Tag / Hollywood

by Roslyn

Life imitates [filmmaking] art

Congratulations to Myra Burrell – her peacockumentary has been short-listed for the Animal Behavior Society’s film festival!

Myra, a veteran of the natural history film program at the University of Otago in New Zealand, traveled to California with me in 2010. She helped with peacock field work, capturing more females than anyone thought possible. Somehow, in the meantime, she made a movie about the birds. It’s a short film that gives you an idea about what happens on a peacock lek, from the hen’s point of view.

It’s quite an honour to be among the 6 films selected for festival screening, since they must get on the order of ~100 applicants. If Myra wins, it would be oddly fitting: a wildlife film straight out of a park that moonlights as a real Hollywood set.

You can watch “Hen’s Quest” here.

The best parts? I love the music and Myra’s cinematography. I contributed writing (including the title!) and did the artwork; Brian McGirr turned my map drawing into a fantastic animation. Good luck, Myra!

by Roslyn

A case of mistaken celebrity

They all look the same to us. Celebrities, that is. And by us, I mean academics.

The proof starts with peacocks. Last fall, I was working on some measurements I took of the crest ornament in these birds. Peafowl have this funky little fan of feathers on top of their heads, and though it’s not that small in the grand scheme of fancy bird plumage ornaments, the peacock’s five centimetre crest looks a bit ridiculous next to the metre-and-a-half long train.

Why bother having a crest when you also have a big train? And why do females wear crests too? In this species, the crest appears to be the only plumage ornament shared by both sexes. Here are some of my pictures from the field, taken on the cusp of the breeding season:

Crest ornaments of male and female peafowl

Crests of (a) male and (b-c) female peafowl. Scale bars are 10 cm. Photos by Roslyn Dakin.

Over the years, I’ve measured the crests of close to 150 birds. These data lend some support to the idea that the crest is a signal of health in both males and females, although it might work in slightly different ways for the two sexes1. As you can see from the picture above, there is a lot of variation in how the crests look – and it’s mostly on the female side of the equation. Almost all adult males have tidy looking crests like the one shown in (a), but females often have crests with a lot of new feathers growing in (c). It turns out that males in better condition tend to have fuller, wider crests. The healthiest females, on the other hand, have crests that look most like those of males, with all feathers grown out to the top level (b).

The extreme variability among females leads to an additional hypothesis, and it’s one that I can’t rule out at this time. Perhaps the crest is a signal of individual identity that the birds use to sort out who’s who in their social groups – just as faces do for us. A clue that this could potentially work for peahens is that my field assistants and I can do it. Once you spend enough time hanging around with these birds, you find yourself recognizing certain females that haven’t been captured yet (and that therefore lack identifying leg bands). Your first clue? Usually a unique pattern of crest feathers.

Continue reading →

by Roslyn

The winning score

As Hollywood gets dolled up for the Oscars, fans at home might surprised to learn that a field biologist could tell us a thing or two about the winning films. Dan Blumstein, a behavioural ecologist who works, quite fittingly, at UCLA, is an expert on yellow-bellied marmots. He might also be the person to turn to if you want to predict the win in the “Best Original Score” category this weekend.

Although Blumstein does most of his work with wild marmots in the Rocky Mountains of Colorado, studying several facets of their behaviour and evolution, he recently published a paper on the science of movie soundtracks1. With Richard Davitian and Peter Kaye from the School of Music at Kingston University in the UK, Blumstein applied techniques from his research on marmot vocal communication to an entirely new question: why are Hollywood moviemakers so good at manipulating our emotions? The results pick up on a common theme in the way humans and other animals use sound.

Continue reading →

by Roslyn

Science fictions

Fakery is not just for Hollywood films anymore.

Nature documentaries are full of it, from elegant narratives to some downright dirty tricks. This tradition goes back a long way: the myth that lemmings commit mass suicide to save their brethren from overpopulation was spread widely as as result of the 1958 Disney film White Wilderness. This is not trivial. The film won an Oscar for Best Documentary. The lemming story made it as far as a philosophy course I took in university (Science and Society PHIL203), where the instructor used it as an example of why we should doubt evolutionary explanations of human behaviour. The myth just won’t die, even though CBC exposed the lemming scam back in 19821. Journalists on The Fifth Estate proved that the mass suicide scene was actually filmed in downtown Calgary, not in the Arctic as Disney had claimed. The Disney crew used a rotating platform to push captive lemmings into the Bow River.

More recently, the BBC has come under fire for using captive animals to film some of the scenes in the Blue Planet series1. This seems justifiable to me, but some truly ugly practices have also been exposed, like baiting corpses with M&Ms to get footage for an IMAX documentary on wolves2.

Continue reading →

by Roslyn

Field biology goes to Hollywood

One of the weirder things about my field site is that it is also a Hollywood set. A number of movies, TV shows and commercials have been filmed at the LA Arboretum, going back to Tarzan Escapes in the 1930s.

The Arboretum had a regular appearance in the popular 1970s show Fantasy Island. In the opening credits, a midget rings the bell in the Queen Anne Cottage. This is a historic building on the Arboretum grounds that was built in the by the same wealthy California businessman who started the peafowl population in the area.

You can catch the Arboretum in many other films, since it provides a convenient stand in for the jungle a short drive away from downtown Los Angeles. Examples: The Lord of the Flies, Anaconda, The Lost World, Congo, Terminator 2, The African Queen, and too many campy horror flicks to count (Attack of the Giant Leeches?).

Several things were filmed during my three seasons there, leading me to realize that making a movie is a lot like doing field biology. Here’s how:

1. The hours. Field biologists often have to keep the same hours as their study species, working for as long as the animals are active. For some ornithologists, this can mean starting at 4 am. We were lucky with peafowl. They are late risers, coming down from their roosts around 7-8 am. They also tend to take a long siesta in the middle of the day. This meant that we had to work two shifts, coming in for several hours in the morning and returning after lunch until sunset. It made for some long days.

Film crews also seem to work long hours based on the amount of light, since our schedules would often coincide.

2. Tedium and futility. Most of the time spent watching animal behaviour is watching them do very little. Here’s an example: we saw about 20 mating events in 2010, in 500 man-hours of observation time. That’s over 24 hours of sitting quietly for each copulation.

Catching the beasts can be a little bit more active, but you still feel completely useless 90% of the time. Your main activities include: waiting for the animals to show up, looking for the ones you haven’t caught yet, waiting around for your traps to work, and worrying about all the reasons why they aren’t.

A lot of jobs in Hollywood might not be so far off. When AT&T filmed a commercial at the Arboretum last year, we met a guy whose sole responsibility was to keep the peacocks away from the set. His boss gave him a bag of bird seed. It was the cusp of the breeding season, and the crew had decided to place their set right in the middle of one particularly dedicated male’s territory. The poor guy was literally playing tag with that bird all day.

3. Costumes. Important in Hollywood, but also useful when trying to catch birds. After a few weeks in the field, most tend to settle in to a uniform, wearing the same thing nearly every day. If it works and you’ll just be getting dirty again tomorrow, why change?

Field clothes

Waterproof jackets come in handy when catching large birds. From left: Will Roberts, Myra Burrell and Roz Dakin. Photo by Bonny Chan.

Continue reading →