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  • >>Female Presenter: And I'm really excited to introduce our speaker for all you here

  • today. His name is Bill Wallauer. And he's from the Jane Goodall Institute. So, let me

  • tell you a few fun facts about Bill. All right, fact number one: For 15 years, Bill spent

  • almost every day following chimpanzees in Tanzania and Africa.

  • And during that time, he spent more time with chimpanzees than he did with humans. Fact

  • number two: Bill has served as a cameraman and scientific adviser for more than 30 shows

  • on the BBC, Animal Planet, and The Discovery Channel, including the very popular "Planet

  • Earth" series. Fact number three: In the early 1990s, he successfully captured a video of

  • wild chimpanzees giving birth on tape and got asked by Jane Goodall to join the Jane

  • Goodall Institute.

  • >>Bill Wallauer: So, thanks so much for coming out. My name is Bill Wallauer. And I think

  • you can see from that video, I kinda like my job. So maybe next to a Google employee,

  • I'm probably the most happily employed employee on the planet.

  • [laughter]

  • Yeah, I keep reading how this is the best place in the world to work. And I keep thinking,

  • "They've never been in my forest."

  • [laughter]

  • Anyway, this next slide. Have any of you ever seen a Jane Goodall talk? A couple of you.

  • And Jane, I got a message from Jane to send a greeting. And we've already heard that greeting.

  • But let's hear it again. This is Jane with her classic chimp greeting to all of you.

  • [Jane Goodall makes chimpanzee sounds]

  • And that's that wonderful chimp call, which we've been hearing in the forest now. Me,

  • for 20 years. Jane, for about 60 years, as we go through the forest. And that's just

  • a chimp greeting to all of you from Jane.

  • Thanks so much for coming out. So, a lot of people ask me now how do they get involved

  • in this work? And I have really three people to credit, my mom on the left side. This is

  • my mom as she was growing up. She was from the East Coast, a traveler, English teacher,

  • very cultured, from Charlottesville. My father on the top right, he was a professional rodeo

  • cowboy.

  • Grew up in the mountains in California. And so, I got this great mix of both worlds. So,

  • we'd be at a Shakespearean festival in Ashland one weekend and then Dad and I would go up

  • to Northeastern Oregon and go fishing the next weekend. And so, I'm from Oregon originally.

  • And so, I owe--. Is somebody from Oregon here? Yay.

  • [laughter]

  • A great state. And so, I owe them just so much for giving me that sense of wonder about

  • both human culture and also about wildlife. And it's just been a wonderful ride. And then,

  • of course, Jane Goodall, who always a hero.

  • I met her as a Peace Corp volunteer in 1989, and instantly fell in love with her and her

  • mission. Yeah, to find out more about that mission, I really encourage you to find out

  • more about her. She is certainly a pioneer in more than just chimp research in conservation,

  • in the way she views the world. She is a true living philosopher and visionary.

  • So, from my background, climbing around these hills and mountains in Oregon gave me a very,

  • very good background to do the same kind of work that Jane did in the early 1960s. And

  • so, it's not such a different forest. Very different climate, but not such a different

  • forest. So I just, with my two years in the forest as a Peace Corp volunteer and my knowledge

  • of Swahili, I was the perfect fit for Jane.

  • And this is what I looked like in, when I first went out. I was in my mid-20s. This

  • is about '92. And very, very green around, green in the field; didn't know very much

  • about chimps or very much about film-making. And within a year of the Jane Goodall workout,

  • I had totally gone bush.

  • [laughter]

  • You've all heard the Jane Fonda workout? Well, that's got nothing on the Jane Goodall workout.

  • [laughter]

  • So, I totally got into it, went completely bush. And just Jane, I filmed this birth that

  • Winnie talked about. And Jane said, "Well, why don't you just do this full-time? Let's

  • get a research, visual imagery to go along with the long-term data," which they had been

  • collecting at that point for 30 years.

  • So, now we have a thousand hours of research footage of every aspect of chimp behavior.

  • But then, film groups would come, film crews would come and they would realize, "Well,

  • wow. This is really steep and really thick and our scientific adviser can actually get

  • through this stuff just like a chimp can."

  • And so, I would be keeping up with the chimps, trying to radio them, "Catch up, catch up.

  • All this stuff's going down." And they would be a hundred yards behind me trying to keep

  • up. And so, pretty soon they started giving me the camera and teaching me how to shoot

  • for film-making, which is a very different art than doing chimp research home movies,

  • which I was learning how to do.

  • So, I got this great crash course in chimp behavior from the chimps and in film-making

  • from these visiting film crews. So, as Winnie said, I worked on about 30, 35 films. And

  • this pinnacle now is this; I think many of you have heard about the "Chimpanzee" film

  • by Disney Nature. I was one of the cinematographers for that, which is, as a wildlife cameraman,

  • just a dream job on so many levels.

  • But particularly for me, because it gives me a platform to actually come to people like

  • you and talk about not only how amazing chimps are, but the fact that within my lifetime,

  • at the rate we're going right now with the Equatorial forest, the African forests, they

  • could be gone in my lifetime. So, that also gives us a really amazing platform to talk

  • about chimps and chimp conservation.

  • So, Gaia still very much has my heart. And it was absolutely amazing when on my visits,

  • I would be there for ten, eleven months out of the year, and you could imagine, like during

  • the 90s, there was a lot going on technologically. You might be aware of that. I missed all that.

  • [laughter]

  • And I just heard rumors about this Google thing. I'm a real map person. I love my maps.

  • I love being able to see where I'm going and see where I've been. And you could imagine

  • my delight when I could get on Google Maps and mark the tree that Gaia was born in. I

  • mean, is that cool or what?

  • [laughter]

  • So, you could go on Google Earth and check out the tree that Gaia was born in. That is

  • absolutely intriguing. You hear about Jane's Peak. It was just off Jane's Peak in the tree

  • that Gaia was born. But it's this tree.

  • [laughter]

  • For those of you who are scientist-minded, this is Parinari curatellifolia was the species

  • of the tree that she gave birth in.

