNA from Greenland shows that, for the first time, we can reconstruct past living communities and the genomes of individual species going back millions of years,” Willerslev said in a news release. “This opens the door to a program of human-engineered climate adaptation. We may be able to retrieve genetic adaptations to climate changes far in the past and use them, through the technology of gene editing, to save ecosystems and species from extinction in the future.” Read more: realscreen.com/2022/12/07/pbs-sets-before-the-ice-doc-on-ancient-dna-discovery-for-nova |
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Tony Hall: We need a big debate about the BBC’s future The former director general explains why public service broadcasting remains essential, but the rich should pay more for it What do we want from the BBC in its second century? Last time its charter was renewed in 2016, the BBC had the financial settlement imposed before the discussions about its role took place. Today, there’s time to get it right and engage licence fee payers in a sensible way. A new charter is still four years off, but that great debate should start now. Where should it begin? The bedrock of any democracy is an active and informed citizenship. This is already at risk—and just wait for deepfake technology to become widespread. The very nature of what is real will become open to question. In some respects, it already has. What will happen to trust in our politics and our society? In the era of the internet and social media, I believe that trusted and impartial news services are needed more than ever. Every person, rich or poor, wherever they live, whatever age they are, has a fundamental right to information on which they can base their lives. In the noise and mayhem of the world, they should be able to find out what is actually happening. This is why the BBC is necessary now and in the future. It’s also why the idea of impartiality is so important. The notion has come under fire recently from some who find it overly constraining and maybe old-fashioned, but I find it energising. It means journalists working without fear or favour to give us the unvarnished facts of a situation. In other words, access to news as near to truth as anyone can get. It’s then up to us to make of it what we will.
Read more: prospectmagazine.co.uk/magazine/tony-hall-we-need-a-big-debate-about-the-bbcs-future |
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Wendy Darke Talks Predators True to Nature, founded by former BBC Natural History Unit chief Wendy Darke, has been elevating wildlife filmmaking since its formation, tapping into the needs of a wealth of new commissioners in this segment. With Predators, for Sky Nature and Netflix, the team at True to Nature looked to bring a new perspective to the stories of five apex predators—polar bears in Canada, wild dogs in Zimbabwe, pumas in Chile, lions in Botswana and cheetahs in Tanzania—with innovative filming and storytelling techniques, and narration via acclaimed British actor Tom Hardy. Darke tells TV Real Weekly about the new series, which premieres December 11. TV REAL: How did Predators come about? DARKE: The market was changing with Sky and Netflix [investing in high-end factual]. What big, iconic animal topics unite a big global audience? Apex predators are at the top of the food chain, literally, in nature. Sky and Netflix are at the apex of the industry in terms of premium nature productions. I’ve made hundreds of predator shows, and there are a thousand out there. When you’re developing for companies like Sky and Netflix, it’s all about innovation and premium. Their audiences gravitate to character-led narratives. If someone just watched a big World Cup match or Game of Thrones or Stranger Things, a series like Predators has to hold its own in terms of its quality, emotional engagement and sophistication of the storytelling. That sense of immersive, real-life action, real animals in real places, doing the most extraordinary things, tonally feels like it’s the kind of series that would sit in a Netflix or Sky premium branded shop window. TV REAL: Drill down a little bit on some of the things that you had to do to make this premium, action-driven, character-driven storytelling. DARKE: The first element is technical innovation in camera techniques. Seeing some of the most iconic predators—lions, cheetahs, polar bears, wild dogs and pumas—in a new and immersive way drives the creative innovation around how we capture these animals cinematically. New techniques are the signature look of this series, including the use of drones. The first-person view (FPV) drones that we used track rapidly across the landscape and immerse you in that world and show you the animals in action. Another innovative technique was to strategically use visual effects (VFX). For example, in the wild dogs episode, there’s the forest area where the wild dog pups are born in a little secluded area, the floodplain where the marauding hyenas and lions dominate, with the Zambezi River