 Wildlife Film News
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Welcome to our newest Organisation Member! Too Wild – African Wildlife Film Course from wildlife presenter/producer Lauren Arthur and cameraman/DOP David Eastaugh! Want to become a wildlife filmmaker? Our wildlife filmmaking course is based in the Greater Kruger National Park in South Africa, where you will live in the wild for six weeks. Our course is hosted by industry professionals including experienced naturalists, trackers, impact producers, cinematographers and natural history editors to help you create your own story. What’s included:
Check us out here:
Visit their website here: toowild.co Profile Page: wildlife-film.com/-/Too-Wild.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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Latest Wildlife Winners and Losers film from Richard Brock, "Chuffed to be Back"! Richard Brock has been making a film about choughs over the past year, following the publishing of his "Planet Crunch" book and films, and the release of his POODUNNIT? film. He's a busy man! If you're lucky enough to be on his Christmas card list, you will have recieved a card featuring the film. Cornwall was the last place choughs bred in England, in 1947, before becoming extinct in the country. Now, in an exciting new success story, they’ve been brought back with a lot of help from their friends. Captive-bred birds from Cornwall are now flying free in Kent, and Jersey in the Channel Isles. And the aim is to expand the populations further afield over time. We follow progress of nesting pairs in Cornwall and see how they get on in this wonderful rescue project in beautiful places. Watch the Promo: The film marks “The Return” of ”Wildlife Winners and Losers – How to turn losers into winners” ... A revised, updated, increasingly relevant “archive” from Richard Brock of the Brock Initiative and Living Planet Productions, and author of the book “Planet Crunch” with 3,000 copies donated free worldwide. Richard, who was previously a producer with David Attenborough on the BBC’s “Life on Earth” and an executive producer on the BBC’s “The Living Planet” from the BBC’s Natural History Unit says “Now there is a greater urgency and need, and action, than ever. So I’ve decided to re-launch and refresh the earlier release of the “Wildlife and Winners” series – how to turn losers into winners”. It so happens that much of that previous message is valid today, and into the future. And it’s that which concerns many, especially young people who are frustrated by the lack of political will and decisive action. So the so-called “Brock Archive” of some eighty (80) titles of various lengths (with many short promos); looking back, now, and forward could have a wide appeal with everyone, everywhere. So, please, consider the best use of this free offer and share it too, so we can, perhaps, make a difference. Just maybe?." So, start by watching (and sharing please!) the full "Chuffed to be Back" film here: Remember to like, comment and share! There are plenty more stories to be discovered: Did you miss BBC’s Autumnwatch, not shown in 2023? Now is your chance to catch up with rescue, rewilding and recovery instead. You can help! Please do. View and share a great choice of movies from then, now and next… - with lots of versions from all over the world especially about our Great British Wild Isles, and what is happening to our “State of Nature”, as in the government’s latest 2023 report, which could affect us all and the wildlife that depends on us. Watch POODUNNIT? – A Wildlife Detective Story, Best Beaches for British Nature and many more films here. Nature needs you and the Wildlife Winners and Losers film series can be used a a tool to help make change happen. Richard says “Some years ago when I was in the renowned BBC Natural History Unit in Bristol I was getting more and more angry that some programmes were basically “lying”. I even said that to David Attenborough, perhaps not a great career move. But there was a definite reluctance to show much at all about what was really happening to the planet. In fact, any “gloom and doom” was rejected by the commissioners – in their apparent wisdom. Indeed, the series Blue Planet (One) was shown in full on BBC1 but the truth, in the last episode, was hidden away on BBC2. In the USA, where that last episode “Deep Trouble” was not shown at all, a potential donor to charity said he’d seen the series, as shown, with no problems visible in the oceans. Now, years later, David tells it as it really is – plastics and all. What a difference the truth makes. He explains, “My series “Wildlife Winners and Losers” looks carefully with well-documented evidence at these changes – past, present and particularly the future.“My series “Wildlife Winners and Losers” looks carefully with well-documented evidence at these changes – past, present and particularly the future. Using previously unseen footage from the recent past we bring the story right up to date and try to look forward as to the winners and the losers we might expect – and why. As far as I know, no one has done this so deliberately around the world with so many species and places. And you can help too… With films across over eighty subjects, we find many examples of winners, or, at least those trying not to be losers!” My Wildlife Winners and Losers series shows that films can be made – with basic footage filmed on any device – to help get the word out about conservation. “There is still time to save the planet. My Wildlife Winners and Losers series is my contribution." Now it’s your turn. Watch these free films. Choose from these 80+ films of different lengths to inspire you to take action. They’re free to watch and share with as many people as possible. Use the Series to give you ammunition to help save the planet.” Watch these here on our website or visit our YouTube channel: youtube.com/brockinitiative All this is free for use anywhere around the world in my attempt to help the planet and its wildlife. The main idea is that social media will enable people to spread the word using these Wildlife Winners and Losers films as “ammunition” at a time when I believe they are particularly needed. With so many, and such a variety, it is easy to put together a mix-and-match permutation, under various headings and many aspects of conservation e.g marine, plastics, Africa, tourism, wetlands, rainforests, big corporations, human conflict, etc. – how to turn losers into winners.