  • [laughter]

  • And this is Gaia now. This is now 19 years later. She has a baby of her own. And guess

  • what we called the baby? We called it--. We have G-family, so Gremlin had Galahad and

  • Gaia, and Goldy and Glitter.

  • Do you see the pattern there? Fifi has Freud, Ferdinand, and Faustino. So, we named them

  • through the female line by their--. And so we thought, "Well, what would be an obvious

  • name to name another G-baby?" So, there we go.

  • [laughter]

  • [clapping]

  • Born about June 4th, within a day or two of June 4th, 2009. So, Google, meet Google.

  • [laughter]

  • And like the chimps, the chimps are obviously aware that I am there, but don't think about

  • me at all. But hopefully, you'll be involved and follow Google's life. And she will never

  • be aware of you. So, it's a very one-sided relationship. But that's the way it has to

  • be because that's one thing this movie has been able, something it's been able to do

  • for me is like, be a voice for chimps.

  • And so--. We talked a little bit about my background. Did you see the "Planet Earth"

  • series? I mean, I haven't seen most of these series 'cause I spend all of my time in East

  • Africa filming, but "Planet Earth" was one that I filmed, "Life of Mammals," both of

  • which were produced and directed by Alastair Fothergill, who came to me with this Disney

  • idea.

  • And that was one of the shortest decisions of my life, next to saying "yes" to Jane,

  • "Will I come to Gombe?" From 2008 to last summer, I got to spend on and off three years

  • filming for this Chimpanzee project for Disney Nature, which was just wonderful. But what

  • does it take to make it happen? They didn't tell me about this part.

  • [laughter]

  • I kind of pictured, 'cause often I'd get a shot list, which is the list of shots that

  • a film crew wants. They don't even send a producer. They'll just send a camera and a

  • shot list and a tripod and I'll start my work. We did that for "Planet Earth" and for "Mammals."

  • And I did a couple BBC series. But in this case, I stopped by Bristol, England to pick

  • up equipment and I thought it was gonna be a few boxes and bags.

  • We had 22 hard cases plus our luggage plus all our carry-ons. We were, my wife and I,

  • my wife has done this with me for about ten years now. She did the sound. So, when you

  • go see the film, she did--. Just close your eyes once in a while and just listen to the

  • wonderful sounds of the forest. That's all Kristin's sound.

  • And she did the production stills as well for this film. But yeah, the initial shock

  • at having to carry and be responsible for about 500,000 dollars' worth of boxes and

  • bags and camera equipment was extraordinary. And then the other thing, we get to our field

  • site and then we have to buy two months' worth of food to add another ten, twelve boxes to

  • our boxes.

  • And then, we'd also go to these wonderful open food markets where--. I mean, I just

  • experienced your open food market, which was quite nice I'll have to say.

  • [laughter]

  • But there's nothing like an African open market with all the tropical fruit: the mangoes,

  • the pineapples and just all the food that we can get. And we loaded up and happiness

  • is seeing this city in my rear view mirror.

  • You can imagine. Hit the open road and it's just extraordinary. That shot on the left,

  • a beautiful lake in the middle of Africa, but not every scene we see is amazing. I mean,

  • this is chimp's habitat and the distance in this upper right shot, but that's a tea plantation

  • surrounding it. You get the same in all over West Africa: coffee, chocolate.

  • There's a lot of unsustainable removal of these forests for the things that we in the

  • West and East have a hugely high demand for. So, part of our messaging is as far as a conservation

  • organization is make sure you know where you're buying and eating that stuff. Make sure you

  • know where it comes from because if we don't, the result of that, like the African hardwood

  • demand, which is pretty much developed country-wide, you can buy all kinds of African hardwood

  • in this country.

  • Just be sure you know where your wood's coming from when you need to build something. Obviously,

  • we need to keep utilizing. We need to keep building. It's just a matter of sustainability.

  • I have a feeling I'm preaching to the choir here, but it's still worth saying. And so,

  • this is, as soon as we turn off the main road, this is what the road looks like. It is extraordinary

  • getting to the field site, about a nine and a half hour drive.

  • And then, we enter this forest, this magical kingdom of the chimps, which you'll see in

  • the film. I hope you all plan on going. It's just an amazing, amazing place, this magical,

  • 150-, 200-foot canopy. Layers of canopy unlike anything we see here anymore. It's still untouched,

  • phenomenally beautiful and absolutely worth saving.

  • And this is home sweet home. We lived in this tent, on and off. We have a little hut in

  • Gombe National Park, where Kristin and I have lived for 12 years together. But in this field

  • site, we just lived in this tent. And on the right is our technology base tent. So, I would

  • have my computer, hard drive, HD screen.

  • Kristin would have her stack of hard drives for all her sound and stills. We ran that

  • off both solar and a little generator. And so, we would come back from ten, eleven hours

  • in the field and then have to download 50 Gigs of data from our computers. And we could

  • not have done this without the amazing crew, the field assistance there.

  • So, I wanted to show you, this is our group, but Kristin's not in it because she's always

  • taking the pictures. So, I finally got her in front of the camera for this one. This

  • is just on a break during a shooting day in the forest. And this is our commute to work.

  • [laughter]

  • There's no traffic except for the occasional--. Occasionally, we would run into an elephant

  • herd and that's like, serious traffic because you are stopped in your tracks for a long

  • time because they will spread out. And if they run into you in this forest, it's like

  • you can't see the traffic. It's stopping you because if you run head to head in a mom who

  • has a kid, it can be really, really dangerous.

  • But you would know they were there. You could hear them rumbling. They do this deep [elephant

  • rumble noise]. You hear this sound in the forest like, "Oh, shh."

  • [laughter]

  • "What's gonna happen?" And so, you back off and look where you need to go and try to get

  • around them. But I just thought this shot was fun. Can we get those lights? I didn't

  • know those were so bright. Can we kill those?

  • >>Male #1: Then we can't see you.

  • >>Bill Wallauer: That's OK. Oh, it's not OK for you as a videographer. I have no sympathy

  • for you. I was filming in a black forest.

  • [laughter]

  • Dark chimps in a black forest. Come on. Man up here.

  • [laughter]

  • Anyway, if there wasn't this light on me, you could see the--. Well, you can see on

  • the left side. This is an elephant footprint. [tearing sound] All the way around here. I

  • just love this because there's a chimp footprint in it.