crashing through. We wanted to immerse our audience in that wild arena and set the scene. Using VFX, we were able to have images of the wild dogs in their den, then show the proximity to the lions in relation to the plain. These VFX [sequences] helped to convey both proximity and scale to the audience, to make sense of that world, rather than always being down at eye level. So, 80 percent is in the moment as it’s happening—real animals in real places doing the most extraordinary things. Then we wanted to fast-track the audience through seasonality. For example, if you’re up in the Arctic and you’re just coming out of the winter, you want to fast-track the ice melting to be able to pick up the story of the little polar bears coming out of their den. Read more: worldscreen.com/tvreal/wendy-darke-talks-predators |
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Plimsoll adds Mark Brownlow as executive producer Emmy-winning filmmaker Mark Brownlow has found a new home at Plimsoll Productions, coming aboard the ITV Studios company as an executive producer. Brownlow (pictured) has spent nearly 30 years working with the BBC, and is best known for his work on the acclaimed blue-chip nature series Blue Planet II and Frozen Planet II. At Plimsoll, he’ll report directly to chief creative officer of natural history and science Martha Holmes. Recently, Brownlow executive produced a 10-part wildlife series for Apple TV+ that has yet to be announced, as well as Eden: Untamed Planet for BBC Two and AMC Networks, and Earth’s Tropical Islands for BBC and PBS. He has also recently produced episodes of Planet Earth for BBC One and Discovery, and Wild Pacific for BBC Two and Discovery. Other credits include Hidden Kingdom, Oceans: Our Blue Planet 3D, Arctic: Our Frozen Planet, Ocean Giants, Inside the Perfect Predator, Supernatural: The Unseen Powers of Animals and Weird Nature. “Mark is an inspired and respected storyteller who’s behind some of the most iconic natural–history programs of our time, so it’s a huge win to bring him on board,” Holmes said in a news release. “We’re eager to tap into his expertise and energy to create timely and distinct content that continues to astound and uplift audiences around the world.” Read more: realscreen.com/2022/12/08/plimsoll-adds-mark-brownlow-as-executive-producer Also: BBC’s Mark Brownlow to depart after 28 years to join Plimsoll’s natural history unit – tbivision.com |
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‘Tiger King’ Helped Send Protection for Big Cats to Joe Biden’s Desk The Senate passed the Big Cat Safety Act on Tuesday. The bill will ban the private breeding and possession of big cats In a decision that will likely elicit plenty of purrs, the Big Cat Safety Act is headed to President Joe Biden’s desk for a final signature after the Senate passed it Tuesday night by unanimous consent. The law, which has been in the works for more than a decade, would close loopholes in the 2003 Captive Wildlife Safety Act, which banned the sale and trade of big cats as pets. The new resolution bans the private breeding and possession of tigers, lions, leopards, and panthers, making exceptions for zoos, sanctuaries, and colleges. The act received a significant boost in public interest and support following the premiere of the Netflix Documentary Tiger King. The series documented the exploits of Joe Exotic (legal name Joseph Maldonado-Passage), who at the height of his cub-petting operation owned around 200 large-breed cats. Exotic was accused of euthanizing more than 100 of his animals once their profitability diminished. The series cast a spotlight on the dangers of private wildlife ownership, including animals biting and maiming Exotic and other employees. Read more: rollingstone.com/politics/politics-news/big-cat-safety-act-passed-tiger-king-1234643282 |
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Strictly Come Dancing: Wildlife cameraman Hamza Yassin wins glitterball trophy Yassin said: ‘It’s hard to describe how I feel… Jowita, you are an angel disguised as a human being’ Wildlife cameraman and presenter, Hamza Yassin, and his professional dance partner, Jowita Przystal, have won Strictly Come Dancing 2022 after a public vote to decide the recipient of the coveted glitterball trophy. Yassin, 32, and Przystal competed against three other couples – singer and TV presenter, Molly Rainford, and Carlos Gu, and TV presenter Helen Skelton and Gorka Marquez – in the final which aired on BBC One on Saturday December 17th. Reacting to being crowned the winner, Yassin said: “It’s hard to describe how I feel… Jowita, you are an angel disguised as a human being.” Each pair performed a routine chosen by the judges, their own favourite dance, and a show dance. Yassin and Przystal’s final dance of the competition was performed to “Jerusalema (Remix)” by Master KG, featuring Burna Boy and Nomcebo Zikode. The couple also received their first perfect score of the competition, getting 40 points, and Yassin cried as he said it “means the world”.