Visit: brockinitiative.org/about/about-wildlife-winners-and-losers Like/Follow: facebook.com/BrockInitiative, twitter.com/BrockInitiative & instagram.com/brock_initiative |
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Get ready for World Wildlife Day with Jackson Wild! It's time to get ready for World Wildlife Day 2024! Jackson Wild have teamed up with the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) again this year for their World Wildlife Day Showcase, one of the global events that will accompany the UN WWD 2024 celebrations and help illustrate this year’s theme: "Connecting People and Planet: Exploring Digital Innovation in Wildlife Conservation." For this year's showcase, they're going beyond just films. They'd love to see augmented reality projects, mobile apps, games, and any other media or digital projects that you think encompass this year's theme. From highlighting the transformative power of technology in safeguarding our natural world, to utilizing filmmaking technologies to advance scientific understanding and conservation efforts, to projects that integrate the interactive potential of digital media and technology to foster connections with the natural world, we aim to curate a diverse showcase of projects that provide a well-rounded look at the relationship between technology and wildlife conservation. Films must be 25 minutes or less (not including end credits), and all projects must be available globally at no cost (including virtual streaming or in-person screenings) from March 4, 2024 to December 31, 2024. The priority submission deadline is Monday January 8th, 2024, but we will continue to review projects on a rolling basis after this time. Best of all: this showcase is free to enter! Learn more and submit your project here: jacksonwild.org/digital-innovation-in-wildlife-conservation.html |
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Meet The Edge of Nature: Short Film Fund Grantees Wildscreen has unveiled five short films that will receive funding through its Edge of Nature: Short Film Fund. Delivered in partnership with On the Edge, this inaugural short film fund will bring new perspectives and fresh approaches to the natural history filmmaking genre, targeted at Gen Z audiences. The selected filmmakers who hail from India, Malaysia, Mexico, Singapore and the UK will receive grants totalling £60,000 for their projects. The filmmakers who will all be making their professional Directorial debut, all belong to groups currently underrepresented within the natural history genre. The films will pioneer fresh, out-of-the-box storytelling approaches whilst spotlighting EDGE species and habitats. In addition to the grants, the fund provides wraparound support for the filmmakers, including bespoke industry mentors, a training programme delivered by industry experts to help develop their skills and progress their careers. Wildscreen and On the Edge will also support the filmmakers across the entire lifecycle of the project and beyond. Bristol-based post-production house Evolutions, will also be partnering on the project to provide the filmmakers with post-production support and expertise. The short films will be premiered at Wildscreen Festival in Bristol, UK, slated for 14-18 October 2024. Launched through an open call in September 2023, over 100 applications from 32 countries were received. The projects were selected by a jury composed of industry experts headed up by Dr Alex Bowmer, Director of Natural History at On the Edge. The other jury members were: Roy Conli, Producer at Walt Disney Animation Studios; Andres Sehinkman, Co-founder and Director at Planta Alta, an award-winning production company based in Argentina; Beth Blood, Founder and CEO of On the Edge; Kartiki Gonsalves, Director and the first Indian Film Director to win an Academy Award for Elephant Whisperers; and Lucie Muir, Wildscreen CEO. The grantees:
Read more: wildscreen.org/meet-the-edge-of-nature-short-film-fund-grantees |
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IWFF Call for Entries Open! Submissions are now open for the 47th Annual IWFF. Films eligible for the International Wildlife Film Festival's juried competition must demonstrate exemplary film craft. They must also have a central focus on non-domesticated wildlife species, natural habitats, or conservation. The jury prioritizes scientific accuracy, ethical decision-making made during production, and demonstrated efforts toward the betterment of our natural world. IWFF highlights both the best of this long-lasting genre as well as alternative approaches to storytelling within the wildlife film genre KEY DATES
Please submit through FilmFreeway: filmfreeway.com/InternationalWildlifeFilmFestival |
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Wildscreen's Science in Storytelling - March 12th 2024 Join Wildscreen for Science in Storytelling, a brand new one-day event coming this spring! By putting science in the spotlight, Wildscreen are highlighting the importance of nurturing relationships between those with knowledge, and those that want to share it. We want to platform successful case studies of scientists and filmmakers coming together to communicate science effectively and creatively. Book your limited early bird tickets today and join us for a full day of case studies, Q&As, networking and collaboration! Tickets:
Venue: The Lantern Hall, Bristol Beacon Find out more and book here: events.wildscreen.org/products/science-in-storytelling |
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Wildscreen Festival 2024 ... key dates! Wildscreen are pleased to announce that Wildscreen Festival 2024 will take place between the 14-18 October 2024.. Key Dates include:
Discover more here: wildscreen.org/festival |
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BBCS and Getty launch online archive platform Getty Images, in partnership with BBC Studios, is launching a new online platform giving its customers greater access to BBC archive video. The platform, powered by MAM software specialists VIDA Content OS, allows easy access to over 57,000 programmes from the BBC archive which was previously only available offline by a heavily manual process. Customers can now securely search the entire digitised library, view, annotate, clip, share, and download previews for use within projects. Post clearance, the high-resolution masters are available immediately, providing significant benefit for fast turnaround projects. Curated collections around upcoming events and commissioning trends support ideation, while the latest Speech to Text tools enable programme makers to ‘transcript search’ all assets, bringing to light previously hidden content from BBC Motion Gallery’s vast archive. Customers can now access a wealth of iconic BBC content, with programmes such as The Office, Top of the Pops, BBC Sports Personality of the Year and Planet Earth now available to download for the first time ever. Paul Davis, Vice President of Media and Production EMEA at Getty Images said, “The VIDA platform is a significant breakthrough in making BBC content more accessible for our customers around the world. Our team is increasingly working as a creative partner, able to assist from ideas stage through production and this platform will considerably enable our efforts in supporting producers to derive successful, returnable shows for the global market.” Chris Hulse, Head of BBC Motion Gallery at BBC Studios added, “Our partnership with Getty Images is focused on getting BBC content into the hands of programme makers around the world. This new platform is a gamechanger for us, surfacing a wealth of previously offline BBC content, now accessible on-demand for the first time ever.” Read more: televisual.com/news/bbcs-and-getty-launch-online-archive-platform |
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‘The Elephant Whisperers’ payment controversy puts spotlight on documentaries Lawsuit over payment indicates need for filmmakers to shift away from market-driven motives. Months after the Indian film The Elephant Whisperers won the Oscar for Best Documentary Short at the Academy Awards this past March, the mahout (elephant rider or caretaker) couple Bomman and Bellie at the centre of the film filed a legal notice. The notice from the Indigenous couple, who belong to the Kattunayakan community in India’s Tamil Nadu province, demanded 20 million rupees (about $330,000) from the filmmaker Kartiki Gonsalves and the film’s production house, Sikhya Entertainment, run by Guneet Monga. The couple complained about being subjected to trying situations during the shoot and the expenses incurred to help execute scenes according to the filmmaker’s convenience. In defence, the makers issued a statement. Though not responding to the allegations directly, it said the film created awareness about the mahout community and led to socioeconomic benefits for them. They mentioned donations from M.K. Stalin, the chief minister of Tamil Nadu, towards assisting 91 elephant caretakers in the state’s two elephant camps. Strangely, the controversy remained focused on the issue of financial compensation following the film’s success. It eclipsed the structural conditions in contemporary documentary filmmaking that likely affected this complication in the first place.