  • There's a baboon. Bush pig. And up at the top, just out of the frame, is a buffalo print.

  • They also clog the road a little bit if there's a herd of buffalo. You stop and reroute. Your

  • GPS says, "Rerouting."

  • [laughter]

  • "There's a baboon trail a hundred yards behind you and take a left." And we're also an all-weather

  • crew. A lot of our work, it's not rain-dependent. And so, and you'll see in the sequence, actually

  • we got some really, really amazing rain dances and rain displays as they were, as one community

  • was being aggressive towards another.

  • And so, it actually turned out to be really, really important stuff to be able to shoot

  • in this kind of rain. And also, watch where you step. If you can't--. There are days that

  • you can't find chimps. And you just walk and walk and search and search, but those days

  • aren't boring 'cause you've run into people like this.

  • This was about a seven-inch tall praying mantis and rather than scurrying away scared this

  • thing--. I jumped out of my skin, I tell you, because I'm always aware of snakes, whatever

  • might be on the ground. And this thing jumped up like this--

  • [laughter]

  • and I jumped over there. Then, I walked towards it to take a picture and the thing came towards

  • me like this.

  • [laughter]

  • It's like, "No way." So, I don't know. It's like everything in that forest is fascinating.

  • [laughter]

  • Even the snakes are fascinating. This is a rhinoceros viper. You can see the little,

  • I think those must be like nose smell sensors that it's got. So, it has incredibly good

  • sense of smell and feel. And it was hiding in the vegetation.

  • And the chimps streamed right past it. You think the chimps are gonna be tuned in to

  • all the dangers around them. Well, there was an estrous female there at the time. There's

  • a very popular female. They didn't even see the snake at all. And they walked right past

  • it. I saw it kind of move, so I got a few shots of it.

  • And so, I told everybody there was a snake right there. Be really careful of that spot.

  • And you could hardly see it. And then, the chimps started to compete over this female.

  • And so what did I do? I pick up my camera and run right over here and start filming.

  • [laughter]

  • And it's only after the thing calmed down, all this aggression calmed down, that I realized

  • I was standing right next to the snake, who just took pity on my stupidity and allowed

  • me to live another day. Now, this guy came right into camp. I thought it was a lobster,

  • but--.

  • [laughter]

  • It's a scorpion. Again, about six, seven inches long, extraordinary and actually probably

  • less poisonous than the little tiny ones that crawl into your clothes. Kristin did get stung

  • by one on the hand just going through paperwork.

  • And it put her out for about three days. She hardly moved. Just moving her arm was agony

  • for three days. It was just awful. But not everything in the forest is awful. I had to

  • throw this in for the Disney talk just because of the Bambi effect of this little guy. We

  • were listening for chimps one day and this little person came out of the forest and just

  • looking around, looked a little bit lost, couldn't find mom and it's just adorable.

  • So, a lot of the wildlife, the birds and the other wildlife, just fascinating as well.

  • So, what do I carry on my commute? People ask me this all the time. And so, I decided

  • to just spread invisible Bill out on a table. And so, I wear these big rubber boots to get

  • through those swamps. Ankle braces on both sides.

  • Knee braces on both sides. I've been doing this for 20 years. So, my joints are getting

  • a little bit stiff. Usually wear shorts. And I take a little hand-held radio, so I can

  • talk in Swahili to the field assistance there. Swiss Army knife, a pair of binoculars, GPS,

  • compass. The GPS is amazing because I can figure out fig trees that are fruiting.

  • And then, if the chimps are hitting even remotely there, then the next day I can swing and get

  • around them, be at the fig tree before the chimps get there, being able to predict their

  • behavior. So, that's another way technology really helps out. And I threw a slide in here

  • about that later on and then, my camera.

  • You can see the camera was about this big. So, just to put that to scale. And there's

  • a rain cape underneath all that. There's plastic bags to keep everything dry, a headlamp because

  • we leave at dark and often come back at dark, extra batteries. A little bit of food. And

  • just some basic medical stuff and lots of blister stuff. Go ahead.

  • >>Male #2: So, they just released a whole series of 4K cameras the size of SLR's. Don't

  • you wish you shot this later?

  • >>Bill Wallauer: You know, there's never a good time. That's a great question. And yes.

  • And we did utilize some of the DSLRs for a lot of the scenic stuff. But in 2008, the

  • Panasonic 3700 was the cream of the crop.

  • I got the first one out in production in Europe. I used the--. The drawback on some of these

  • cameras, like the Canon HJ series. So, I'm carrying around equipment that's worth more

  • than my house--

  • [laughter]

  • through the jungles of Africa day after day. So, it's kind of funny, but those are those

  • lenses that are just absolutely to die for. And I don't even know if those smaller cameras

  • can utilize those longer lenses because with the doubler, with the HJ 18, I think I can

  • shoot at the equivalent of around 12 to 15 hundred millimeter, which--.

  • We follow no closer than 20 feet just so we don't interfere with anything the chimps might

  • be doing. So, we can't go in and get close. We have to bring the chimps to us with our

  • long lenses. And that allowed us to get tight shots that we've just never been allowed to

  • get before. But thanks for asking.

  • And if somebody else has a question while I'm moving through this, shoot. Yeah. Go ahead.

  • >>Male #3: So, Google, I've seen on Cliff bars and Cliffbuilders, things like that.

  • >>Bill Wallauer: Why don't they just sponsor all of my work? That's what I wanna know.

  • [laughter]

  • >>Male #3: Do you get any of the bars, too, or are you foraging?

  • >>Bill Wallauer: I am a foraging machine, yeah.

  • [laughter]

  • And it's really interesting 'cause I've lived in Gombe for all those years. And there's

  • some season that the food's not very nice. And it's interesting. The chimps don't get

  • that excited about it. When they get really excited it's over something super sweet. So,

  • there's that, there's a real connection between us liking sweet and salty foods as well.

  • They're pretty rare. And those are the ones in the forest I obviously like. It's the ones

  • they like as well. Also, if you're high-ranking, you get the top of the tree because that's

  • where, if you think about this, in your own backyard, if you have an apple tree, the juiciest,

  • ripest fruit is gonna be the highest stuff in the tree because it's getting all the sunlight.