Also read: Hamza Yassin: Strictly winner being touted as next David Attenborough – theguardian.com Wildlife TV presenter tipped for success after capturing country’s heart on path to Strictly victory He may have come from relative obscurity but 2023 is predicted to be a big year for the Strictly Come Dancing champion Hamza Yassin, who lifted the glitterball trophy with his dance partner Jowita Przystal |
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BTS: In the Womb: Animal Babies for Nat Geo Wild For National Geographic Wild’s In the Womb: Animal Babies, Pioneer Productions and Framestore used cutting-edge imagery to provide an inside look at the pregnancies of four animal mothers – lion Maya, meerkat Swift, herding dog Brumby, and elephant Bisa as “they embark on one of life’s most incredible journeys.” Facing everything from snakes to cattle hooves, hunger to raging rivers, the mothers triumph over challenges big and small on their way to bringing their babies safely into the world. The series combines the latest scanning technology, with photo-real computer animation, to create “the most realistic picture ever of life inside the womb “– giving an intimate window on the weeks and months of each baby animal’s growth and development. Executive Producers, Thomas Viner & Peter Collins from Pioneer Productions, explain how the production came together. From initial conception, we knew this was going to be a difficult and challenging project – to take a classic ’science’ subject and turn it into a natural history ‘drama’. The idea was that we wouldn’t make a show about animal pregnancy – it would be a story told like a drama, a story of survival, not just for four animal mums-to-be, but of their unborn babies. There would, of course, be some pretty ground-breaking new science, but it would be delivered by stealth, rather than front and centre, always in the context of the unfolding story. Visually, we followed this through to its logical conclusion – what we would see in the womb, would be what we could film if we had a camera in there. Narratively, we had to work out what story we could tell that would connect each of our mums’ experiences in the outside world, with what was happening inside the womb. So, if our meerkat mum was bitten by a snake, we would see what was happening to her unborn kits, at that very moment. Read more: televisual.com/news/bts-in-the-womb-animal-babies-for-nat-geo-wild |
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A Note for Nature - wild Ireland celebrated in new documentary Cepa Giblin of Crossing the Line Productions introduces A Note for Nature, a remarkable confluence of nature documentary, music and spoken word performance receiving its TV premiere on RTÉ on St. Stephen's Day. A Note for Nature is both a celebration of wild Ireland and a call to arms. Over an hour, we meet some remarkable people dedicating their lives to protect Ireland's disappearing nature. And through music from the RTÉ Concert Orchestra and stunning performances in a variety of locations from stellar musicians, we feature some of Ireland’s most fragile wild places and the beleaguered animals that, somehow, manage to survive there. Christy Moore, Clare Sands & Susan O’Neill, Alannah Thornburgh, Niamh Regan, Maria Doyle Kennedy, Iarla Ó Lionáird, This is How We Fly and Tolü Makay perform powerful pieces that connect with the wonders of Ireland’s wild world. But our planet is in trouble and in this film, a host of our leading conservationists including Jane Stout, Pádraic Fogarty and Seán Ronayne reveal that Ireland is one of the most nature depleted countries in the world and propose what we can do about it. Organic farmer Sinéad Moran and nature writers Easkey Britton and Dara McAnulty give their unique insights into a very uncertain future. From the eerie silence of summer skies bereft of insects and bird life, to the boundless potential of rewilding, from the profound impacts of industrial farming to the new wave of individuals going against the grain, this film explores the highs and lows of nature in Ireland. A Note for Nature is an ambitious attempt to broaden the audience of the natural history genre in the hope of bringing urgent attention to collapsing biodiversity and associated climate breakdown. Filmmaker Cepa Giblin had previously worked with the RTÉ Concert Orchestra on a short wildlife film for a live event for Culture Night 2019. It was through this collaboration that all parties recognised the power of bringing music, the orchestra and images of the natural world together. Filming for the project took place over the course of two years, and as with many recent productions, it suffered many Covid delays. Performances and conservationists were filmed throughout 2022 in locations that reflect some of Ireland’s most vulnerable landscapes, such as our peatlands and precious remnants of ancient woodlands. The natural history content is a combination of newly shot material and archive. For over 20 years, Crossing the Line films have specialised in natural history film making and for this project we utilised our extensive back catalogue of archive, much of which had never been broadcast. In this time of climate breakdown and collapse of the natural environment, we're committed to informing viewers in a compelling and alternative way of the challenges they face in a changing and uncertain future. From: rte.ie/culture/2022/1220/1341359-a-note-for-nature-wild-ireland-celebrated-in-new-documentary A Note for Nature, RTÉ One, Monday 26th December - catch up afterwards via RTÉ Player. |
