로케이션 프리히스토릭 플래닛 On Location with Prehistoric Planet

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Mike Gunton : I remeber I was standing on a mountain with David Attenborough for the Africa series. One of the lines he was saying was, "Nowhere on the planet does wildlife put on a greater show." And I started thinking about, "I wonder what it would have been like to have stood here when the dinosaurs and those creatures were at their finest moment." And then I thought, "I wonder if we could actually make a show like that about dinosaurs." It's take me 10 years to get the right people together, to find the right stories, to find the right environments to make it.

Jon Favreau : When the collaborating with Mike Gunton came up, it would seemed like a fascinating prospect. How could we show dinosaurs as though we were filming them in nature today?

Mike Gunton : We decided right up front this would be real environments. That's influenced both the stories we've told, the way we've told those stories, the way we shot it the whole ethos of the series. When you watch this show, what you're seeing in a way is just the tip of an iceberg. Because we have got so many people helping us on this, experts of all types: Paleoclimatologists, Palaeobotanists, Paleo-ethnologists. The amount of data that is around at the moment is fascinating.

Jon Favreau : What's interesting here is how surprising these behaviors are. I think that's part of the filmmaking process, that you always have to keep the audience interested by presenting them with things they don't expect. We used the process that they would've used for a documentary, which is sending a team out into the field to observe and to photogoraph an environment at a certain place at a certain time.

Tim Walker : You just need to look around the location I'm in now, and see the elements that we've been facing. 

Simon Bell : We are filming in places that are inhospitable, you know, places that are filled with lava, with fire. You're always looking for a great shot, and almost half-jokingly I, you know, I invite the pilot, you know, "can we-can we land there? A couple hundred meters away from this volcano," you know, half-expecting for him turn around to say, "well there's no way, that's far too dangerous." And then my excitement truned to utter dread, when he started to dip the nose of the helicoper down and fly directly towards it.

Mike Gunton : People might think, why bother coming to such, you know, challenging places to come and film? Why not creat environments in the computer?

Tim Walker : The natural world is an incredible place. Trying to recreate that is a great challenge. If the opportunity's there for us to actually travel, and capture in-camera the real atmospherics the real lighting conditions, it's far more satisfactory situation than trying to recreate the natural world in a computer.

Mike Gunton : Mother nature still delivers when it comes to.. comes to this. It's so hard to recreate in any other way other than reality.

Neil Harvey : You know, we're out here with minimum kit, no lights, no-not a great amount of technology, but sort of slightly, sort of roughing it in, in the elements. But we had to sort of philosophically adopt a way of shooting this series. In a way, we imagined that we would do if we were around this period. Because one of the bespoke ideas of a natural history wildlife documentary, is the intimate portrayal of those animals that we see.

Simon Bell : And that's where we can bring our skills as wildlife filmmakers to bear. You know, imaing if these creatures were real, how would we film them? Would we jump on ski=doos and follow them? Would we have the guts to walk alongside them? Would we be hiding in the bushes?

Neil Harvey : And that sort fo really informed a lot of the decisions about, you know, where we would be. Quite often we would deliberately place the camera a long way away, behind some rocks, cause we're thinking, "well, we wouldn't necessarily want to be noticed by these creatures, because that might effect their behavior."

Tim Walker : We then do a round of shooting where we film dinosaur cutouts, to give the camera operators a indication of where they need to be focusing.

Mike Gunton : The animals are portrayed quite extraordinarily by the way that the artists have created these creatures. You look into their eyes and you can see something's going on in these creature's heads.

Jon Favreau : When the final version of the shot gets delivered, and we finally get to see it with everthing incorporated. There's a magic experience that you have, when you see it come to life. It looks like something you would see in a nature documentary today. And because, at the end of the day, our scientists have the veto power over anything we do if anything doesn't pass scientific muster, we rethink it. Because we want this to be scientifically authentic. There are certain elements that just make everthing come together. In this landsacpe of so many visual effects, and so much content, what mde this one unique and what we were going for, is what you fell when you watch it.

Mike Gunton : And I think when you get that right, it makes you feel you're there.