Read more here: news.westernu.ca/2023/12/expert-insight-payment-controversy-over-the-elephant-whisperers-provokes-questions-about-documentary-storytelling |
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BBC Planet Earth cameraman describes emotions as he filmed rhino walking on busy street Producer Fredi Devas said that while filming for Planet Earth in Nepal, he was fascinated to see local people treating a rhino in a busy urban area with such respect. Capturing amazing footage of a rhino on a busy street looking for food was a bittersweet experience for a Planet Earth III filmmaker. Producer Fredi Devas said: “It is sad the urban environment is encroaching on wild places but I was also filled with admiration for the local people that treated the rhino with such respect.” The greater one-horned rhino in Nepal is perhaps the most dramatic example in Sunday’s episode of how wildlife is adapting to the human world. But other animals revealing extraordinary behaviour in Sir David Attenborough’s series include macaques in Bali that steal from tourists and return items in exchange for favourite foods. Fredi had seen videos of rhinos in the streets of Sauraha but did not believe it had happened until, after waiting a long time, he filmed the animal on an ultra-high-definition, low-light camera walking past shops and alongside people and cars. He said: “I eventually saw a rhino with my thermal binoculars, heading out of the jungle and coming straight towards me. It was a thrilling experience that I didn’t get tired of for the three weeks we were there. “Towards the end of the filming trip, as the rhino walked on a bustling road, past busy shops and cafes, I pondered that this rhino must have seen more change in its lifetime than any previous generation of rhino. A wild animal that looks like a living dinosaur, very much present in the modern era. With proper consideration for wild animals, there’s every hope humans and animals can live peacefully alongside each other, even with potentially dangerous animals like rhinos.” Read more: mirror.co.uk/tv/tv-news/bbc-planet-earth-cameraman-describes-31560158 |
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Pairing Natural History and VFX Together in ‘Life on Our Planet’ Produced in partnership with ILM and narrated by Morgan Freeman, Netflix’s new documentary series uses the latest technology and science to resurrect creatures long extinct as it follows life’s epic battle to conquer and survive on planet earth. Over the course of the four-billion-year history of life on Earth, there have been five - and an impeding sixth - mass extinctions that are used to frame the narrative of the Silverback Films, Amblin Entertainment, and Netflix series, Life on Our Planet. Overseeing the eight episodes that chronicle the rise and fall of dynastic species is showrunner Dan Tapster; resurrecting long-lost creatures was left to visual effects supervisor Jonathan Privett and Industrial Light & Magic. The documentary series follows Prehistoric Planet, where Apple, BBC, and MPC joined forces to recreate the Cretaceous period 65 million years ago. “We started in 2017, and it takes a long time to tell the story of life because of the four billion years span,” states Tapster. “When we heard that Prehistoric Planet was commissioned around 2019, we were mostly excited because this showed that there is an appetite for the paleo-doc-type genre. They were able to fast-track their process as there were fewer episodes and the focus was on one moment in time. Prehistoric Planet has some nice stories. I liked how they used modern-day animals to get behavior out of the dinosaurs, and the animation was absolutely first-class.”