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Dogs In The Wild: Meet The Family narrator Chris Packham and producers reveal secrets of the world of wild dogs The series features astonishing cinematography, together with emotional and immersive storytelling around the remarkable members of one 37-strong family of wild dogs Dogs In the Wild: Meet The Family is the first series to concentrate solely on the family of dogs in the wild that has been produced by BBC Studios’ Natural History Unit. Narrated by Chris Packham, this 3 x 60-minute series will feature astonishing cinematography, together with emotional and immersive storytelling around the remarkable members of one 37-strong family of wild dogs. From the rugged peaks of the Himalayas to the blistering Sahara Desert, wild dogs thrive in the least likely of places. They are the most widespread carnivores on the planet. The latest scientific revelations provide fresh perspectives on characters who constantly surprise us with their diversity and their unusual behaviour. These are the world’s ultimate canids! Dogs In the Wild: Meet The Family is a BBC Studios Natural History Production for BBC One and BBC iPlayer. It was commissioned by Jack Bootle, Head of Commissioning for Specialist Factual. The Executive Producer is Jo Shinner, the Series Producer is Rowan Crawford and the Commissioning Editor for BBC Natural History is Sreya Biswas. Dogs In The Wild: Meet the Family will air on Wednesdays at 8pm from 28 December, BBC One and BBC iPlayer Interview with narrator Chris Packham What made you want to be part of this series? Do you have a personal passion for dogs? I do and that’s why I was very keen to be part of the series. I like learning about life rather than just seeing it, but dogs are very different. I didn’t have any companion dogs until 1980 when my mother got the first of our miniature poodles, Max. Up until that point I had been clearly focussed on wild animals, but then we fell in love with Max and basically have been with black miniature poodles ever since. There have been a few gaps, to get over the losses of my dogs in the past, but I don’t imagine a life without those animals being there. They are very much part of my life, and my family unit. They sleep on the bed, we take them out every day, we get preoccupied with their health and happiness. They are massively important and I think that an increasing number of autistic people have companion animals like that and find it really useful to have them helping with their condition. I form very strong bonds with my dogs, so looking at their wild counterparts throughout this series was a joy. My favourite mammal on earth, aside from our poodles Sid and Nancy, are red foxes. I love foxes, I think they are extraordinarily beautiful and interesting. I get to see them and interact with them as they live amongst us. Read more: bbc.co.uk/mediacentre/mediapacks/dogs-in-the-wild-meet-the-family
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Globe-trotting wildlife series spark 'eco-anxiety' in their own presenters Filmmakers blow whistle as streaming giants move into industry responsible for huge carbon footprint Where once the BBC had the monopoly on landmark natural history series, US streamers are now in on the act. However, the shows are being criticised by the very people who work on them. Young filmmakers are “grossed out” by the fact that making such shows creates a huge carbon footprint, and that they have little benefit for species on the brink of extinction. They are calling for a step change in the industry, and asking if natural history series can be justified at all in today’s environmental climate. Supporters include Liz Bonnin, the BBC wildlife presenter, who said she felt “eco-anxiety” while working on nature films. Chairing a Royal Television Society discussion about wildlife film-making, Bonnin said: “We are trying to win over hearts and minds, to get [viewers] to fall in love with nature and get them to understand the importance of the planet. “But at what point is it justifiable to make a big landmark? We’re making all these programmes that have some of the biggest impact in television, but to what end if our carbon footprint is so high and if the story isn’t leading to tangible change so that those animals don’t go extinct?” Major natural history series have 30-40 times the carbon footprint of a normal hour of television, the panel heard, as they involve flying crew and kit around the world. Tom Mustill, an award-winning film-maker who has worked with Sir David Attenborough and Greta Thunberg, said: “The elephant in the room of wildlife film is that it’s making huge amounts of money while its subject matter goes extinct. “There’s a gold rush for these films [but] I think because we give ourselves a pat on the back for making everyone fall in love with nature, we give ourselves a pass in terms of our impact.” Mustill added: “People are stopping working on programmes now because they are grossed out, because it’s called, like, Ultimate Beautiful Planet VI… it used to be that people would feel so lucky just to go and make those films, but now you feel it’s so against your inner self. It feels so dissonant, and so many of us feel like this. “So many people in wildlife TV don’t watch wildlife TV. When I got into it, you’d tell your friends and family when you’d made a film, ‘Please watch this.’ Loads of my friends don’t suggest I watch the films they make because they don’t think they’re very interesting.” Netflix recently announced six new natural history projects: Our Universe, Our Planet II, Life In Our Planet, Our Oceans, Our Living World and Our Water World. The panel discussion, titled Is TV Overheating the Planet?, also featured Doug Allan, a veteran cameraman who worked on Planet Earth and Blue Planet for the BBC. He said that the industry must get “very radical” on the issue of climate change and consider rebranding natural history programmes, making them as much about politics and economics as wildlife. “In all the wildlife films, it’s often this wistfulness that comes through. We need anger and people in tears - people dying because of climate change. We need that level of emotion,” Allan said. |
