Wildscreen Film Festival Best Short Film 2017 - Pangolin
PANGOLIN is an intimate glimpse into the journey of a single pangolin; from the moment it is taken from the wild to its final destination in China. Filmed on location across three countries with the help of reformed poachers and wildlife enforcement officers, the film acts as a surrogate for an estimated hundred thousand pangolins that are poached and smuggled annually throughout Southeast Asia and Africa. PANGOLIN offers audiences the opportunity to experience the life, death and afterlife of the most illegally trafficked mammal on the planet.
Interview with Writer/Director/Producer Katie Schuler
Watch Pangolin here:
Main photo: Toby, the Sunda Pangolin in Bali, who helped us complete the live pangolin shots in the film.
Congratulations! Why did you make your film?
I think it's tragic that there are incredible species on this planet that will go extinct before most people know they exist. I use beautiful, emotional storytelling to bring awareness and advocate for the conservation of these animals.
Imagine I’m a member of the audience. Why should I watch this film?
To journey into the life of the Pangolin, the world's most illegally trafficked mammal. Pangolins are the world's only scaled mammal and have the longest tongue of any animal. There are 8 species of Pangolins, four in Africa and four in Asia. Because their meat is consumed as a luxury item in China and Vietnam and their scales have supposed health benefits, it is estimated that one-million Pangolins have been snatched from the wild in the last decade. All Pangolins are considered endangered and are now listed under CITES Appendix 1, the highest level of protection world wide. We don't know much about Pangolins, their lifespan and how many are left in the wild, but based on their life cycle they are likely to soon go extinct at the rate they are being killed.
How do personal and universal themes work in your film?
The film is sort of an amalgamation of documentary, investigative journalism and re-enactment. In my personal work, I'm always trying to make beautiful images and show things from the perspective of the animal.
How have the script and film evolved over the course of their development and production?
I was living in Palawan, Philippines during a one-year Luce fellowship with my husband. I had a meeting with Nino Rey Estoya, who combats illegal wildlife trafficking there. As he described the Pangolin and how it's smuggled off the island, I began storyboarding the film in my head. I went home that day, wrote the entire script, pitched it to Nino and we began what would be over a year of production. We began interviewing undercover informants who were posing as active poachers. One of them told us, “I had an experience where I saw the Pangolin looking into my eyes as I was slitting his throat, he seemed to be begging me to stop.” His experience was a big inspiration for the film.
Because we did almost everything out of pocket, we couldn't hire actors so we cast several different people to play each major role. We were very worried about continuity issues. Despite this, we were able to record about 90 percent of the poaching process. We were missing the very beginning, the crucial moment where a live pangolin being taken from the wild. After 3 failed expeditions to remote areas of the island, we were in jeopardy of not being able to finish what we started. I sent a desperate email to the Bali Zoo, one of the only places in the world at that time that had an Asian Pangolin species in captivity. Amazingly, they allowed me to use Toby, their Sunda Pangolin, to capture the remaining scenes.
I quickly cut together a rough screener to show the other Luce fellows in my group. As I hit play, I couldn't believe how much work went into this 13-minute film and I was relieved that it didn't just cut together, it really looked like we killed a Pangolin! I was overcome with emotion and still get a little weepy every time I watch the film. After that, we spent another 6 months scoring the film with composer Ross Nelson and adding animation by Sean Gordon.
What type of feedback have you received so far?
We've gotten huge support for this little film and it's been great to feel apart of this upswell of awareness about Pangolins and the illegal trade. We've been very fortunate to have been selected for several festivals and have won 4 best short awards. The film is showing next at the San Fransisco Green Film Festival on April 22nd. The film is now featured on NatGeo Short Film showcase and is being used by The Nature Conservancy, China towards demand reduction in China. The film has allowed me to connect and coordinate with different Pangolin conservation efforts and NGOs across Asia, Africa and the US. I'm excited to share new stories and find new ways to amplify the message.
Has the feedback surprised or challenged your point of view?
I am overjoyed that people are emotionally connecting with the film and that audiences seem to pick up on the fact that we were not trying to make villains out of the poachers, smugglers and buyers. Sometimes we get opposite reactions though, from people that are furious and seem to want to avenge the Pangolin from those that create the demand. It's challenging to come up with the best strategy to combat the illegal Pangolin trade, especially when consuming these animals is ingrained into the culture.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
That people get inspired by Pangolins and share the film with their friends and family. If they want to get involved there are many Pangolin conservation organizations out there. I'm currently working with the IUCN Specialist Pangolin Group and pangolinconservation.org.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Conservationists, researchers, government officials....everyone needs to work together to solve this issue locally and on the demand side.
What type of impact and/or reception would you like this film to have?
For people to emotionally connect with the Pangolin and its journey and to feel inspired to want to protect it.
What’s a key question that will help spark a debate or begin a conversation about this film?
Had you heard of a Pangolin before and how would you feel if it went extinct?
Would you like to add anything else?
I have a mascot for the film, Panga, who has her own instagram following. You can follow her journey around the world. See here for more details: @pangaforpangolins
What projects are the key creatives developing or working on now?
I'm currently writing grants and proposals to further my work with pangolins and other animals that need a voice.
Interview: March 2017
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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Pangolin
PANGOLIN is an intimate glimpse into the journey of a single pangolin; from the moment it is taken from the wild to its final destination in China. Filmed on location across three countries with the help of reformed poachers and wildlife enforcement officers, the film acts as a surrogate for an estimated hundred thousand pangolins that are poached and smuggled annually throughout Southeast Asia and Africa. PANGOLIN offers audiences the opportunity to experience the life, death and afterlife of the most illegally trafficked mammal on the planet.
Length: 13 minutes
Director: Katie Schuler and Nick Rogacki
Producer: Katie Schuler
Writer: Katie Schuler
About the writer, director and producer:
Katie Schuler works at the nexus between art, entrepreneurship, community development and conservation, and has traveled to over 22 countries across six continents while documenting wildlife and their habitats. As an artist and producer, she has led outreach efforts to vulnerable communities and undereducated youth at home and abroad.
Katie is the Co-Founder and Head of Production of Coral & Oak Studios, a unique production company dedicated to telling stories that educate and inspire audiences to engage with the creatures, people and world around them. A recipient of the Henry Luce Fellowship, Katie spent more than a year in Southeast Asia, where she collaborated with scientists and conservation organizations on various art and storytelling projects.
One of these projects, the film PANGOLIN, grew out of her relationship with the Philippines-based Palawan Council for Sustainable Development (PCSD). As writer, producer, director of photography and editor for the film, Katie worked closely with reformed poachers, law-enforcement officers and the IUCN Pangolin Group to create the most accurate film on pangolin trafficking to date. Supported by a talented team of musicians, sound engineers and animators, Katie is proud to offer the film PANGOLIN for consideration at this year’s Wildscreen Film Festival.
Katie is a graduate of the Corcoran College of Art and Design, and a recipient of the prestigious Koenig Trust Scholarship. Her clients include National Geographic, The Smithsonian Institute, Conservation International, Woods Hole Oceanographic and PBS. She currently lives and works in Washington DC.
Key cast:
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists):
Funders:
The Palawan Council for Sustainable Development, The Henry Luce Foundation, Coral and Oak Studios
Made in association with:
The Palawan Council for Sustainable Development
Release date: Oct, 2016
Where can I watch it?
Katie's FB: https://www.facebook.com/schuler.k
Coral and Oak's FB: https://www.facebook.com/CoralandOak/?ref=br_rs&pnref=lhc
Instagram: https://www.instagram.com/coralandoak/
Twitter: https://twitter.com/CoralandOak