  • So, it's ripening better. And so, if you're low-ranking, you're going to the lower parts

  • of the tree eating the lower fruit. If you're high-ranking, you can be right in the top.

  • But yeah, Ilove chimp food. It's funny that in certain times of year, I start craving.

  • I think there's a real connection between what we used to eat just for nutrition and

  • also for like, for medicine.

  • There's a real correlation between that, because I really crave some of this food that I no

  • longer get. There's something in arugula that's really similar to what Jane called "chimp

  • spinach" all these years ago that I eat at the end of the day that chimps just stuff

  • this stuff down at the end of the day. There's some chemical in it that when arugula start

  • getting popular, it's like, "Oh, yeah. I feel like I'm at home now."

  • [laughter]

  • >>Male #4: What percentage of the overlap is it between what the chimps eat versus what

  • you'll eat? I mean, is there certain things that they'll really go for that you don't?

  • >>Bill Wallauer: There are. Their sense of bitter and sour, their ability to tolerate

  • that, is off the scale. But if I went with you, mine would be off the scale compared

  • to most people 'cause my wife--.

  • >>Male #4: You could cook it and that cuts it though.

  • >>Bill Wallauer: You could cook it. You could cook it, like some of the fruit. But I mean,

  • some of it is to die for, like the wild plums there or, the woodland fruits. They are, I

  • mean, better than anything we have here--really just amazing.

  • And I would say that's probably less than 5%of the chimp food. And a lot of it is just

  • like they're just eating because that's the only thing around. Go ahead. Great shirt,

  • by the way. What's that?

  • >>Male #5: Why are monkeys known to eat bananas?

  • [laughter]

  • >>Bill Wallauer: It's because people feed them bananas.

  • [laughter]

  • It's not a natural food for them. And so, I actually, it's sometimes to me, when I see

  • chimps in captivity, when I see chimps dressed up, it's just heartbreaking to me because

  • it's not where in my heart I know chimps belong.

  • And so, that's why get that image because have shown them eating bananas on television

  • and in pictures. But it's a not natural food for them. Good question, though, and I love

  • your guy's shirts. You wanna stand up and show everybody your shirts?

  • [laughter]

  • Yeah. This is what we want.

  • [clapping]

  • And also, there is nothing like being side-by-side for all these years with the person I love,

  • being able to film chimps in the wild. I mean, it's just absolutely the best job in the world.

  • In answer to your question about the tight stuff that we can get.

  • These are just screen grabs, so from my HD screen that--. You all know what a screen

  • grab is, right? Like, you just--. Well, at your desk somebody didn't know what a screen

  • grab was. I said, "I need to go on Google Earth and get a screen grab." And they said,

  • "What's a screen grab?" So anyway a screen grab is like an image of the image you see

  • on your screen.

  • And as we were editing, I just threw some of these up. And I mean, that is detailed,

  • is just extraordinary. That's over 20 feet away. In the bottom right, that face, half

  • a chimp's face at 20 feet away. You'll see in the film these lovely, the hands moving

  • through the hair as one male will groom another.

  • It just gave me an opportunity I'd never had before with my little Sony camcorder, HD cameras.

  • So then, we get into the characters. When you go and see the film, you'll meet this

  • guy. And why is a chimp, if you look at this picture, look at that eye versus this one,

  • why would I key, as a cinematographer, on this chimp?

  • Any ideas? Check his eyes out. Look at the power of this shot when you can actually see

  • exactly where he's looking. Isn't that cool?

  • [laughter]

  • So, he's one of our bad guys. We built this guy up as one of our enemies. And so,--

  • [laughter]

  • as the chimps were moving through the forest and bearing down on Oscar and his family,

  • poor Pincer gets cast as the villain. And it's simply because of his eyes, not because

  • he's a mean guy.

  • [laughter]

  • And yeah, here's another one, Lofty on the right there. You'll see him in the film. He

  • is such a stud. A big, prime example of a adult male chimp. And these guys are about

  • five times our strength. And so, they're just extraordinary physical machines. Go ahead.

  • >>Female #1: How do you keep track of who's who?

  • >>Bill Wallauer: The same way you all keep track of who's who here. And it's really strange.

  • The first time you get there, you think, "How can anybody tell all these chimps apart?"

  • And now, I can hear their call from a half a mile away and I say, "That's Freud. That's

  • Frodo. That's Apollo. That's Atlas." It's just like we do in our own culture, but it's

  • interesting.

  • I grew up in really rural Oregon and so, I hadn't had a lot of cultural diversity, not

  • in the school that I went to. And so, when I first went to Africa, there was, I didn't

  • have with African American faces, I didn't have, or African faces, I didn't have that

  • ability to differentiate different traits. And this is true right across the board that

  • we get used, in our own culture, the differentiating traits that are familiar to us.

  • And I had to learn that about chimps as well, that though they all look the same, I need

  • to use different cues that I'm used to using to recognize people. And you do see that Lofty

  • has a dark beard there. But they both have black faces. So, in poor light conditions,

  • you might get these two mixed up. But he has a little bit of a tattered ear.

  • So, over time, you get more and more accustomed to figuring out who they are. And then after,

  • like with this community, after being in Gombe for 15 years and then following these guys,

  • I guess withinweeks, I had 35 of the chimps down, committed to memory. So, and

  • I'm not really very good with faces, human faces.

  • [laughter]

  • And I just threw this in just to shout out for my wife. My job is hard as a cinematographer,

  • but I can always dial in some game and the chimps are moving. For her, to get chimps

  • to stop at that slow shutter speed, if any of you are photographers or technicians, every

  • once in a while all the elements come together.

  • This beam of light came down onto Burg here. And she can get these wonderful shots of his

  • beautiful amber eyes. But it's so hard. Her job is much harder than mine even. And then,

  • here's our ultimate villain.

  • [laughter]

  • And you'll meet Scar in the movie. And this is Scar. He's a grumpy old man, who is the

  • leader of the villains.