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How did a religious group take over part of the Amazon? Mongabay Host Romi Castagnino travels to the central Peruvian Amazon Rainforest, where a deeply conservative religious group, known as Mennonites, has been illegally deforesting land and encroaching upon Indigenous territories to expand their agricultural fields. Satellite data show that Mennonite colonies are now the leading cause of large-scale deforestation in the Peruvian Amazon. Romi talks with leaders and members of two Indigenous communities affected by the Mennonite-led deforestation and also visits the Mennonite colony of Masisea, the one responsible for the illegal clearing.
Read the full story: news.mongabay.com/2022/12/mennonites-deforest-peruvian-amazon-encroach-on-indigenous-lands-chasing-deforestation |
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COP27: Six Ways To Save Our Planet A special Sky Kids film from the makers of FYI. Six children from six continents set out to explore and demonstrate solutions to the huge problems facing our planet. Presented by Aneeshwar Kunchala, from Britain’s Got Talent. |
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Narrated by Sir David Attenborough, BBC Earth’s Latest Landmark Natural History Series, Dynasties II, Follows Six Animal Families On Their Quest to Raise the Next Generation; Premiering January 8, 2023 The highly-anticipated sequel to 2018’s Dynasties features a whole new cast of animal characters fighting to survive and secure their genetic line
Dynasties II (6×60’), narrated by Sir David Attenborough, brings audiences a whole new cast of animal characters with their powerful, gripping stories. From the southern tip of the snow-capped Andes to dusty plains in the shadow of Mount Kilimanjaro to vast wetlands fed by the flooding of the Zambezi River – the series captures never-before-seen moments, offering fresh insight into the secret lives of some of the most charismatic animals on Earth. Dynasties II features surprising, dramatic and heart-warming stories with iconic favourites and unsung heroes from the animal kingdom, including the elephant, cheetah, puma, hyena, meerkat and macaque. Dynasties IIpremieres Sunday, January 8 at 9 p.m. ET/PT on BBC Earth in Canada. BBC Earth is also available via Prime Video with Dynasties II airing simultaneously from January 8. In 2018, millions of viewers were captivated by each groundbreaking episode of Dynasties and the unbelievable daily struggles faced by David the chimpanzee, Charm the lioness, Blacktip the painted wolf and more. Now, the sequel will bring even more remarkable stories to life. Dynasties II will look at families and leaders; heroes and villains; triumph and tragedy. Each episode will delve deep into the lives of individual groups, filming in a single, iconic location, focusing on a protagonist leader and following them on their daunting quest to keep their family safe and establish their genetic line or dynasty. Each a leader in their own right; Angelina the matriarch elephant, Mac the alpha male macaque, cheetah Kali, Rupestre the puma, Maghogho the meerkat queen and hyena clan-leader Suma, are all confronted by a rapidly changing world with relentless competition for dwindling resources that stacks perilous odds against them. These pioneers must adapt quickly, or face losing their dynasty forever. Mike Gunton, Executive Producer and Creative Director at BBC Studios Natural History Unit, said: “Being able to tell these stories is a wildlife filmmaker’s dream – and just like in Season one, they are going to be a gripping rollercoaster ride.” |
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How Does Food Impact Biodiversity? Biodiversity is more than just the wide variety of species found on earth. It describes the critical balance of diverse species needed to keep an ecosystem regulated and functioning. Without that balance, we lose species of wildlife and put human health and local economies at risk. Our global food system is the primary cause of biodiversity loss. Farming threatens 86 percent of the species at risk of extinction — mostly driven by the expansion and export of factory farming around the globe. The global rate of species extinction today is higher than the average rate over the past 10 million years. Over 1.5 million cattle graze on U.S. public lands to the detriment of biodiversity. And 80% of global soy is fed to farmed animals. Clearing room for grazing and soy production wipes out wild plants and woody trees. Even low-density grazing alters ecosystem biodiversity and crowds out deer and elk from grazing. It also impacts the quality and quantity of food available for native wildlife.
