Is there an elite or ‘charmed’ circle of wildlife and natural history film makers in the world? If so, how does a new film maker break into this circle?
This is the question I posed to a group of visiting British film makers and their Sri Lankan counterparts during a panel discussion I moderated at the British Council Colombo on February 17 evening.
The panel, organised around the topic ‘Differences and mutual challenges in Asian, American and European productions/film making’, was part of the Wildscreen traveling film festival held hosted in Colombo, Sri Lanka, from 17 to 19 February 2011.
Amanda Theunissen, who has worked with the BBC Natural History Unit and National Geographic Television, gave a straight answer: yes, there is such a charmed circle.
And although she didn’t say it in so many words, it was clear from our overall discussions that the circle is jealously guarded, and it’s not easy for any newcomer to break into it. And the entry barrier becomes harder if the film maker is from the global South.
I opened the panel recalling the opening sentence of Our Common Future, the 1987 Report by the World Commission on Environment and Development: “The Earth is one but the world is not”. I said: “A similar disparity exists in wildlife and natural history film making. We are all covering the same planet Earth in all its splendour and diversity. But on this planet there are many different worlds of film making.”
I asked my five panelists — Amanda Theunissen and Dominic Weston from the UK, and Delon Weerasinghe, Anoma Rajakaruna, and Taya Diaz from Sri Lanka — to address three key challenges faced by all wildlife and natural history film makers everywhere: the art of effective story telling; fund raising to make films; and ensuring wide distribution of the films made.
The panel discussion was lively, wide-ranging and engaged the audience which comprised mostly aspiring film makers or film students. I didn’t want our discussion to scare any of them away from a career in environment and wildlife film making. But at the same time, we wanted to acknowledge the practical realities — and disparities — that exist within and across countries in this respect.
I’ve now written up a summary of the panel discussion for TVE Asia Pacific news. Its heading comes from a provocative question I asked during the panel: does wildlife film making operate on almost Darwinian rules?