  • [laughter]

  • And so, my job, a big part of my job was to record this territorial behavior. So, we have

  • Oscar and his group in the film. And then, we have Hair and the villains, who'd come

  • in and that's very true about the nature of chimp society. Each community has a home range,

  • which overlaps with three or four other home ranges.

  • And they compete for no man's land, or no chimp's land, the overlapping territory. And

  • if a strong community can, they will completely take over another community. So, in this case,

  • these guys--. And they're no better conservationists than we've exhibited in the last 15, 20 years.

  • These guys wiped out all of the colobus monkeys in the home range.

  • They hunted them down and ate all of them. And so, they started going farther and farther

  • out to patrol and search for monkeys, which means they move farther and farther into the

  • neighboring communities' range but also after fruit and nut trees as well. The biggest challenge

  • for me, though, was to actually get around them.

  • So, they're moving in these beautiful long patrol-like lines. They stop calling. They

  • stop exhibiting other behavior. It's very much like a military patrol. It's just extraordinary.

  • And so, my job is to get them, and you'll see in the film, these shots as they're coming

  • towards you.

  • But that means I have to be traveling in faster-than-chimp speed, which at times seems like it's faster

  • than light 'cause they move so quickly. But I did manage to get enough for this film to

  • make a really powerful story. And another thing I--. Oh, go ahead. Do you have a question?

  • >>Male #5: Would you say you had a story you create in the movie?

  • >>Bill Wallauer: Yeah.

  • >>Male #5: Or is this what you actually experienced out there? Would you say they end up playing

  • each other's characters?

  • >>Bill Wallauer: Yes.

  • >>Male #5: Is not really there?

  • >>Bill Wallauer: Yeah.

  • >>Male #5: And a lot of times, Disney is criticized for doing the good versus bad, herbivores

  • versus carnivores.

  • >>Bill Wallauer: Absolutely. And I had to, as primarily a researcher and research videographer,

  • I go to these conferences, the International Primate Behavioral Conferences. And so, I

  • have a status as a behaviorist as much as I do as a filmmaker. And so, I have to make

  • sure my films are true to science.

  • And of course, when you're shooting a film, it isn't chronological. It doesn't happen

  • just in the way. There's always going to be some license, but the line we can't cross

  • is the line of changing chimp behavior. And of course, producers, who don't understand

  • chimp behavior, are constantly saying, "Can we say this? Can we say that? Can we say it

  • this way?"

  • "No. No and no." So, I choose my battles. And if it's one over maybe a subtle vocalization,

  • I might not fight that one as hard as I would as if they were like, completely changing

  • chimp behavior. But when they built these villains up as villains, of course, in their

  • own community they're not villains. They're the same guys that you'll see in Oscar's community,

  • Freddie and the bunch.

  • But to the neighboring community, they're very much. And those will be the guys that

  • you see. Those are the chimps who you are going to be scared of as a neighboring community

  • member. And so, it is telling that story of the way these overlapping communities defend

  • and protect their territory and actually extend their own territory into another's.

  • And as far as character base, we did take a little bit of licenses as far as Pincer

  • is not the toughest chimp in the world. But does that matter as much as the demonstrating

  • the behavior well? And that's more important to me. But it's a really good question. It's

  • one we should rethink over and over. And I appreciate questions like that.

  • So, how far should I push those bounds before we can say, "That's something I'm not proud

  • of anymore." And I've actually taken my name off films in the credits because I came to

  • such a split with the production team that I could no longer be proud and want my name

  • on that production.

  • >>Male #6: So--.

  • >>Bill Wallauer: Yes.

  • >>Male #6: How much of the narrative did Disney comes to and say, "This is the narrative.

  • Can you go film it?" Where they said, "We wanna film chimpanzees. You film stuff and

  • we'll figure out the narrative."

  • >>Bill Wallauer: Luckily, we had our working team was the same people who do the "Planet

  • Earth," "Blue Planet," "Life of Mammals" team. So, it wasn't a Disney-based idea. It was

  • the three of us sitting down and figuring out, take chimpanzee behavior. What of chimpanzee

  • behavior do we want to run?

  • And put a script and time-line together, leaving room for things that might change. And sequences

  • like this; the hunting sequence was something we could have never scripted. And guess what.

  • After years of planning and putting this all together, within about a year, we had thrown

  • two or three of the original scripts away just because of things that happened on the

  • ground.

  • And for me, it's just--. I'm just a documentarian. I'm gonna follow the strongest story that

  • is going on. And so, the chimps really are the ones who tell the best story. And it's

  • up to me to be able to follow and document that story. So, even though we did have an

  • idea of what we wanted to do, in the end, at the end of the three years, we had a stronger

  • story than anything we'd come up with. But thanks. That's a great question. Go ahead.

  • >>Male #7: So, when I wanna shoot animals with dark fur and shadow detail and so on,

  • it's very hard.

  • >>Bill Wallauer: It is very hard, isn't it?

  • >>Male #7: So, are the days that are like this just working and you can't shoot dark

  • or like, Disney films only stop?

  • >>Bill Wallauer: Yeah. And for a Disney film like this, every shot has to be a postcard

  • if you can imagine. That was my mantra. So, there were days that I would get nothing that

  • made the film. So, I mean, you could follow for--. 'Cause I think we'd do six days off

  • or, yeah, sx days off and one day on. That's a pretty good schedule.

  • [laughter]

  • No, it's six days off and then one day on. You know what I'm saying.

  • [laughter]

  • So, in that six days of working, we would get, some days, almost nothing usable for

  • the film. And it would simply be because of the light, because of something going on.

  • And at the end of the third day, and you're thinking, "I just wanna go back home. It looks

  • like it's gonna rain."

  • You hang on for another two hours and then you'd get a sequence like this that just makes

  • the film. And this was the African killer bees on Oscar. He just dug into this nest.

  • And--

  • [laughter]

  • I mean, it was scary, but this was within like, three or four days of wrapping the whole

  • film and that's what I loved about chimp behavior. You never know what's gonna happen next. And

  • so, you can just keep following and following.

  • And yeah, I mean, if you're not as enthralled with your subject as I am, you do sometimes

  • wanna just say, "This isn't worth the time I'm investing." 'Cause it is a huge--. I was

  • shooting at something like 150-to-1 ratio, meaning for every minute that might make the

  • film, probably even more, there's an hour and a half, yeah.