Silverback Films was founded by former members of the BBC Natural History Unit, Alastair Fothergill and Keith Scholey. “I took a meeting in 2017 before leaving DNEG for ILM and the most exciting part of project was we were going to make it with the top wildlife filmmakers and shoot it in that exact style,” remarks Privett. “There wasn’t an element of filming it all like a drama at any point in time. We rarely came off the 50-1000mm lens and were quite often beyond 300mm, which you just wouldn’t do in a drama.” Conveying the proper size and scale required paying attention to the environmental details. “We did a lot of running around with rulers and measures and me or other people crawling on the ground being a Lystrosaurus or the tail of the T. rex.” Says Privett. “And obviously we used the experience of Jamie McPherson [cinematographer], who has spent his whole life filming creatures, so he has a good natural feel for how something would behave and where he would be to film it. We didn’t do close and wide on the T. rex because if you were filming a huge, ferocious predator, one thing you don’t do is go and stand right next to it. You’d be eaten!” The visual style is described by Tapster as being “time travel cinematography”. “One of the goals of Life on Our Planet is to give context to the world that we see today, and because of that, we aim what we call ‘the lens of loop’ at modern day natural history trying to understand its backstory,” he states. “Because it has this marriage of natural history and visual effects, we wanted them to fit seamlessly alongside each other. Since natural history has a grammar, we had to impose that grammar on the visual effects with the idea that if you were going back in time to film something, let's imagine what that would actually be like. Not getting eaten and from a health and safety point of view? How would you do it with the arsenal of cameras that we would use in modern day? That made the visual effects challenging because they’re long close-up lingering shots. J.P. might have preferred that we didn’t do it that way!” Natural history documentaries have a tradition of varying framerates depending on the animal and what it is doing at the time. “The cheetah goes from 23 to 30 to 60 to 150 and everything in-between,” explains Tapster. “But when we shot our background plates with that in mind, it didn’t work with visual effects. It took you out of the moment and suddenly seemed wrong.” Slow-motion shots were kept to the minimum. “We did have more slow motion scheduled into the show when it was storyboarded, but we could never get it to look right,” reveals Privett. “We scrapped the two or three significant bits that we had.” Most of the visual effects photography was captured by Jamie McPherson; shooting took three years because the production tried to keep to one or two cinematographers. The first visual effects shoot took place in October 2019 in Chile, and the last one was Summer 2022. According to Tapster, “Jamie and J.P. led the visual effects team, and that took three years to film across all episodes. Meanwhile, the producers would look after the natural history, and that shoot went much more seamlessly. ‘When is the best time to shoot snow leopards? We’ll go now.’ The two dovetailed, but the simple answer is that it was difficult!” Read more here: awn.com/news/pairing-natural-history-and-vfx-together-life-our-planet |
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The Center for Environmental Filmmaking: Showcasing change and striving to protect of our planet “I need to make films for us and the planet” Communications and filmmaking both play an important role in the fight for environmental conservation and against climate change. American University’s own Center for Environmental Filmmaking brings students and faculty together to tackle these issues head on. The Center for Environmental Filmmaking is just one of two environmental filmmaking graduate programs in the country. The Center is housed in the School of Communication and is focused on telling stories of environmental justice, racism, conservation and wildlife. “Environmental and wildlife filmmaking is paying attention to who we are, in terms of who has the power to tell stories, and sharing that with those living in the environments and with the wildlife that we seek to make films about and to impact people in those places” said Larry Engle, the associate director of the Center and director of the Film and Media Arts division of SOC. “So we’re trying to share the storytelling methodology, the stories themselves, and I think that the Center for Environmental Filmmaking is at the forefront of that diversity and inclusivity.” Alongside his own broadcasting, the Life on Air documentary made by the BBC in 2002 examines the legacy of his first half century of work as part of the series Attenborough in Paradise and Other Personal Voyages. In the same year, a public poll deemed Attenborough to be considered one of the 100 Greatest Britons. Engel has worked in environmental filmmaking for many years. Before coming to D.C., he ran a documentary production company with his brother in Manhattan, and worked on over 300 films. “The power of story, especially when it comes to environmental issues, is of paramount importance for all of us on the planet, all of us,” Engel said. |
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Netflix to release wildlife documentary ‘Horizon’ Saudi Arabia in January The documentary highlights the diverse wildlife and biological aspects of life in the Kingdom of Saudi Arabia, showcasing the efforts of the Kingdom, represented by the NCW and its partners, to conserve and protect endangered species. Saudi Arabia’s Minister of Media Salman Al-Dosari marked the official inauguration of the wildlife documentary film, Horizon Saudi Arabia, the latest production by the Konoz Initiative. The exclusive screening took place at the Government Communication Center within the ministry headquarters in Riyadh, attended by officials from the National Center of Wildlife (NCW), the strategic partner, along with various specialists, media professionals, and government representatives. Scheduled for release on multiple local and international platforms, including Netflix starting January 4, 2024, the film intricately showcases the Kingdom’s diverse wildlife and biodiversity. Horizon Saudi Arabia sheds light on the relentless efforts undertaken by the Kingdom, spearheaded by the NCW and other collaborators, to preserve and protect wildlife from the brink of extinction. The NCW played a pivotal role as a strategic partner in bringing the film to fruition through its scientific and cognitive contributions as part of the Konoz Initiative. Read more: broadcastprome.com/news/netflix-to-release-wildlife-documentary-horizon-saudi-arabia-in-january Directed by member Lilou Lemaire: wildlife-film.com/-/LilouLemaire.htm Watch on Netflix: netflix.com/watch/81714296 |
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Whale with Steve Backshall review: The next Attenborough? Not just yet Television naturalist Steve Backshall lives as dangerously as any Top Gear presenter – including being bitten by sharks and alligators, allowing himself to be stung by venomous bullet ants, and nearly drowning while kayaking in Bhutan. Perhaps his most courageous venture yet however is in following Sir David Attenborough on Sunday night TV. Any wildlife programme that sails close to Attenborough’s sumptuous Planet Earth III is risking serious injury by comparison. And the world-beating production values of the BBC Natural History Unit were always going to outshine the inevitably less ambitious Whale with Steve Backshall. This was a follow up series to 2019’s Shark with Steve Backshall, which saw our man continue his death wish by diving, cage-free, with the antagonists from Jaws. Whales and their cetacean cousins, dolphins, may sound less immediately dangerous than sharks, but Backshall had to keep his distance from female humpback whales while they responded to the male mating song. “Humpback courtship is intense and can turn violent,” he said. “Best not to linger.” More here: inews.co.uk/culture/television/whale-steve-backshall-review-attenborough-2787274 |