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영어 원문

Mike Gunton : I remeber I was standing on a mountain with David Attenborough for the Africa series. One of the lines he was saying was, "Nowhere on the planet does wildlife put on a greater show." And I started thinking about, "I wonder what it would have been like to have stood here when the dinosaurs and those creatures were at their finest moment." And then I thought, "I wonder if we could actually make a show like that about dinosaurs." It's take me 10 years to get the right people together, to find the right stories, to find the right environments to make it.

 

Jon Favreau : When the collaborating with Mike Gunton came up, it would seemed like a fascinating prospect. How could we show dinosaurs as though we were filming them in nature today?

 

Mike Gunton : We decided right up front this would be real environments. That's influenced both the stories we've told, the way we've told those stories, the way we shot it the whole ethos of the series. When you watch this show, what you're seeing in a way is just the tip of an iceberg. Because we have got so many people helping us on this, experts of all types: Paleoclimatologists, Palaeobotanists, Paleo-ethnologists. The amount of data that is around at the moment is fascinating.

 

Jon Favreau : What's interesting here is how surprising these behaviors are. I think that's part of the filmmaking process, that you always have to keep the audience interested by presenting them with things they don't expect. We used the process that they would've used for a documentary, which is sending a team out into the field to observe and to photogoraph an environment at a certain place at a certain time.

 

Tim Walker : You just need to look around the location I'm in now, and see the elements that we've been facing. 

 

Simon Bell : We are filming in places that are inhospitable, you know, places that are filled with lava, with fire. You're always looking for a great shot, and almost half-jokingly I, you know, I invite the pilot, you know, "can we-can we land there? A couple hundred meters away from this volcano," you know, half-expecting for him turn around to say, "well there's no way, that's far too dangerous." And then my excitement truned to utter dread, when he started to dip the nose of the helicoper down and fly directly towards it.

 

Mike Gunton : People might think, why bother coming to such, you know, challenging places to come and film? Why not creat environments in the computer?

 

Tim Walker : The natural world is an incredible place. Trying to recreate that is a great challenge. If the opportunity's there for us to actually travel, and capture in-camera the real atmospherics the real lighting conditions, it's far more satisfactory situation than trying to recreate the natural world in a computer.

 

Mike Gunton : Mother nature still delivers when it comes to.. comes to this. It's so hard to recreate in any other way other than reality.

 

Neil Harvey : You know, we're out here with minimum kit, no lights, no-not a great amount of technology, but sort of slightly, sort of roughing it in, in the elements. But we had to sort of philosophically adopt a way of shooting this series. In a way, we imagined that we would do if we were around this period. Because one of the bespoke ideas of a natural history wildlife documentary, is the intimate portrayal of those animals that we see.

 

Simon Bell : And that's where we can bring our skills as wildlife filmmakers to bear. You know, imaing if these creatures were real, how would we film them? Would we jump on ski=doos and follow them? Would we have the guts to walk alongside them? Would we be hiding in the bushes?

 

Neil Harvey : And that sort fo really informed a lot of the decisions about, you know, where we would be. Quite often we would deliberately place the camera a long way away, behind some rocks, cause we're thinking, "well, we wouldn't necessarily want to be noticed by these creatures, because that might effect their behavior."

 

Tim Walker : We then do a round of shooting where we film dinosaur cutouts, to give the camera operators a indication of where they need to be focusing.

 

Mike Gunton : The animals are portrayed quite extraordinarily by the way that the artists have created these creatures. You look into their eyes and you can see something's going on in these creature's heads.

 

Jon Favreau : When the final version of the shot gets delivered, and we finally get to see it with everthing incorporated. There's a magic experience that you have, when you see it come to life. It looks like something you would see in a nature documentary today. And because, at the end of the day, our scientists have the veto power over anything we do if anything doesn't pass scientific muster, we rethink it. Because we want this to be scientifically authentic. There are certain elements that just make everthing come together. In this landsacpe of so many visual effects, and so much content, what mde this one unique and what we were going for, is what you fell when you watch it.

 

Mike Gunton : And I think when you get that right, it makes you feel you're there.