  • Two and a half hours of footage sitting somewhere that's never gonna be seen. And that's the

  • stuff that I did shoot. And so, imagine the ratio of time is just sub-fractional. Absolutely.

  • And we just had to wait for the best light and wait for the best situations. Go ahead.

  • >>Male #8: What was the most dangerous moment that you felt?

  • >>Bill Wallauer: The most dangerous moment?

  • >>Male #8: Yeah, with the chimps.

  • >>Bill Wallauer: The most dangerous moment for me was the day that we got back to camp

  • and it was the day that I'd run a whole herd of buffalo over my wife.

  • [laughter]

  • So, that was dangerous for me when I got back to camp. It's much more dangerous for her

  • when she was in the field. But that was the scariest moment that I'm saying. We'd gone

  • around this bend. Kristin was coming along behind us. And I was saying "this is where

  • we are" and I was giving her some geographic marker of where we were.

  • And right then, I heard this thundering to my left. And it was a herd of buffalo running

  • from me. They'd winded me. And they ran straight in Kristin's direction. And they ran through

  • a valley and could just come up the other side and run right into them. Luckily, they

  • took the valley for cover. But they were really scared.

  • She and James were really scared and they ran as fast as they could to get away. And

  • I'm sure there's a few times that I don't even know about, like times that I stepped

  • over a snake and didn't know. But that's probably the most dangerous stuff. And you pick up

  • malaria a few times. What's that?

  • >>Male #8: You never feel dangerous with the chimpanzee?

  • >>Bill Wallauer: Never with chimps, never ever. They've been followed by the researchers

  • for decades. And they're used to having people around. And even in the heart of those battles,

  • I never feel like they're gonna do something to me. It's very humbling, though, when you

  • see that kind of power that they'll just grab a branch and break a tree in two.

  • It's just extraordinary. So, it's really humbling in that respect. And they have canines, extraordinary

  • canines. They could do me in in seconds if they wanted to. And so, after 20 years, you

  • feel like you have, hopefully, a certain report. Go ahead.

  • >>Male #9: Did they ever acknowledge you?

  • >>Bill Wallauer: They don't. I mean, my job is to be a fly on the wall both as a researcher

  • and as a filmmaker. My best day is when no chimp even looks up at me when I'm filming.

  • And you'll see as you're watching the film that there's very little eye contact between

  • the chimp and the camera.

  • They're very seldom looking at us. They're just doing their thing. So, this is the African

  • killer bee sequence. So, the bees are buzzing around everywhere. And these guys are digging

  • into this nest. It's just amazing.

  • [laughter]

  • Look at that honey. It's just amazing. But if that was me, I would probably survive about

  • 30 seconds. That would just do a human in. But they are going to town. And then there's

  • the fig-eating sequence that I went for two weeks. I stood in a three by three platform

  • in the top of the next tree over from our big Mama Macuso fig tree. And just to get

  • a different angle of the chimps. And so, this is that day's commute. This is my elevator.

  • [laughter]

  • And so, I took some self-portraits of myself as I'm going up. But look at the ropes going

  • down into the abyss. [laughs]

  • [pause]

  • And so, I spent a couple weeks doing this. And this was my little, that was my place

  • in the forest for about two weeks. But there is on the way down--. Oh, it's not supposed

  • to, oh, yeah, I guess it is. Just to have that kind of angle and be able to shoot down

  • and across as the chimps are in this frame was a really extraordinary experience. And

  • one the way down, the first steps is a real doozy.

  • [laughter]

  • To be hanging like you're 120 feet up above the canopy is it's funny. You're tied in,

  • but there's a real freedom to that, that you see the forest and hear sounds and experience

  • smells that you're just not accustomed to down in the forest floor. So, it was a real

  • treat to get to do this. And during this sequence, this guy actually made the film. And he so

  • reminded us of that squirrel from "Ice Age" with his bug eyes.

  • [laughter]

  • And so, even if we didn't have chimps there, we had all kinds of other species at this

  • fig tree to keep us company. That's a red-tailed monkey on the left and a grey-cheeked mangabey

  • in the upper right. And you can get shots like this.

  • [pause]

  • And I was saying what I do on my GPS. Well, these are my way points. And it actually does

  • make me a better filmmaker. I just grab this off Google Earth's site. You'll see areas

  • like the elephant wallow up there. I'd always want to get there first before the chimps

  • did so I can have them coming into this area.

  • There were hunts right around in there, so if I know that they're heading towards area

  • there are hunts, I'll go out in front, try to figure out where the colobus monkeys are

  • so I can get a jump on the hunt. And so, as a tool, it's so much fun for me to come home

  • and relive. I have a date on all of these way points.

  • Relive on Google Earth all of my experiences out in the forest. I filled my entire GPS

  • with way points [laughs] during the filming of "Chimpanzee."

  • >>Male #10: You need to [inaudible] Street View trailer.

  • >>Bill Wallauer: Yeah, I do. [laughs]

  • And so, getting one of the luxuries of getting to shoot for Disney Nature is we had a huge

  • budget and three years to do this film. So, really time was very, very much on my side

  • for the making of this film. And sadly, as a juxtaposition, I can't say the same for

  • chimps. Time is definitely not on their side. This is about what their range was, even within

  • the last hundred or so years, this whole equatorial forest belt, incredibly wide, right across

  • Africa. And just in 80 years of technology, chainsaws, demand for African hardwoods, these

  • areas have been very, very much fragmented. That whole central area completely gone, fragments

  • in the far West of Africa. And that's what we're all about now is doing everything we

  • can do to preserve chimps and chimp habitat.

  • During the 90s, I shot this video of Jane. And this was when she was realizing, and it's

  • the history of her realizing that she's gotten so much from the chimps and it was time for

  • her to do something for them. So, I'm gonna play this video. Again, I shot this, I guess

  • around 1999, but it's still very relevant.

  • [plays video]

  • >>Jane Goodall: About seven years ago, I--.

  • >>Bill Wallauer: That's just outside of Gombe National Park.