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Paramount’s Channel 5 Snaps Up Pair Of Steve Backshall Series On Hippos & Crocodiles From ‘Predators’ Producer True To Nature Paramount’s Channel 5 is headed to South Africa in search of hippos and crocodiles. The UK terrestrial network has ordered a pair of series from Sky Studios-owned factual specialist True to Nature presented by British naturalist Steve Backshall. Croc Watch and Hippo Watch will both run to two hour-long episodes, and Fremantle has picked up international sales rights. This marks one of the most ambitious natural history bets for Channel 5. Across the two series, the programs will journey into the heart of South Africa to access the lives of crocodiles and hippos, revealing remarkable secrets and showcasing the beauty of their natural habitats. Backshall, whose True to Nature-produced series Whale with Steve Backshall premiered on Sky Nature in the UK earlier this month, will reveal the mysteries of their survival by exploring their daily habits, hunting techniques and parenting instincts, and the intricate dynamics of the wild that enable them to thrive. “Crocodiles and hippos are truly fascinating creatures with formidable reputations. Steve Backshall is the perfect person to dive deep into their worlds and unravel the secrets of these incredible animals,” said Denise Seneviratne, Commissioning Editor, Unscripted, Channel 5 and Paramount+. “We are delighted to be working with True To Nature to bring these remarkable series to Channel 5.” Backshall added: “I can’t wait to get up close and personal with these extraordinary animals. Exploring the natural habitat of crocodiles and hippos is a dream come true for any wildlife enthusiast, and I am beyond excited to learn more about these captivating creatures. Having previously worked with Channel 5 for The Secret Life of Badgers, I can confidently say that crocodiles and hippos might be a tad more adventurous.” More here: deadline.com/2023/12/paramount-channel-5-orders-steve-backshall-hippo-crocodile-series-1235658616 |
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BBC Studios NHU’s Jonny Keeling Jonny Keeling had been making wildlife programming for BBC Studios’ storied Natural History Unit (NHU) for more than 25 years when he was tapped to lead the unit in 2022. With a long list of credits that includes Seven Worlds, One Planet; Planet Earth; and The Life of Mammals, Keeling is ensuring the NHU slate—which includes the recently launched Planet Earth III and upcoming Asia—continues to inspire a love of the natural world among audiences worldwide. He talks toTV Real about the values instilled in all NHU productions, using CGI and other techniques to drive new forms of storytelling and the unit’s £1 million talent-development initiative. TV REAL: Tell us about the mandate you wanted to put into place coming into the role of head of the NHU. TV REAL: You’re still making wonderful productions for the BBC, but talk to me about how you’re approaching third-party clients like Apple TV+. Read more: worldscreen.com/tvreal/bbc-studios-nhus-jonny-keeling |
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This Black Woman Just Made History As The First To Host A Wildlife Show On Broadcast TV. Meet Dr. Rae Wynn-Grant Black ecologist Dr. Wynn-Grant spoke to ESSENCE about making history on the new NBC show "Mutual of Omaha's Wild Kingdom" and what prompted her interest in STEM.. Dr. Rae Wynn-Grant is passionate about wildlife and preserving our planet. This lifelong pursuit made her the perfect candidate to become the co-host of NBC’s new show, “Mutual of Omaha’s Wild Kingdom Protecting the Wild [which] showcases wildlife success stories across the United States.” This feat now makes her the first Black woman in the U.S. to ever host a wildlife show on broadcast television, as per a press statement shared with ESSENCE. After the show’s premiere, Wynn-Grant discussed what inspired her to embark on this career path, her history defying stereotypes, and the importance of following your dreams. Ironically enough, her love of nature stemmed from watching television. Wynn-Grant said she was “a very urban kid. My family moved around a lot, but we also lived in big cities.” The San Francisco native shared how strict her parents were with what she was allowed to watch on television. “It always had to be educational, and one of the things that was educational and on TV in the 1980s and early 90s was nature shows. I used to love watching wildlife documentaries and nature shows.” “Believe it or not, Wild Kingdom was one of the shows that I used to watch,” Wynn-Grant revealed. “I was kind of obsessed with the experience that the hosts were having. Being in the wilderness seemed like the most exciting adventure anyone could have.” And thus, the seed was planted. “To me, there was no greater career,” she said. Read more here: essence.com/news/black-wildlife-expert-mutual-of-omaha-wild-kingdom |
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How to Become a Voice for Nature Sir David Attenborough is the voice of nature. But, when facing the threat of climate change, one voice alone is not enough. We can all become a voice for nature and speak up on behalf of Planet Earth. Simply talking about the problem might not sound like much, but creating conversations that inspire change is one of the most powerful things we can all do to help the planet.
However big or small your platform, your voice can make a difference:
We’ve gathered some resources below to fuel your conversations and help you to become a voice for nature. You can spread the word by sharing our films featuring the likes of Dua Lipa, Gary Lineker and DJ Target on Instagram Facebook TikTok and YouTube. And even narrate scenes from Planet Earth III yourself with a TikTok duet. More here: bbc.co.uk/programmes/articles/5STsK03qtJ30tH41vsSNp5y/how-to-become-a-voice-for-nature |
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‘His curiosity is unbounded’: What it’s like to work with David Attenborough at 97 ‘Planet Earth III’ producer Mike Gunton has worked with the world-famous naturalist for almost four decades. He tells Ellie Harrison about his ‘astonishing, brilliant’ friend, who wouldn’t dream of retirement Thirty-six years ago, when Mike Gunton joined the BBC’s Natural History Unit as a keen young producer at the start of his career, he was told that he’d be working on David Attenborough’s last-ever programme. It was The Trials of Life, a study in animal behaviour, and Attenborough, in his sixties then, thought it was time to stop. “Well, that seems hilarious now,” says Gunton. “I don’t know how many series he’s done since, but it must be 20 at least. Long may it last.” The pair have worked together for almost four decades – Gunton is now 66 and Attenborough 97 – and their latest project is Planet Earth III, which airs its final episode tonight. Just like its two predecessors, which were broadcast in 2006 and 2016, the series has shown us spectacular stories from across the animal kingdom – from a minutes-old ostrich hatchling searching for its mother in the Namib desert to a group of courageous seals driving away great white sharks off the coast of South Africa. But a new element to the show, and one that is increasingly present in Attenborough’s other programmes, is its message: this series is all about how animals are being forced to adapt, to survive the challenges they face in a world changed by humans. “I’ve done a lot of shows in my life,” says Gunton, “but this is definitely a really important one. It still feels like we’re getting the Planet Earth tingle, in that it’s giving us wonderful stuff about nature, but we’re also saying something about being sensitive to how heavily we tread on our planet.” Planet Earth III certainly demonstrates our negative impact on animal life (turtles on Australia’s Raine Island, for example, are dying en masse as temperatures rise). Yet it also shows how we are innovating to make things better (while the right whale was hunted to near extinction 40 years ago, a ban on commercial whaling has restored numbers to around 12,000). “It’s a very intriguing time to be observing the natural world at the moment, and it’s slightly worrying as well. But there are parts of it that make you hopeful, and that has to be reflected in the programmes.” In some ways, a lot has changed since Gunton and Attenborough started working together. Attenborough was not a fan of drones when they first arrived on the scene. They would constantly malfunction, and he would have to do countless takes walking through a meadow or a jungle as the camera on the drone zoomed off to reveal him on location. “He’s now a convert, and he absolutely thinks the drone is the key, the breakthrough, in the perspective it can give you on what happens in nature,” says Gunton. The advances in technology have been huge over the decades. “He is astounded by the leap we have taken in the way we use robotic cameras,” Gunton adds. “We can take audiences beyond where the human eye can.”
