Anyone who refuses to take seriously the idea that dinosaurs were covered in feathers will likely put that prejudice aside in the face of “Prehistoric Planet”. The Apple TV+ documentary series, which debuts May 23, is the most compelling artistic reconstruction of the Age of Dinosaurs to date, depicting the planet’s biodiversity 66 million years ago, at the end of the Cretaceous period.
Like the images that appear in each episode, the show’s backstage is also a meeting of giants. The original narration is by Sir David Attenborough, 96, whose punchy voice and sense of humor alongside flesh-and-blood critters have become synonymous with British wildlife documentaries in recent decades. One of the production coordinators is Mike Gunton, head of the BBC’s natural history programmes.
Gunton’s partner in the endeavor, on the other hand, is best known today for his appearances in Marvel films, as a director and in the role of Happy Hogan, Tony Stark/Iron Man’s right-hand man. But American Jon Favreau also directed the new versions of “The Mowgli: The Boy Wolf” and “The Lion King”, in which computerized incarnations of wild animals gained realism. “What we’ve done is we’ve combined what I’ve learned doing these Disney live-action films with the BBC’s tremendous experience in their wildlife documentaries,” Favreau explained at a video conference press conference.
In fact, the formula of the episodes will seem familiar to anyone who has seen the grandiose scenes of the African savannah or Antarctica narrated by Attenborough. The dramas of “Prehistoric Planet” are the same ones that a lion or a penguin face: how to find a mate, care for the cub, find food or escape a hungry predator.
“In theory, when you’re creating the scene with technology, you can show the animals from the angle and the way you want, but that’s not what happens in a wildlife documentary, precisely because of the behavior of the animals and the environment. where we are,” explains Tim Walker, the series’ head writers. “We made sure to have those same restrictions — you’re never going to see something that would be impossible to film in real life.”
The feeling that the shenanigans involving puppies tyrannosaurus rex or pterosaurs (flying reptiles) could very well have been filmed by a time traveler who landed in the Cretaceous is reinforced by the use of real scenarios in different parts of the world, on which images of extinct species were superimposed. Taking advantage of this decision, each episode focuses on a distinct environment, such as coastal areas, deserts, forests and icy regions (yes, dinosaurs also inhabited the Arctic, thanks to the likely warm blood and thermal protection provided by the feather cover).
The latest data and hypotheses about the anatomy and behavior of extinct species have been incorporated into the series, thanks in large part to collaboration with British paleontologist and writer Darren Naish. “We can say that, in general, we were conservative when it came to portraying most species. It is quite likely that the real animals of the Cretaceous were even more flamboyant than what you will see on TV”, he summarizes.
Despite this general guideline, Naish admits that, in some cases, the team felt empowered to propose more imaginative reconstructions. “For me the most interesting case is that of the sauropod [dinossauro herbÃvoro de pescoço longo] Dreadnoughtus, from Argentina”, he highlights.
“We know that sauropods had extremely pneumatic bones [ocos], which could harbor air sacs, as with birds. We then imagined that male Dreadnoughtus could inflate colored bags around their necks during disputes over females, as a way of showing off to them and their rivals”, explains Naish. , like frigates.
Five episodes are scheduled, with daily premieres between May 23 and 27. “It’s just the beginning,” Favreau said, without specifying whether new seasons are in the team’s plans.