Visit: Cattle Ranching Is Actually Terrible for Biodiversity:sentientmedia.org/cattle-ranching-terrible-for-biodiversity & Scientists Call for Solving Climate and Biodiversity Crises Together: sentientmedia.org/scientists-call-for-solving-climate-and-biodiversity-crises-together Also read: Our global food system is the primary driver of biodiversity loss – unep.org |
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Sustainability in Practice: In Conversation with Tom Mustill & Cherry Dorrett at albert Summit 2022 Session recorded during the first ever albert summit which took place on 15th Nov 2022. Speakers:
Closing speech from Carys Taylor, Director, albert
albert events are made possible thanks to our event partners: Sargent-Disc, Good Energy, Green Tomato Cars, Location One and CAMA Website: www.wearealbert.org |
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Six takeaways from World Congress of Science & Factual Producers It has been a busy week for UK-based events, as producers, creatives and execs working across all genres jetted in for Content London, Tellycast Digital Forum and World Congress of Science & Factual Producers. The latter event, which has been taking place in the Scottish city of Glasgow over the past four days, was marking its 30th anniversary and welcomed almost 700 members from 27 countries, with 37% of attendees being first-timers. The factual-skewing conference was in person for the first time in three years and chat around coproductions, ramifications of a potential recession, the increasing interest in history programming and unexpected revenues from FAST – and where these linear channels go next – all sparked deep discussion. Lilla Hurst, global head of acquisitions & partnerships at Blue Ant International, was on hand for TBI to provide her key takeaways. Dominant ‘R’ words Recession, Reductions, Restructuring, Restrictions: these words have all been hanging in the air this week. However, the business acuity and spirit of collaboration we saw during sessions and private meetings during Congress suggests that the effects of a global recession will be short-lived in the TV space. Though budget cuts, hiring freezes, staffing reductions and limited greenlights are dominating the discussion, the industry is poised to keep moving forward. Over the pandemic, despite production lockdowns and seismic shifts in viewing habits, we all became more innovative than ever at finding creative ways to work together to get projects made and to find audiences. Our collective skill set is fine-tuned to working around obstacles and the appetite for new factual content is stronger than ever. Co-pros are the way to go In order to stretch budgets further, channels and platforms are more open than ever to partnering. It’s more expensive to produce content, so combining resources is a mutually-beneficial route. Read more: tbivision.com/2022/12/02/tbi-weekly-six-takeaways-from-world-congress-of-science-factual-producers |
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“It doesn’t have to be a David Attenborough film to have an impact” Interview with Carys Taylor, Director of albert, by Dr Alexandra Borchardt, Lead Author, EBU News Report 2023: Climate Journalism That Works - Between Knowledge and Impact Carys Taylor is the Director of albert, which helps the industry champion climate-friendly storytelling, as well as measuring and reducing its carbon footprint. Taylor used to work at BBC Studios and in the energy sector; she says the media has yet to understand its full potential in pushing for more sustainability. albert is part of the British Academy of Film and Television Arts (BAFTA). albert is helping film production companies to reduce their environmental impact, in particular their carbon footprint. Among your clients are many public service media. How did it come into being? Eleven years ago, an engineer at the BBC had the idea they should be recording their carbon footprint, and he designed the original version of the carbon calculator which albert now offers. It was clear that this could be useful industry-wide, and the BBC gifted the technology to BAFTA, so it could be made available without cost. For the first ten years this was an informal project, and at the beginning of 2021 it became a formal subsidiary of BAFTA: that’s about when I came in. What were your ambitions when you started? There is an immense – and rapidly increasing - demand for support in the sustainability space. People realise the importance of working