  • >>Jane Goodall: And I was absolutely horrified at what I saw. So quickly it seemed the environment

  • outside the National Park had been utterly destroyed. The trees had gone. When I came

  • in 1960, you could go in a boat and go right up to Bolivia.

  • It was chimp habitat. You could climb up the hills of [ ] and look eastward--chimp habitat

  • as far as you could see. And that's gone. It's only within the 30 square mile path that

  • the original forest remains. The question then was, when people are struggling to survive,

  • how is it possible to protect the precious oasis of the Gombe forest with its very famous

  • chimpanzees?

  • And that's how TACARE came into being--a program to try and improve the lives of the local

  • people and the villages surrounding the path and up and down the lake shore.

  • [end video]

  • >>Bill Wallauer: And so, that's our great work is when you're working with people who

  • are absolutely destitute in a country that's arguably nine thousand miles away from the

  • wealthiest country in the world, that is a real challenge.

  • You're seeing the forest on the outside of the park disappear. You saw some of those

  • shots. That was chimp habitat when Jane arrived in 1960. And so, our huge challenge now is

  • to slow down that tide and actually turn it at some point. And Jane's visionary work not

  • only was research in 1960, but realizing that absolutely you have to work with and have

  • people benefit from conservation work.

  • And that's her other great pioneering work. And so, we're not just a chimp conservation

  • organization. We're very, very much both humanitarian and many, many, many programs that I very

  • much encourage you to check our website out and look at Jane's vision. Read some of her

  • books. But what are the threats to chimps?

  • Certainly the global demand for African hardwoods and the lumber that comes out of these forests,

  • unsustainable agriculture, slash and burn agriculture. The bush meat trade is also very,

  • very devastating, has a very devastating impact on chimps. And the illegal animal trade as

  • well has a huge impact on chimpanzee populations.

  • And so, with this demand, these are local people are just struggling to make a living

  • cutting down more forest, creating--. This is just outside of chimp habitat. Trying to

  • farm in these areas. And then resulting in the soil washing down from the slopes and

  • that all goes away. So, they start the whole process over again, time and time again.

  • So, this TACARE program that we've started around Gombe, we're trying to emulate in sites

  • right across Africa now. So, in Tanzania, we have Tanzanian nurses going out, do interfacing

  • with local people. We'll go to a village and find out "What are your biggest needs?" "Well,

  • we don't have a dispensary here." And so, we'll raise funds.

  • We'll work with local people. We'll start a dispensary. And we have staff who are absolute

  • experts in the field. We have a wonderful savings and credit scheme, so that we train

  • women up who actually invest in their own scheme. A group of women will come and invest

  • in their own scheme. We have a matching fund for that.

  • And that very much empowers women to be gainfully employed using their own resources and their

  • own businesses. In this case, this woman, fabulous woman, had started a grain grinding

  • system in her own little village. And now, people are bringing grain to her and she's

  • exporting that and she's making a lot of money where she wouldn't have had this opportunity

  • before.

  • Also, inexpensive ways to solve problems. Our team developed the Vetiveria grass, which

  • is a bunch grass, which creates, when planted across these slopes like this, creates terrace

  • agriculture, which, terrace agriculture, there's a real science, very difficult to do. This

  • system is incredibly cheap, incredibly effective, and this field will now be used for decades

  • rather than for two years.

  • And also, once we start protecting the forests and start doing forest management, cash crop

  • such as honey come into play in the villages. And so, we have this honey distribution system

  • and honey bee program, which helps local villages to actually make money by having forest maintained

  • and healthy.

  • And also, I don’t know if you've heard about Jane's Roots and Shoots program, but this

  • is an amazing program. It's now in 130 countries around the world. I encourage you to definitely

  • look more into this. It's all about empowering kids to make the world a better place for

  • people, animals, and the environment.

  • And what better message in this day and age can you give kids? And it's got this global

  • feel about it as well. So, kids in Tanzania, they could be chatting with kids in China.

  • They can be chatting with kids in the US, all working towards those three main goals,

  • which is just fabulous. And this story has a very local feel.

  • A very good friend of mine, Deborah Simons, is a San Franciscan. And actually, she lives

  • right around here. And she is a manager of the Wanda Bobowski Fund, which is a scholarship

  • for young girls. And she came and visited Gombe years ago, fell in love with the place,

  • saw that especially young women had a very rough time in the world there.

  • And so now, over 200 young women have been issued these scholarship. And Yaku Pica here,

  • the young woman on the left, was an orphaned destitute, had absolutely zero future and

  • her headmaster identified her as a great student. She applied for the fund. She got a scholarship.

  • She worked up through college.

  • She got a position at a local elementary school. I was there. I filmed her teaching science

  • to her kids and she was talking about the qualities of the magnet to these, I guess

  • they would be about third grade kids. Just so much fun. So enthusiastic. When you think

  • about, "Well, what impact could this possibly have?"

  • Well, Yaku Pica's kids could grow up to be the next leaders of the generation. She could

  • grow up to be a government leader. She could be the first woman president in Tanzania.

  • You get a generation of kids thinking differently about the world, finding hope in the world,

  • and you're really gonna have a major influence on the next generation's philosophical ideals

  • and so forth.

  • And it's so important in this day and age. And so, this is Yaku Pica's challenge. This

  • is her classroom on the right. Its 70 kids who she teaches. So, it is an extraordinary

  • challenge, but she's done a wonderful job. Some of you in Google Earth know Lillian Pintea,

  • who's our IT guy and our GIS guy. And so, just for him, I threw a few slides in for

  • his benefit as well.

  • We work a lot with Google Earth. We have this new Open Data Kit program. So, we have forest

  • monitors who take--. And you're involved with I don't know if anybody in this room is involved

  • in this program, but Android phones, which can be through the Open Data Kit program.

  • They turned into these incredible, incredibly powerful data collecting machines.

  • And so, we have a whole bunch of forest monitors and patrollers who are traveling through the

  • forest and through the areas of West Africa or of Western Tanzania. Oh, we have to wrap

  • up pretty quick. Oh. Getting on this. What's the time?

  • >>Female #2: It's two o'clock.

