WI LDLI FE | SERENGET I
PLAYING THE FIELD Disney drama is one thing, but there’s no substitute for the theatrics of day-to-day life in Tanzania
WORDS PH I L RHODES / PICTURES BBC
T he wildlife of Africa is no stranger to the idea of foreigners bearing cameras. Few visitors are quite so determined, though, as producer-director John Downer and his crew, the people behind the natural history series Serengeti , which began airing on the BBC in July 2019. Shot in the Grumeti Game Reserve in Tanzania, the series of six one-hour episodes creates what Downer calls an “immersive look at natural history”. There is a narrative for
trying to develop camera systems and work with incredible cinematographers to achieve that immersive view inside the animal world. I’ve always been trying to get this immersive look but, up until very recently, it was almost impossible.” Downer credits several recent inventions with moving production closer to his immersive ideal. “One is drone technology, which has allowed us to get cameras where it was difficult to get them
each of several named animals, highlighting nuances of their behaviour that aren’t always revealed by a more conventional approach to filming wildlife. With a background in natural history and documentary stretching back to the early eighties, Downer has always been keen to leverage technology in pursuit of something other than, as he puts it, “the long-lens look” at animals. “It’s camera- oriented,” he explains. “Part of my role is
BELOW It’s not a lion breaking the fourth wall, but a part of John Downer’s animal engagement technique
44 DEF I N I T ION | SEPTEMBER 20 1 9
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