The producers of the hostile planet of Nat Geo to create a new series of races of nature with current nuances

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If you think that all the documentary series on nature are created in the same way, you would be wrong. National Geographic seeks to change the way it views the natural history and majesty of the world with its brand new show, Hostile Planet, which is its first tonight.

Highlighting some of the most intense environments of this giant blue marble that we call home, the series will show how animals of all kinds (those of frozen tundra, deep oceans, arid deserts, etc.) struggle to survive. in the worst conditions imaginable. . Of course, some of these conditions are natural, while others are caused by (yeah, you guessed it!).

And if David Attenborough will not tell this one (Bear Grylls plays host here), his absence is not the only thing that makes Hostile Planet different from what happened before. The project benefited from the contribution of producer Guillermo Navarro, a famous filmmaker known for his cinematographic collaborations with the Oscar-winning director Guillermo del Toro. Together they have created incredible fantasy worlds in such films as & nbsp;Pan's Labyrinth, Hellboy, and Pacific Rim.

"By doing this project, I was able to integrate cinematographic narration with documentary. So for me it was a very interesting storytelling circle, "Navarro told Forbes. "It's one of the things I've been able to bring from the world of feature film about it and how to tell stories that could be told differently from traditional natural history films. Because the planet has evolved so quickly and it's not the same thing. [as it was] 50 years ago when all that kind [began]. "

For example, the simple hatching of sea turtles on a beach has been transformed into a war movie that would be the pride of Spielberg or Nolan. Getting out of a shell and heading towards the water is much more dangerous than you think.

"The …. [sea] turtles coming out of the sand. It was a very good example of how the language of the film tells a story, "adds Navarro. "We were able to film as if you were filming a scene [in a movie]. Do not just record that turtles are trying to get to the water, you're creating a dramatic arc because the turtle's challenge [is] go through the unbelievable [process] to reach the ocean. This is the way of the visual language, the language of the film, takes you there … These are the visuals that allow you to be with [them]. Thus, the turtle's journey is a kind of Dunkirk version. It's really chopped like in the middle of the war [movie]. All the predators are there, they know, they just wait for the turtles to come out and start trying to reach the ocean. And they pursue them. "

Where Navarro brought his cinematic experience to the series, Tom Hugh-Jones has used his documentary know-how. Another producer of the series, & nbsp; he is & nbsp; a veteran of the natural history genre, having produced original programs on nature for the BBC, such as the original Earth, Human Planet, and Planet Earth II. Even after so many years working on this type of docuseries, he was totally dedicated to shaking up the traditional format.

"We simply tried to make the show more contemporary and make it slightly more dramatic," he says. "We watched as many wildlife shows as we could and [got] so much external inspiration from people who did not know very well what kind, what they thought to work or what they thought they could change, so ask the editing, the style of music, the style of narration, the shooting. We thought, "How can we make this different?"

Some of the expected ideas they wanted to avoid were "the approach of the voice of God" that is now badociated with the many soothing narratives of Attenborough over the years; indeed, he brings it back for Netflix Our planet. That being said, some things never change, especially when dealing with wild animals that do not do what you want them to do, and that makes sense. These are not our games and most importantly, they are not trained!

"You can imagine, on paper, some very interesting new shooting designs and that sort of thing, then the harsh reality of filming and you can not even see the animal because there is too much of it. trees on the way where the weather is really bad. So you say, "Okay, I remember shooting wildlife issues." It's not the lack of creativity, it's the practicalities on the ground, "says Hugh-Jones.

"They do not score and do not work where you want," Navarro suggests, referring to his many years of filming for big-budget Hollywood projects. "I'm not saying we are [working] as you do with the actors because the actors, you can interact and they will do what is supposed to happen in the scene. But here, the awareness of the language of the film had to be the storyteller. Then we were able to put together these sequences and build that tremendous arc of drama that they have now. "

And, as Jones said above, the series had to feel more current, highlighting the impact of humans on the planet, its climate and many ecosystems. Like this, Hostile Planet would feel less timeless and more relevant to what is going on in the world today. Navarro recalls for a moment the episode on the oceans, where two groups of whales begin to feast on a huge school of herring when, suddenly, the net of a fishing boat falls to capture the greater part of the food available to whales. Another example applies to the migration of a given species, which makes trekking in a certain part of the planet for its grbadlands. Due to climate change, however, these grbadlands do not thrive at the same time as animal migration periods.

"There is no adaptation, it survived, you see clearly, without the slightest reproach, how our role of humanity, this acceleration, affects the planet, and not just in terms of our climate change in itself, but also the consequences of that, "Navarro said. "Things like this completely affect what they know about how to survive, so it's very difficult for them, it's really extreme what they live."

Of course, none of this would make people feel guilty or give them an eco-responsible message. The hope is rather that home viewers can connect with animals on the screen and maybe (just maybe) change their lifestyle in response.

"We just want to give them the facts," Jones says. "I hope that, fallen in love with these animals and the considerable respect they have to survive, people will slightly modify their behavior, be a little more aware of their consumption or more aware of what they are doing. they do that contribute to climate change and only change their behavior a little bit and even [those] Slow, small changes are worth a lot; as people make small changes, this can have a huge impact. I think it is this gentle and slow approach that will hopefully have a significant impact over time. "

Hostile Planet premieres on National Geographic tonight at 9 / 8c.

