National Geographic: Wild Passions


"Wild Passions"

It's not a nine-to-five job.

It's not about forgetting about your

work when you get home from the office

Only on three occasions have

venomous snakes actually gotten me.

The thing that can go wrong

is if we mis...

It's not really work, is it?


It's just a way of life

. A way of life for us.

When I get to see something

that nobody's ever seen before,

that's a thrill that I don't think

I'll ever get over.

It's getting that image in a way that

it's never been captured before.

It's like gambling. You go out and

you never know what you're gonna get.

And more than likely,

you're not gonna get anything.

But the payoff is that

we live in paradise.

And we have a life

that nobody else has.

They're images that enchant.

Through them, we're face to face

with creatures we've never imagined...

witnesses to the stark drama

of struggles for survival

voyeurs of nature's most hidden moments

What does it take to

capture those images?

Who stalked that lion?

Confronted that cobra?

Swam with that shark?

You're about to meet some of

the world's most talented filmmakers.

On any given day, they're at work on

wildlife films for National Geographic.

You'll learn what they do, how they do it,

and what it takes to

bring back unforgettable images.

I think a lot of people

think it's a dream job.

In many ways, it is, I suppose.

But it's a helluva lot of hard work.

It used to be much harder.

The first wildlife filmmakers were

true adventurers.

The wilderness was wilder then,

and conditions were much more primitive

Filmmakers often developed

their own film in the bush.

And transportation was more often

four-legged than four-wheeled.

Early pioneers even had to

invent their own equipment.

Those intrepid explorers

brought back images that were a

revelation to the public.

People had never seen moving pictures

of animals in the wild.

The footage was hard-earned,

but it was guaranteed to keep

audiences amazed and enthralled.

Today, dependable cameras,

hi-tech gear,

and all kinds of vehicles

make the job easier.

But the challenge has gotten tougher.

The public sees incredible things

on film every day.

In fact, they want to

see more incredible things.

So we in the business are actually

pushing the pinnacle of perfection

higher and higher and higher.

We're competing against ourselves.

We're making it more difficult for

ourselves to come out with new things.

And when you're doing film work

there's a certain amount

of pressure to get the shot.

And you tend to do things that push

the envelope a little bit.

Sometimes, you can push

a little too hard.

For the first test of

National Geographic's Crittercam,

the camera was attached

to the fin of a shark.

But the shark swam off prematurely,

and things took a horrific turn.

A fisherman tried to help

by hooking the shark.

He didn't realize that cameraman

Nick Caloyianis was just ten feet away

But the shark did.

Wanna keep pressure

on these points, now.

A little more pressure.

Up over here. Up over here.

The shark tore open Nick's hand,

and bit his leg to the bone.

Nick was medevaced out and went

through nine operations in 21 days.

It took him three and half months

to recover.

And then he returned to work

on another film about sharks.

Accidents do happen.

It certainly wasn't the shark's fault.

I would never blame the shark

for what happened to me.

Nick's attitude isn't unusual.

In fact, most wildlife filmmakers

don't think it's dangerous work.

I don't think it's dangerous work.

I think it's certainly not dangerous

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Submitted on August 05, 2018

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    "National Geographic: Wild Passions" STANDS4 LLC, 2021. Web. 15 Jan. 2021. <>.

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