differently but are not sure what to do about it. So, this is an opportunity to drive change. I came from the energy industry - National Grid - where I worked on helping policymakers to understand the energy transition. I found there was a massive disconnect between the political appetite to reach Net Zero and the public knowledge (and therefore the mandate) of how to get there. So, you brought an outside perspective to the table? In some ways. Prior to this I worked at BBC Studios. Taking on the job at albert, I came back to the film and TV industry with a deeper appreciation of the role it has in enabling audiences to participate in democracy. There is no bigger conversation we need to have as a society than about how to address the impacts of climate change. Read more: ebu.ch/news/2022/12/it-doesnt-have-to-be-a-david-attenborough-film-to-have-an-impact |
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MEAT THE FUTURE Impact Results A bold legacy "With gratitude, amazement, and yup a healthy dose of beaming pride, I am thrilled to share our 66-page full colour impact report as the final piece of a 6-year journey! From inception (2016) to exhibition (2020) to impact (2022) we worked with an amazing team to formally evaluate and chart the global reach, influence, and legacy of Meat the Future. By surveying participants both before and after they watched the film, we were able to understand how the film influenced both their knowledge of and support for cultivated meat and seafood. 100% of viewers told us they learned something new from watching Meat the Future. As an educational companion to the film, this report is a contribution to the growing field of research in the cultivated meat and seafood space, and for the broader alternative protein movement. Concurrently, this impact report is a tool for the documentary film industry, and for changemakers and storytellers. A big thank you to our stellar and talented team and generous funders! We couldn't have done it without you. " Liz Mars
Read the Report here: meatthefuture.com/wp-content/uploads/2022/12/MTF_IMPACT-REPORT.pdf |
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It’s Rare That Farmed Pigs Get ‘Happily Ever Afters’ – But This Family Of 11 Did Matilda hit headlines after escaping a Nottinghamshire farm in 2021 A new feature-length vegan documentary, When Pigs Escape, showcases the story of a family of pigs rescued from a UK meat farm. The “Ollerton 11,” as they became known, was made up of Matilda and her 10 piglets. They attracted national media attention in June 2021 after a heavily pregnant Matilda escaped from a Nottinghamshire farm and gave birth in the woods. Capturing the hearts of the UK public, Matilda’s freedom was negotiated by nearby rescue teams at Surge Sanctuary and Brinsley Animal Rescue. She is now living out her days in peace with her children at the former. When Pigs Escape comes from director Jusep Moreno. It offers an honest look at the lives of Matilda and her piglets, while gently asking viewers to reconsider their relationships with and treatment of animals. Often shot from their eye-level, it attempts to move past simple anthropomorphism of the animals (as seen in Hollywood films such as Babe) to offer real insight into their interactions. It also demonstrates how sociable, intelligent, and maternal pigs are. Read more: plantbasednews.org/culture/film/when-pigs-escape-documentary STREAM THE DOCUMENTARY ONLINE (UK ONLY): ondemand.broadway.org.uk/film/when-pigs-escape |
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What is Veganuary's Impact? We spoke to our celebrity friends and brands about the impact Veganuary has had on veganism and the plant-based food landscape over the last decade. These clips are from our upcoming Veganuary documentary, due out in summer 2023. So look out for a trailer and title announcement soon! A massive thank you to Jasmine Harman, Elena Devis (Deliveroo), Ian & Henry (Bosh!), Derek Sarno (Tesco/Wicked Kitchen), Evanna Lynch, Jane Fallon, Jonathan Moore (Asda), Tom Lindley (Cauldron Foods), Peter Egan, and Andrea Harburn (Cauldron Foods) for their time and kind words! Have you signed up to Veganuary yet? It's our tenth year this January so a great moment of celebration to get involved and try vegan for one month! Sign up now: veganuary.com/try-vegan |
