THE MAKING OF A MAN-EATER

When a wild tiger kills men who enter his territory he is declared a man-eater and locked up in a zoo. This galvanizes massive social uproar. Activists take their cause to the streets, online, up on to billboards and all the way to the Supreme Court.

WRITER, DIRECTOR, PRODUCER

EXECUTIVE PRODUCERS:


COMPOSER

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WRITER, DIRECTOR, PRODUCER

EXECUTIVE PRODUCERS:


COMPOSER

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COMING SOON

APRIL 3, 2022

2022 Cleveland International Film Festival

June 10, 2022

Living Room Theaters – Indianapolis, IN

I was looking to make a tiger conservation documentary in my native India and found my subject in T24, the newly dominant male of Ranthambhore Tiger Reserve. I thought this was going to be Directing a small documentary about a tiger in the wild.

But in 2015, T24 killed a man who entered his territory, and my documentary became about something bigger. The local government deemed the tiger a “man-eater” and implicated him in multiple attacks. They put him in a zoo, and this galvanized massive social uproar. Activists took their cause to streets, online and even to the Supreme Court. I was now directing a much bigger documentary on a tiger that had become an icon for conservation.

The use of the Wide Shot is a critical part of the visual style for the “Tiger 24”. The entire project revolves around space, territory, and the boundaries between the spaces that large carnivores occupy and the ones that humans occupy. I have made it a point to emphasize Wide Shot’s throughout the film where we see tiger territory because I want the viewers to see the territory as a character in the film.

WARREN PEREIRA
WRITER, DIRECTOR, PRODUCER

The use of the moving camera, with minimal anticipation, is also part of the visual style for “Tiger 24”. One can anticipate tiger movement if you have spent as much time as I have with tigers but it makes the shot less interesting if your camera move anticipates tiger movement in every instant. I have chosen to follow rather than lead tiger movement with my camera in most instances to increase interest in the frame and to provide a visual language that respects these top predators.

The interviewees were captured in their native home and work environment so that we may learn not only from their speech, both also from their environment.

The majority of this footage has been captured in 4K RAW/LOG/WIDE GAMUT allowing for both an authentic and cinematic representation of the image after color correction. I did not realize that I would end up being the only person with 4K RAW footage of T24 in the wild. I’ve also used camera framing and camera moves that are consistent with the dynamics of the story and with an awareness of what is needed to best edit the picture.

I was looking to make a tiger conservation documentary in my native India and found my subject in T24, the newly dominant male of Ranthambhore Tiger Reserve. I thought this was going to be Directing a small documentary about a tiger in the wild.

But in 2015, T24 killed a man who entered his territory, and my documentary became about something bigger. The local government deemed the tiger a “man-eater” and implicated him in multiple attacks. They put him in a zoo, and this galvanized massive social uproar. Activists took their cause to streets, online and even to the Supreme Court. I was now directing a much bigger documentary on a tiger that had become an icon for conservation.



The use of the Wide Shot is a critical part of the visual style for the “Tiger 24”. The entire project revolves around space, territory, and the boundaries between the spaces that large carnivores occupy and the ones that humans occupy. I have made it a point to emphasize Wide Shot’s throughout the film where we see tiger territory because I want the viewers to see the territory as a character in the film.

The use of the moving camera, with minimal anticipation, is also part of the visual style for “Tiger 24”. One can anticipate tiger movement if you have spent as much time as I have with tigers but it makes the shot less interesting if your camera move anticipates tiger movement in every instant. I have chosen to follow rather than lead tiger movement with my camera in most instances to increase interest in the frame and to provide a visual language that respects these top predators.

The interviewees were captured in their native home and work environment so that we may learn not only from their speech, both also from their environment.

The majority of this footage has been captured in 4K RAW/LOG/WIDE GAMUT allowing for both an authentic and cinematic representation of the image after color correction. I did not realize that I would end up being the only person with 4K RAW footage of T24 in the wild. I’ve also used camera framing and camera moves that are consistent with the dynamics of the story and with an awareness of what is needed to best edit the picture.

WARREN PEREIRA
WRITER, DIRECTOR, PRODUCER

I believe that this film can start a discussion on the boundaries between the little remaining space large carnivores occupy, and desperately need, as they get squeezed by a growing concrete jungle.
Warren Pereira
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While TIGER 24 has been about one tiger, his struggle is emblematic of the challenges that tigers face all around the world. We love these creatures, but they need space, inviolate space, so that conflicts do not arise. We are encroaching on their already reduced territories. Will we make space for them in the future? If not then their numbers will continue to dwindle towards extinction and future generations will not be able to experience tigers and the wonderful wild spaces they inhabit.
Here are some key organizations committed to tiger conservation:
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