Filmmaker Subbiah Nallamuthu on tigers, wildlife documentaries and conservation

Few filmmakers would ever have created such a deep relationship with their subject as Subbiah Nallamuthu did with Ranthambore’s famous tigress fish. In his award-winning wildlife documentary The world’s most famous tiger (2017), screened as part of the IIHS Screen at the Indian Institute of Human Settlements in Sadashivnagar, Bengaluru on 12 December, traces the fish’s life from its peak to its poignant final days, telling a story that Which was liked by the audience all over the world.

Wildlife filmmaking often sparks a debate: should stories focus on individual animals, or should they emphasize broader ecological narratives? For Subbiah, the answer is clear. “Most channels or platforms want to tell a personal story,” he explains, “Honestly, that’s what works. Take my octopus teacherFor example. It’s about a man’s relationship with an octopus and it won an Oscar. Personal stories resonate.

While scientists and environmentalists have criticized this approach, Subbiah believes it is a powerful way to connect people with nature. “Scientists prefer numbers rather than names of tigers, but for filmmakers like us, who are rarely commissioned or funded, storytelling is paramount,” he says. “Audiences connect emotionally when they can follow a character’s journey.”

capture the last chapter of the fish

Following Fish for nearly a decade had its own challenges. “The story was based on capturing his last moments,” he recalls. “Wild tigers usually disappear into the jungle to die, but Fish died in an accessible area. This gave me a rare opportunity to document his end.

Subbaiah’s persistence paid off. His film not only captured the fish’s struggles with its offspring and its decline into old age, but also its unique relationships with other tigers. “The male tiger who fathered three generations – his death was a significant moment. Such emotional scenes were new to the audience and even to some scientists,” he said.

The filming process was anything but predictable. “You spend years gathering footage, waiting for important events to happen,” he says. “It’s nerve-wracking. If I had not captured the death of the fish, I would have lost six years of documentation because it is the most important thing in the film. That was a risk.”

Behind the scenes of ‘the world’s most famous tiger’ Photo Credit: Special Arrangement

Balancing storytelling and science

In wildlife filmmaking, it is important to strike a balance between emotional storytelling and scientific accuracy. For Subbaiah, the former is preferred. He says, “About 80-90% of my films focus on emotional storytelling – the characters, their bonds and relationships.” “If I include scientific details, it’s usually through voiceover, and only if it enhances the narrative.”

He offers an example: “If a book says tigers only mate in the winter, but I film them mating in the summer, I highlight the behavioral change and its context. My audience is lay people, not academics. The aim is to create a story that is accessible and engaging.”

In India, wildlife filmmakers face many hurdles ranging from restrictive shooting areas to lack of funding. Subbiah’s films are largely self-financed. “You have to make every shot count,” he says. “While filming the fish, I also collected footage of its offspring, which later became a separate film, clash of tigers,

It can be hard to stick to one story, especially when other compelling stories unfold around the corner. Still Subbaiah remained firm. “People kept urging me to cover other shows, but I couldn’t afford to miss something important with Fish,” he says. “When you focus on a character, you’re committed. Are.”

Subbaiah Nallamuthu Photo Credit: Special Arrangement

emotional connection

Subbaiah’s attachment to his characters is very deep. The filming of Fish’s final moments was particularly emotional. “I was alone with her,” he shares. “It reminded me of my grandfather’s death. I wanted to celebrate her life, honor her story.

This dedication did not go unnoticed. “After the screening in London, the audience sat in silence for five minutes,” he recalls. “One woman said to me, crying, ‘I don’t know if the tigers will survive, but filmmakers like you, Will have to live long enough to make movies.”

The reaction of the children has also been profound. A child in Rajasthan asked, “Dinosaurs have become extinct. What will happen if tigers disappear?” This question inspired Subbiah to document the translocation of tigers to Sariska, highlighting the wider impacts of their absence.

As wildlife filmmaking evolves, Subbiah sees a shift towards fantasy storytelling. “Documentaries are rarely commissioned by OTT platforms anymore,” he laments. “I am considering feature films – fictional stories based on real footage and events. It’s a gamble, but I believe this is the next step.”

For now, he continues to support the art of storytelling. “Anyone can take photos or edit video, but telling a compelling story is a skill,” he says. “My goal is to create films that resonate, inspire and ultimately connect people to the natural world. “Make you care.”