In other ways, nothing has changed at all. Attenborough has always had “a penchant for bird courtship” stories on his shows, and he always will. “There’s a sequence in Planet Earth III with the tragopan, which is a very strange bird that lives in China and has a very complex and bizarre courtship display,” says Gunton. “I think it’s never been filmed in the wild. And of all the things that we showed David, it was that which made his eyes light up.” And Attenborough has always been “hilarious”, says Gunton. “If somebody ever asked me, ‘What are your memories of him?’, one of the top things I would say is us rolling around laughing, sometimes about the absurdity of the world and the absurdity of what we do. He’s a brilliant raconteur.” Read more: independent.co.uk/arts-entertainment/tv/features/david-attenborough-planet-earth-bbc-b2460839.html |
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Attenborough and the Giant Sea Monster: Sir David Attenborough talks about unearthing the find of a lifetime, with Executive Producer Mike Gunton Discover the story of the pliosaur, an extraordinary monster of the seas, on BBC One and iPlayer
Attenborough and the Giant Sea Monster follows Sir David Attenborough as he investigates the discovery of a lifetime, as a giant skull is found in the cliffs of Dorset. Meet the pliosaur, the Tyrannosaurus rex of the seas! Interview with Sir David Attenborough and Executive Producer Mike Gunton: What is this film about? David Attenborough: This film is about the discovery of the skull of an extraordinary monster of the seas – one of the biggest predators the world has ever seen. The skull is the most important part of an animal, and what you can deduce from the skull is absolutely fascinating. Imagine that you were from Mars, and when you landed on Earth all you could find were human skeletons but not a single one with a skull. You wouldn't know anything about it at all - you wouldn't know what it fed on, how it could move, you wouldn't know what it could see - it would be useless. Well, that is more or less was the situation we were in as far as this particular pliosaur was concerned. The skull had the potential to be the most informative find of any pliosaur ever made but unfortunately, or initially unfortunately, it was only the end tip of this huge skull that was found. But the skull is the most informative part of any skeleton, and it promised to have all those details in it if you could only get it out… This is the story of how it was got out, and how it was examined by scientists with all kinds of latest state-of-the-art equipment to investigate these things, how they were able to interpret it and tell us new things about pliosaurs. Read more: bbc.com/mediacentre/mediapacks/attenborough-and-the-giant-sea-monster Watch Attenborough and the Giant Sea Monster on BBC iPlayer: bbc.co.uk/programmes/m001txg2 |
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Shailene Woodley on why wildlife filmmaking is so important | Planet Earth III – Behind the scenes "I want to make a difference." Kiri Cashell, Producer/Director Actress and activist Shailene Woodley talks to wildlife conservationists and filmmakers about what it takes to make a documentary like Planet Earth III, and why it matters.
Watch Planet Earth III on BBC iPlayer: bbc.co.uk/iplayer/episodes/p0gjwxhv/planet-earth-iii |
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BBC Studios Natural History Unit and global charitable foundation Wellcome, announce #OurPlanetEarth New digital impact campaign inspired by, Planet Earth III, and focusing on health impacts of the climate crisis, will be hosted by BBC Earth.