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Viva! 2022 Year in Review What a year 2022 has been. Russia invaded Ukraine. The UK was plunged into a cost of living crisis. We had three prime ministers in the space of a few months. And, we are set for a turbulent winter with many workers striking over pay and working conditions. Against this backdrop, Viva! has continued its fight for animals, the planet and public health. Take a look at what we have achieved in 2022! Viva! is the UK’s leading vegan campaigning charity, specialising in undercover investigations and animal, health, environmental and lifestyle campaigns. Founded in 1994 by Juliet Gellatley, we have spent almost 30 years creating a kinder, more sustainable world for humans and animals alike. Support: viva.org.uk/join |
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THIS YEAR IN FOOD AND FARMING NEWS: 2022 SUPERCUT – SENTIENT MEDIA A new year is almost here, but there’s still time for a quick look back at 2022. Check out our twelve-minute supercut recap of the year’s top stories in animals, climate and agriculture. 2022 has been full of contradictions. The agriculture industry has surpassed itself in greenwashing, bluewashing and misinformation campaigns. We saw the worst bird flu outbreak in the history of the U.S., which devastated both farmed and wild bird populations across the globe, while at COP27, we saw major food firms agree to eliminate deforestation by 2025. Meanwhile JBS admitted to buying almost 9,000 cattle from one of Brazil’s biggest deforesters. Catch up on the year in headlines with our Supercut of The Month in a Minute series.
Have a little more time? Browse more top stories from 2022: sentientmedia.org/month-in-a-minute-2022 |
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PBN’s Annual Film ‘Vegan 2022’ Is Out Now – Here’s How To Watch It The environmental conversation tends to focus on fossil fuels, but is it missing something? Vegan 2022 addresses the elephant in the room Plant Based News (PBN) has today (16th December) released Vegan 2022, a short film that spotlights animal agriculture’s impact on the climate crisis. And, highlights and celebrates the rapid growth of the vegan movement. Despite the fact that livestock farming is one of the most environmentally destructive industries, it is often completely left out of the conversation. Its impact was barely mentioned at COP27 this year, with the annual United Nations Climate Change Conference even serving beef to guests. With a runtime of 33 minutes, Vegan 2022 deep-dives into this hidden industry, exploring the “elephant in the room” of the climate crisis. “This year’s film will focus on the missing link to hit net zero,” said PBN founder Klaus Mitchell. “It will look at how we need to shift away from animal agriculture, or at the very least start talking about it, because at the moment the conversation is just around fossil fuels. “While there’s no doubt fossil fuels are important, livestock farming is also a necessary part of the solution. It really is the missing link.” The short film features clips from author and social psychologist Dr Melanie Joy and IPCC expert Dr Peter Carter, as well as climate activist Greta Thunberg. Animal agriculture is responsible for at least 14.5 percent of global greenhouse gas emissions. This figure has been disputed by many, however, with some experts arguing it’s much higher. It is also a leading cause of deforestation, having been responsible for around 91 percent of Amazon destruction. On top of this, our global food system has been identified as a “primary driver” of biodiversity loss. A 2021 UN report found that a shift to a “plant-heavy” diet was essential to combat this. Each December, PBN releases a short film that looks at what’s happened in the plant-based and vegan movement that year. They celebrate the increasing awareness of ethical consumerism, plant-based business, animal rights, environmentalism, the health of our planet, public health, personal health, and more. The films include the biggest voices in the plant-based space, showcasing the developments and challenges that the movement has seen. “Despite the fact that veganism has become even more normalized this year, the movement has also come under increased pressure from the media and meat industry, who are trying to push back,” said Mitchell. “This year’s film will provide a birds eye view of all the developments, good and bad, in an entertaining feature-length format.” Read more: plantbasednews.org/culture/film/vegan-2022-film-watch-trailer |
For more Vegan Film News, visit: wildlife-film.com/vegan.html
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