Jetstreams over London by Lindsay du Plessis
Articles & Stories Travel Articles Going wild on film
| Going wild on film |
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A few kilometers down the road, another Land Rover stands stationary, engine cut. Three tripods support cameras pointed in three directions, and three hunched bodies stand with their faces glued to the eyepieces, waiting for that elusive happening that will make their films worth more than the price of a CD.
The tourists have David Attenborough inside their heads, whispering the soundtrack to their sightings as their binoculars jolt against their cheekbones at every bump in the road. The three bodies in the stationary vehicle dream of being the next David Attenborough, of making wildlife documentaries fit for National Geographic, the Discovery Channel and Animal Planet.  The popularity of South Africa as both a wildlife holiday and film making destination is not difficult to understand. Adrian Gardner, owner of the Mantis Collection, which includes Shamwari Game Reserve, says that the southern tip of the continent is ideal for both activities, possibly more so than anywhere else in the world. “A wildlife holiday is pretty rare around the world, and coming to South Africa makes such a holiday easy,†he says. “We have a wide variety of wildlife, we have the beaches and the infrastructure to deal with tourists, and our methods of getting to lodges and reserves are much simpler than in other countries.†This variety and ease of mobility translates into an attractive package for film makers, as is evident in the large increase in TV shows, movies and documentaries being made in various areas of the country. Gardner was recently involved in the making of Animal Planet’s Unearthed series, which was filmed at Shamwari in the Eastern Cape and follows aspirant film makers on their journey to becoming wildlife film makers. “Film making in South Africa is diverse and there can be many different experiences,†says Gardner. “A lot of filming is done on the Serengeti and Masai Mara, which is difficult to beat, but a lot of other countries are very similar in what they offer. There is more variety in South Africa, and film makers get a first world experience.†Dr Ian Player, one of the world’s experts on wildlife conservation and the saviour of the white rhino, echoes this sentiment. “It depends on what the producer wants. Fortunately South Africa has most of what anyone can require,†says Player, agreeing with Gardner about the value of good roads and facilities. “We have a huge variety of places to film, from the desert to the tropics and mountains,†he adds. You might have a wildlife film inside you. You can see the sunset, the composition, the angle of the Buffalo’s head as it dips to the water. If you want to discover how to get that dream onto celluloid, or onto a plastic disc, then South Africa is the place to be. The Wildlife Film Academy in Cape Town, which helped with the conceptualization of the Unearthed show, offers an intensive, month-long course on the subject, and helps students find internships with production companies. “The thing about wildlife film making is that people can have that passion for years, but they don’t know where to start or how to get into the industry. They don’t think it’s possible. This course is a foot in the door, a step closer to the industry,†says Lianne Slegh, the Dutch course manager at WFA, who also works for various international production companies. Pat Keegan, a story board artist from New York City (“originally Philadelphiaâ€), came to South Africa to study at the Academy and to see if he could cut it in the wildlife industry. “I work in production every day, and I thought, ‘Hey, I can do this myself,’ so I came here to seriously pursue this chance.†The other students at the Academy range from a 17-year-old English lad who is trying to convince the Americans that Twiglets really are a food and that they are delicious, to a 55-year-old biology teacher from the US who used to teach in Johannesburg in the 1970’s. “I left on the day of the Soweto Riots (16 June 1976),†she says, before quickly adding, “but that was a coincidenceâ€. Keegan adds, “I’ve been to zoos but here it’s like it’s not that big a deal to people to see wild animals. I mean, there aren’t many places to do this in the US, and now I’m 22 hours from home. It’s very exciting.†OK, so now you’re here and ready to become the next big thing. The glamour, though, is missing and your hiking boots are giving you blisters because you have to spend much of the day actually walking around the bush. The animals don’t just come to you. “When the students first arrive here we tell them that they aren’t going to the zoo. You’re going to the bush, and you’ll probably see lions and such, but if you don’t then there’s nothing we can do about it. The animals aren’t on cue,†says Sophie Vartan, founder of the Academy. Slegh adds to this, emphasizing an essential personality trait of the wildlife film maker. “You have to be quite open minded in the bush. You might be focused on your elephant, but behind you something much more interesting is happening. You’ve got to be flexible. You never know what you’re going to get,†she says. Vartan adds, “Some people have an image of wildlife film making as being glamorous and that it’s going to be a breeze. But we teach them the reality of it. It’s a really tough job. You’ve got to get up at 4am to get that sunrise, and you’re up till late to get the moon.†Vartan, Slegh and Gardner are all in agreement that aside from the locations and animals, South Africa is also top class when it comes to film crews and support staff, and say that most companies don’t bother to bring their own people, thus creating local jobs. “Most companies use South African crews, because we have great cameramen and soundmen,†says Garner. Vartan agrees, saying: “For an overseas company to come here and bring their own crew is incredibly expensive. They don’t get local concessions and they have to find accommodation and all that. Where as if they hire crew here and deal with a local production company, they get discounts on vehicle hire and accommodation. “Those who don’t know the cost-savings they can make here bring their own crews and equipment, but those who have been here before will know that we have fantastically trained crews and great equipment, and they don’t waste cash to bring all their own stuff.†Now that the technicalities are done and dusted, what about the aftermath? How do hordes of crews, cars and cameramen affect the environment? “It all depends on the film maker. Any kind of film maker needs to treat the subject with respect. With a human being, we can say, ‘You’re being disrespectful,’ but animals and plants can’t do that. You have to be humble in your approach to nature,†says Player. When working with the many film makers he has encountered over the years, from the USA and UK mainly, Player says he has always found it a pleasure if the people involved are decent and respectful of the environment they are in. But if they aren’t, then he “very quickly†raises his objections. He has come across people who chase animals and uproot trees to get what they want, and you may wonder if there are rules governing that sort of thing. “There are,†says Player, adding, “but you know how things like that can be overlooked.†The sun is now in the centre of the clear blue sky. Hours have passed and not one lion has been spotted. It is summer so the grass and temperatures are high, hiding the big cats under trees, lazing in the shade. The tourist Land Rover heads back to camp where lunch awaits. They will try again tomorrow. On the other vehicle, just down the road, the three hunched bodies stay hunched. Something might happen and they can’t miss it. Dedication is the key, an eye for composition helps and passion is the driving force. Maybe something exciting will happen at sunset, or maybe the sunset itself will be the event of the day. ©Lindsay du Plessis 2008
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