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If you think that all the documentary series on nature are created in the same way, you would be wrong. National Geographic seeks to change the way it views the natural history and majesty of the world with its brand new show, Hostile Planet, which is its first tonight.

Highlighting some of the most intense environments of this giant blue marble that we call home, the series will show how animals of all kinds (those of frozen tundra, deep oceans, arid deserts, etc.) struggle to survive. in the worst conditions imaginable. . Of course, some of these conditions are natural, while others are caused by (yeah, you guessed it!).

And if David Attenborough will not tell this one (Bear Grylls plays host here), his absence is not the only thing that makes Hostile Planet different from what happened before. The project benefited from the contribution of producer Guillermo Navarro, a famous filmmaker known for his cinematographic collaborations with the Oscar-winning director Guillermo del Toro. Together, both have built incredible fantasy worlds in movies like Pan's Labyrinth, Hellboy, and Pacific Rim.

"By doing this project, I was able to integrate cinematographic narration with documentary. So for me it was a very interesting storytelling circle, "Navarro told Forbes. "It's one of the things I've been able to bring from the world of feature film about it and how to tell stories that could be told differently from traditional natural history films. Because the planet has evolved so quickly and it's not the same thing. [as it was] 50 years ago when all that kind [began]. "

For example, the simple hatching of sea turtles on a beach has been transformed into a war movie that would be the pride of Spielberg or Nolan. Getting out of a shell and heading towards the water is much more dangerous than you think.

"The …. [sea] turtles coming out of the sand. It was a very good example of how the language of the film tells a story, "adds Navarro. "We were able to film as if you were filming a scene [in a movie]. Do not just record that turtles are trying to get to the water, you're creating a dramatic arc because the turtle's challenge [is] go through the unbelievable [process] to reach the ocean. This is the way of the visual language, the language of the film, takes you there … These are the visuals that allow you to be with [them]. Thus, the turtle's journey is a kind of Dunkirk version. It's really chopped like in the middle of the war [movie]. All the predators are there, they know, they just wait for the turtles to come out and start trying to reach the ocean. And they pursue them. "

Where Navarro brought his cinematic experience to the series, Tom Hugh-Jones has used his documentary know-how. Another producer of the series, he is a veteran of the natural history genre, having produced original nature programs for the BBC, such as the original. Earth, Human Planet, and Planet Earth II. Even after so many years working on this type of docuseries, he was totally dedicated to shaking up the traditional format.

"We simply tried to make the show more contemporary and make it slightly more dramatic," he says. "We watched as many wildlife shows as we could and [got] so much external inspiration from people who did not know very well what kind, what they thought to work or what they thought they could change, so ask the editing, the style of music, the style of narration, the shooting. We thought, "How can we make this different?"

Some of the expected ideas they wanted to avoid were "the approach of the voice of God" that is now badociated with the many soothing narratives of Attenborough over the years; indeed, he brings it back for Netflix Our planet. That being said, some things never change, especially when dealing with wild animals that do not do what you want them to do, and that makes sense. These are not our games and most importantly, they are not trained!

"You can imagine, on paper, some very interesting new shooting designs and that sort of thing, then the harsh reality of filming and you can not even see the animal because there is too much of it. trees on the way where the weather is really bad. So you say, "Okay, I remember shooting wildlife issues." It's not the lack of creativity, it's the practicalities on the ground, "says Hugh-Jones.

"They do not score and do not work where you want," Navarro suggests, referring to his many years of filming for big-budget Hollywood projects. "I'm not saying we are [working] as you do with the actors because the actors, you can interact and they will do what is supposed to happen in the scene. But here, the awareness of the language of the film had to be the storyteller. Then we were able to put together these sequences and build that tremendous arc of drama that they have now. "

And, as Jones said above, the series had to feel more current, highlighting the impact of humans on the planet, its climate and many ecosystems. Like this, Hostile Planet would feel less timeless and more relevant to what is going on in the world today. Navarro recalls for a moment the episode on the oceans, where two groups of whales begin to feast on a huge school of herring when, suddenly, the net of a fishing boat falls to capture the greater part of the food available to whales. Another example applies to the migration of a given species, which makes trekking in a certain part of the planet for its grbadlands. Due to climate change, however, these grbadlands do not thrive at the same time as animal migration periods.

"There is no adaptation, there is survival, you can see clearly, without the least reproach, how our role of humanity, this acceleration, affects the planet." in terms of climate change, but also consequences of that, "says Navarro. "Things like this completely affect what they know about how to survive, so it's very difficult for them – it's really extreme what they're going through."

Of course, none of this would make people feel guilty or give them an eco-responsible message. The hope is rather that home viewers can connect with animals on the screen and maybe (just maybe) change their lifestyle in response.

"We just want to give them the facts," Jones says. "I hope that, fallen in love with these animals and the considerable respect they have to survive, people will slightly modify their behavior, be a little more aware of their consumption or more aware of what they are doing. they do that contribute to climate change and only change their behavior a little bit and even [those] Slow, small changes are worth a lot; as people make small changes, this can have a huge impact. I think it is this gentle and slow approach that will hopefully have a significant impact over time. "

Hostile Planet premieres on National Geographic tonight at 9 / 8c.