BBC Studios Natural History Unit and global charitable foundation, Wellcome, today announce #OurPlanetEarth – a new digital impact campaign inspired by the globally-renowned Natural History Unit’s latest landmark series, Planet Earth III and expected to reach millions of people globally. The world's climate is changing, and this is having a direct impact on humans as well as animals. Climate change is affecting the environments in which we live and work, the health of many populations, and the wellbeing of our societies. #OurPlanetEarth, produced by the award-winning digital team from BBC Studios Natural History Unit, hosted by BBC Earth, will bring to life the links between human and planetary health, with a focus on those most affected on the climate frontline. The accelerating changes across our planet’s ecosystems highlighted in Planet Earth III, narrated by Sir David Attenborough, has drawn global awareness to the beauty and fragility of these regions and the critical juncture we now find ourselves at as well as bringing to the forefront the resulting consequences on human health. From communities in the Amazon Rainforest to those on the savannahs of East Africa; from coastlines and oceans to the heart of our cities, #OurPlanetEarth brings together extraordinary voices from across the planet who are dedicating their lives to making a positive difference for both planetary and human health. Alan Dangour, Director of Climate and Health at Wellcome said: “Climate change is a threat to humanity just as it is a threat to every living thing on the planet. We’re very pleased to be working with BBC Studios Natural History Unit and harnessing their expertise and powerful artistry to tell the stories of how human health is being affected on the frontlines of the climate crisis. Through this partnership we hope to bring this urgent issue to the attention of audiences world-wide and build momentum for climate action to protect all our lives.” Jonny Keeling, Head of BBC Studios Natural History Unit, added: “The NHU plays a vital role in telling impactful stories from the natural world. And we know that the health of our planet is closely linked to human health so we’re proud to partner with Wellcome on the #OurPlanetEarth campaign and, together, reach a global audience. At this critical moment for Planet Earth, we are looking to inspire people with stories of hope that will ultimately promote a healthy planet and healthy people.” This campaign follows #OurGreenPlanet and #OurFrozenPlanet, two Natural History Unit Impact initiatives launched in association with the Moondance Foundation. These initatives inspired and ignited a deeper understanding of the unique role of green habitats and our planets fragile polar regions, respectively. With unique stories published across multiple BBC Earth and partner channels, the campaigns have generated over one billion global impressions. The #OurPlanetEarth impact campaign can be followed via BBC Earth’s Website, Facebook, Instagram, & TikTok with new and exclusive content launching every week. |
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Grant Mansfield on Plimsoll’s first, and next, 10 years The old adage states that “a change is as good as a rest.” It’s apparently advice that Plimsoll Productions founder Grant Mansfield heeded 10 years ago, when he made the transition from CEO of Zodiak USA, a major arm of an international production and distribution company, to the boss of an indie prodco.Mansfield left Zodiak USA in early 2012, after having been with the company since its earlier incarnation as RDF Media Group, and transplanting from London to L.A. to take over the American office following the 2009 departure of Chris Coelen (who is now head of his own label, Kinetic Content). In leaving Zodiak, Mansfield and family headed back across the ocean, but this time eschewed the big-city noise of London for his relatively less hectic hometown of Bristol.“ But, as Mansfield recalls now, even though he wasn’t throwing himself back into the hustle and bustle of the British capital, he was deliberately staking out ground for his next move. “Outside of London and Manchester, Bristol is the closest thing the UK has to a proper TV city,” he says. And with it being home to numerous natural history content creators — including the giant of the bunch, the BBC’s Natural History Unit — “it seemed daft to set up a production company in Bristol and not have a go at doing natural history,” he remarks. The move has paid off, and then some. This year, Plimsoll celebrates 10 years in operation, its status as a major force in factual programming firmly established via such landmark productions as Night on Earth for Netflix (pictured below) and Tiny World for AppleTV+. While the company initially made its mark in natural history — and is currently one of the biggest, if not the biggest, producer in the genre outside of the NHU, now part of BBC Studios — the goal at the outset, says Mansfield, was to cover multiple genres and move beyond the “specialist” tag. “What tends to happen in the UK is you have a company that deals in natural history, or science, or factual entertainment, and from the start our ambition was to be more broad,” he says. “It’s quite interesting to have people from a factual entertainment background developing natural history ideas, and vice versa. But we also thought it would be a way of building an independent production business of size and scale and longevity, and that’s how it turned out.” Mansfield is quick to point out that the ability to traverse genres is dependent on having a well-rounded team, which was another of Plimsoll’s goals from the beginning. One of his first hires, former BBC NHU exec Martha Holmes, took oversight of natural history, while another BBC alum, Karen Plumb, joined the team in 2014 to head up factual entertainment. Read more: realscreen.com/2023/12/12/grant-mansfield-on-plimsolls-first-and-next-10-years |
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Jack Hanna’s 400-Episode ‘Into the Wild’ and ‘Wild Countdown’ Library Acquired by Hearst Media Production Group Legendary wildlife host Jack “Jungle Jack” Hanna’s TV franchise library, including 400 episodes of “Jack Hanna‘s Into the Wild” and “Jack Hanna’s Wild Countdown” has been acquired by Hearst Media Production Group. Hearst is the longtime distributor of Hanna’s series, previously owned by Into The Wild, LLC, and already held ownership of “Jack Hanna’s Animal Adventures” and in 2021 launched the Jack Hanna Channel, a FAST channel showcasing hundreds of episodes of Hanna’s adventures in the wild. Financial terms of the deal to acquire the libraries for “Into the Wild” and “Wild Countdown” were not disclosed. Nominated for 15 Emmys and winning five, Hanna’s decades-long career in wildlife programming spurred from his background as a conservationist and his position at the Columbus Zoo and Aquarium in Ohio. A frequent TV guest of David Letterman, Hanna’s also authored several books, won many awards, and received multiple honorary doctorates. “We’re proud to deepen our decades-long partnership with the Hanna family and be entrusted to continue sharing this compelling, legacy wildlife programming worldwide,” Hearst Media Production Group president Frank Biancuzzo. Read more: Variety.com/2023/tv/news/jack-hanna-into-the-wild-tv-shows-hearst-media-production-group-1235844650 |
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We Animals Media in 2023: A Year of Growth and Impact Partnerships, assignments, fellowships, campaigns, strategy, poignant photography, films, and awards. These elements defined our year at We Animals Media in our most impactful year yet: 2023. This year, We Animals Media remained steadfast in our commitment to bring visibility to hidden animals—those trapped in our human systems of exploitation, be it on farms, in zoos and aquariums, in places of research, entertainment and religious sacrifice. Our values of Excellence, Generosity, Collaboration, Integrity, and Leadership guide our tireless efforts. Sadly, while veganism Thank you for being with us on this journey. Your unwavering support has been the driving force behind our progress, and we’re excited to share with you our accomplishments in 2023 made possible by your generosity. Watch our 2023 Year in Review video:
Visit: weanimalsmedia.org/2023/12/20/we-animals-media-in-2023-a-year-of-growth-and-impact |
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New Film Explores The Human Impact Of North Carolina Pig Farms A new film shines a light on the unseen impacts of pig farming in North Carolina New film The Smell of Money involves a lot of uncomfortable sights and smells. Residents see farmers spray fields next to their houses with pig manure; the film’s viewers see the residents suffer from the effects of all this excrement. For a film about the dirty outputs of pig farming, The Smell of Money is hard to take your eyes off. To some, the subject matter might sound about as appealing as the fecal kind that infects the residents’ air. But this is a film that everyone whose money goes to supporting the pork industry should be compelled to watch. In it, the devastation animal agriculture causes communities – often unseen and under-appreciated – is clear for all to witness. “Our goal for the film has always been to create an impact and inspire change,” Jamie Berger, the film’s writer and producer, tells Plant Based News (PBN). “So that’s the lens through which we’ve approached the entire experience.” A film about North Carolina The Smell of Money puts North Carolina’s pig farms on trial. The state is one of the largest pork producers in the world, with 9.4 million pigs. Berger, along with director Shawn Bannon, make sure that viewers understand just how astronomical and ruinous this industry is. “I was born and raised in North Carolina,” Berger says. “Learning about my home state’s pork industry and its impacts on people, animals, and the environment in college transformed me into an activist and inspired me to devote my life to ending factory farming.”