  • >>Bill Wallauer: It's two o'clock now? Oh, gosh. 'Cause we have some Q and A, don't we?

  • [laughter]

  • So, anyway, we are doing some awesome work with Google and Lillian's going to shoot me

  • because I didn't talk enough about this.

  • [laughter]

  • But anyway, these are our guys in the field doing awesome stuff with Google. Yeah, look

  • some of that stuff up as well. But I would love to answer some questions. I'm sorry I've

  • gone on too long, but should we go straight to some questions? Yeah? Anybody have any

  • questions? Not so much. [laughs] Oh, go ahead.

  • >>Male #11: So, would you say that it's groups of chimpanzees that will battle each other?

  • >>Bill Wallauer: Yes.

  • >>Male #11: For their territory?

  • >>Bill Wallauer: Yeah.

  • >>Male #11: You said they beat each other?

  • >>Bill Wallauer: Really, they will kill one another. Yeah, the adults will kill one another

  • for sure. Absolutely.

  • >>Male #11: Anyway, do the tribes merge or groups merge?

  • >>Bill Wallauer: The only genetic, as far as spreading genetics from one community to

  • another, the females do that. So, at about age 12 or 13, when the females become reproductively

  • active, they're likely to transfer from one community to another. So, they are the only

  • accepted ones. If a male gets caught on that border trying, on that no chimp's land, he's

  • definitely gonna get attacked.

  • So, that's how genetic diversity is maintained is through the female transfer from one community

  • to another.

  • >>Male #12: If one group takes over another group's area, will they just wipe out the

  • whole--?

  • >>Bill Wallauer: Yeah. They will either be shifted to a much smaller area or they could

  • be completely eliminated over time. And you might incorporate the females from that community

  • into your group. Yeah. Yes, go ahead.

  • >>Male #13: So, this may be more for your wife then, than you. But what percentage of

  • the sound in a film like this is fully, or from other periods rather than actually being

  • live sound?

  • >>Bill Wallauer: As far as sync sound versus wild track or--? Yeah. I mean, we could do

  • sync sound some of the time, but because I'm a noisy cameraman, she would have to go off

  • with a different--.

  • Within the community, there could be four or five or six different subgroups. And so,

  • she would hang out with other chimps. And then, we'd sync sound up later. So, it's not,

  • the sounds that you hear are often not true to the voice of the individual you're seeing.

  • [laughs] But I think most people won't notice that, but there are some.

  • [laughter]

  • There are some sync sound shots, like the drumming display that you'll see Scar do,

  • that was sync sound. But that was your question as far as the sync sound stuff? Yeah. Go ahead.

  • >>Male #14: [inaudible] following bonobos. [inaudible] their behavior [inaudible] see

  • one of them [inaudible]?

  • >>Bill Wallauer: Bonobos live in such unstable parts of the world. And I've been a chimp

  • person for so long, I don't even get to many of the other chimp sites. And so, I've never

  • been south of the Congo in the Congo Basin to see bonobos.

  • For those of you who don't know, bonobos are another one of our closest living relatives.

  • They're very chimp-like, but they're not chimps. But they have their own different cultural

  • repertoire and behavioral repertoire. They're very similar looking to chimps, but they are

  • very different in behavior. And no, I haven't spent any time with them. I would love to.

  • Absolutely love to. Any other questions? Go ahead.

  • >>Male #15: Do you focus on a particular tribe or do you familiar with all of them?

  • >>Bill Wallauer: There are about 12 study sites across Africa. I've spent quite a bit

  • of time in three of those sites, but the vast majority of my work has been in Jane's Gombe

  • National Park in Tanzania and so, yeah. Most of my work has been there, but for the film,

  • just one or two sites for the film. Yep. Go ahead.

  • >>Male #16: You talked about some of the things that you've doing with Google that are really

  • great , particularly apps and some things that nobody's thought of?

  • >>Bill Wallauer: That maybe none of you have thought of? Well, it would be fun to sit down

  • and have a creative meeting. We were talking with Winnie before during lunch today. And

  • you can imagine from a filmmaker's point of view, how much fun it would be to do live

  • feeds.

  • Like, you could get on Google Earth, double-click and it's Bill, right now, real time, following

  • Gremlin and the twins. I mean, that would be unbelievable. And I was also brainstorming

  • there. I mean to have a fig tree, like the one I showed you here, that has a 24/7 live

  • feed to see who comes into that tree over the course of a day.

  • We could also do really nice conservation work with it, too. So, I mean, I think there's

  • some really interesting applications. It would be great to sit down with some Google minds

  • and have some brainstorming sessions about how we could actually--. And that's my whole

  • work is capturing people with chimps and chimp's behavior, but then going to the next level

  • and saying, "Yeah. Chimps are seriously endangered. Let's see what we can do to get more and more

  • people interested and engaged and involved."

  • And that would be a wonderful goal if you wanna talk to me afterward. [laughs] Anything

  • else? Anybody else? Yeah. Go ahead.

  • >>Female #3: Are there estimates as to how many chimps are left in the world right now?

  • >>Bill Wallauer: Yeah. That slide I showed. Around 1900, there were one to two million.

  • Now, there are fewer than 300 thousand. So, we probably lost 60% of them in my lifetime.

  • They could be completely gone. I always have this slide in here. Again, preaching to the

  • choir, I'm sure you all are aware of this.

  • Just be very, very sure of where your dollars are going. Check out our institute. Support

  • the Jane Goodall Institute. It's very difficult to do conservation work nine thousand miles

  • away from where people will ever have contact, the species you're trying to conserve.

  • So, we have some really, really big challenges, but it's with people's support like yours

  • that we will make it so the next generation so, these kids can maybe someday go to Africa

  • with their kids and see chimps. And that's my goal, seven generations away. So anyway,

  • thank you so much for your time and your interest. And thank you so much.

  • [applause]

>>Female Presenter: And I'm really excited to introduce our speaker for all you here

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Green@Google:比爾-瓦勞爾,迪斯尼自然電影 "黑猩猩 "的攝影。 (Green@Google: Bill Wallauer, Photography for Disneynature movie "Chimpanzee")

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    阿多賓 發佈於 2021 年 01 月 14 日
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