Read more: plantbasednews.org/culture/film/film-north-carolina-pig-farming |
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A vegan morality tale? Chicken Run sequel puts factory farming in spotlight Film-maker Aardman says Dawn of the Nugget doesn’t aim to preach but campaigners hope movie can help change diets A trip to the cinema followed by a bite to eat is a staple treat of the school holidays. But the plot of one of this season’s big family films may mean the traditional stop-off afterwards suddenly seems less appetising. In Chicken Run: Dawn of the Nugget, in cinemas on Friday, thousands of hens must be rescued from a nugget factory where they are kept in a state of stupefied joy by remote control lobotomising collars. This, a scientist explains, is because when a bird is frightened, “its muscles tense and the connective tissue forms knots”, resulting in “tough, dry and flavourless meat”. Reprogramming a chicken’s response to the horror of being “processed” should radically improve flavour and sales. Children attending a preview screening in London on Sunday appeared to enjoy the new Aardman film. None were heard leaving the cinema expressing eagerness for a bucket of nuggets. “It’s really pushing the needle,” says Matthew Glover, founder of Veganuary and meat-alternative range Chick’n. “I’ve never seen a cartoon like this.” “I’m a big fan of the approach,” says Richard McIlwain, CEO of the UK Vegetarian Society. “Whether or not they’ve set out to make a vegan morality tale, the reality is that this is what happens in poultry farms. They’re not making it up.” The film-makers have rejected claims that they are “here to preach”, and said that any dietary reassessment would be just a happy accident. “We want the film to be engaging and entertaining and a great ride, mostly,” the film’s director, Sam Fell, has said. “But yes, if you come away and you think a little bit more like a chicken by the end of it, then that’s not a bad thing.” Some of the film’s key cast members – including Thandiwe Newton and Bella Ramsay – are passionate spokespeople for veganism, and Fell himself became a vegetarian during production.
Watch on Newflix: netflix.com/title/81223025 |
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Broken food system – NOURISH AND FLOURISH Nobody likes being told what to eat, or where food comes from but understanding, and changing, where our food comes from and how it is produced is a critical part of tackling the nature crisis and climate change. The first step is education. Most of us don’t know a lot about where our food really comes from and how it impacts the world around us. Fauziya Johnson, an artist based in Manchester, has been collaborating with a group of inspiring people of colour and working class 16 - 25 year olds and together they have been exploring the industrial food system and its impacts: socially, economically and environmentally. The industrial food system is vast and often obscured from everyday life. This group of young people attended a series of workshops which explored our relationship with food. They learnt traditional, sustainable, low-impact cooking; and discussed the violent history of our food system and its impacts on marginalised groups and the environment. Plus, why a huge new Danish Crown bacon factory is opening in Rochdale, close to where these younger people are based. The workshops dissected the impacts that this new factory will have on the local community, as it starts to process pork imported from Denmark - as well as explored the role of activism in bringing about positive environmental change. Our food has never been an easy topic. By asking questions and breaking down barriers for future generations, we can help confront our destructive food system. This project is part of Bad Taste. A series of artistic interventions that highlight and confront the industrial food system. As a highly engaged supporter of ours, we hope this project gives you food for thought. Watch Nourish and Flourish: Read more and share: act.greenpeace.org/page/140940/data/1 |
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Earthling Ed defending 'extreme' veganism on live TV. Earthling Ed's was on GB News! He says "On the show I spoke about the perception of vegans, defended against the accusation that we are authoritarian and made the case that animal farming is inherently cruel and immoral. People often fall into the trap of believing that there are farms and slaughterhouses which are cruel to animals and those which are not. However, this is not true. Animal farming and slaughter is inherently cruel, as proven by what is legally allowed and ubiquitous."
Get How to Argue With a Meat Eater (And Win Every Time) here: amzn.to/3NeWBMr |
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Meat Lobby at Cop28, UN Report Debate, Food Waste Crisis and Beef's Carbon Cost – Month in a Minute The December edition of Sentient Media's popular Month in a Minute series is here! Watch their 60-second recap of the top stories in animals, food and farming. This month, COP28 made headlines for dedicating an entire day to the food system and its role in climate change. In a first for the summit, leaders agreed to reduce emissions from food. Also new this year: a record number of lobbyists for the meat and dairy industries even as the event’s menu featured fewer animal products than ever before. Meanwhile, the UN called on the world to “ramp up meat production” to address “health challenges” in poorer countries, as critics argued the agency had “completely bought the narratives of the meat industry.” Narrated by Jasmine Leyva. Read more here. Watch all this and more in the December media recap!
Have a little more time? Browse more top stories from December: sentientmedia.org/the-month-in-a-minute-november-2023 |
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